The Corning Museum of Glass Annual Report 2005

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The Corning Museum of Glass Annual Report 2005 Cover: Officers The Fellows of The Corning The Fellows of The Corning Museum of Glass Museum of Glass are among Vase with royal arms of E. Marie McKee the world’s leading glass col- France, cut, encrusted President Carole Allaire lectors, scholars, dealers, and enameling. France, Bac- Gary E. Baker glassmakers. The objectives Amory Houghton Jr. carat, probably enam- Renée E. Belfer of this organization are (1) Vice President eled by Jean-Alexandre Robert A. Belfer to disseminate knowledge Paris, about 1828. OH. James R. Houghton Mike Belkin about the history and art of 32.3 cm (2005.3.38). Vice President William W. Boeschenstein* glassmaking and (2) to support the acquisitions program Alan L. Cameros Denise A. Hauselt of the Museum’s Rakow Secretary Lt. Gen. Christian Clausen, retired Research Library. Admission Thomas P. Dimitroff to the fellowship is intended James B. Flaws Jay R. Doros to recognize accomplishment, Treasurer David Dowler and is by invitation. Robert J. Grassi Max Erlacher Assistant Treasurer Christopher T. G. Fish Barbara U. Giesicke David B. Whitehouse William Gudenrath Executive Director Jirˇí Harcuba+ Douglas Heller Trustees A. C. Hubbard Jr. Roger G. Ackerman* Kenneth L. Jobe + Peter S. Aldridge Dorothy-Lee Jones Thomas S. Buechner Leo Kaplan Van C. Campbell* Helena Koenigsmarková Dale Chihuly Michael Kovacek Patricia T. Dann Dwight P. Lanmon + Robert Duke Harvey K. Littleton James B. Flaws Louise Luther John P. Fox Jr. Kenneth W. Lyon Polly W. Guth Josef Marcolin Ben W. Heineman* John H. Martin + Amory Houghton Jr.* Gregory A. Merkel Arthur A. Houghton III Barbara H. Olsen James D. Houghton Elmerina L. Parkman James R. Houghton Paul N. Perrot + Itoko Iwata John V. B. Perry Thomas C. MacAvoy* Richard F. Randles E. Marie McKee Peter Rath Joseph V. Noble* Rachel Russell Carl H. Pforzheimer III Frieder Ryser † Carlos A. Picón Prof. Dr. Axel von Saldern + Helmut Ricke Josh Simpson Charles A. Ryskamp* John P. Smith Antony E. Snow Jean Sosin Peter F. Volanakis Walter Spiegl + Photo Credits Wendell P. Weeks Paul J. Stankard Prof. Dr. Rudolf von Strasser All of the photographs Ian McKibbin White in this Annual Report are David B. Whitehouse Lino Tagliapietra by The Corning Museum G. Hugh Tait +‡ of Glass (Nicholas L. * Trustee Emeritus Dena Tarshis Williams and Andrew M. Catherine M. V. Thuro-Gripton Fortune), with the follow- Kenneth R. Treis ing exceptions: David Watts Page 6: Lannon Harley. Kenneth M. Wilson + § Eric Martin Wunsch Page 15: Photo by Gabriel Rainer Zietz Urbánek and Ondrˇej Ko- courek, courtesy of the * Life Fellow artist. + Honorary Fellow Page 38: Rick Bacmanski. † Deceased, June 15, 2005 Pages 35–37, 40: Maria ‡ Deceased, April 12, 2005 Strinni-Gill. § Deceased, March 29, 2005 The Corning Museum of Glass Annual Report 2005

An educational institution dedicated to the history, art, and science of glass

Chartered by the Board of Regents of the University of the State of New York April 27, 1951 (6026) Accredited by the American Association of Museums 1973, 1986, 1999 The Museum enjoyed another successful Executive year. We displayed four temporary exhibitions in Corning and one in New York City, Director’s we made a number of major acquisitions, Report and the Hot Glass Roadshow undertook a five-city tour of Australia. The Museum’s programs, exhibitions, and marketing combined to produce increased visitation and earned revenue. We attracted 326,000 visitors, a five-percent increase from 2004. More than 20 percent of our individual and family visitors made a piece of glass in the Walk-in Workshop. Visitor revenue was $24 per capita. Much of the Museum’s success is due to the efforts of an exceptional staff. During the year, we welcomed, among other new staff members, Diane Dolbashian, our new librarian, and Mary Cheek Mills, who man- ages our school and docent programs.

*** 1523–1534). The jug was made in Venice. The Museum’s acquisitions of glass in A small covered vessel, which has an identi- Bracelet, hot-worked, 2005 included a European Iron Age brace- cal counterpart in The J. Paul Getty Muse- applied. Central Europe, let of translucent deep blue glass decorated um, has the arms of the bishop of Freising third–first century B.C. with bosses and trails. Bracelets of this type and the Pfalzgraf bei Rhein of the Wittels- H. 2.5 cm, D. (max.) were made in central Europe between the bach dynasty, probably Philipp, who was 10.4 cm (2005.1.2). third and first centuries B.C. This example bishop from 1499 to 1541. The quality of Vase, Diaspora, mold- was granted an export license to leave Eu- the glass and the cold-painted decoration blown, hot-worked, rope. suggest that the object was made at Hall in iridized. Bohemia, The most notable acquisitions of Renais- Tyrol, Austria. An important addition to our Klášterský Mlýn (Klos- termühle), Johann Loetz sance and later European glass begin with a collection of English glass is a heavy balus- Witwe, 1902. H. 12.7 jug bearing the arms of a Medici pope, either ter goblet engraved with the royal arms of cm (2005.3.13). Leo X (r. 1513–1521) or Clement VII (r. Great Britain and the monogram of Queen Anne (r. 1702–1714). Another exceptional European acquisition is a vase made for presentation to King Charles X of France, which appears on the cover of this Annual Report. The vase was made at the Cristall- eries de Baccarat, and the rich enameling is attributed to Jean-Alexandre Paris (1781– 1850), a prominent jeweler and goldsmith. Acquisitions of American glass included a rare Rouge Flambé vase and several lost wax sculptures made in Corning by Frederick Carder. They were donated by Tim Welles (Carder’s great-grandson) and his wife, Pad- dy, who also donated a collection of Carder’s notebooks to the Rakow Research Library (see below). We also acquired two equally rare lacy pressed glass trays, made by the Boston and Sandwich Glass Company in the

1830s or early 1840s, through the generosity The 2006 Annual Report will contain a de- Endeavor, blown, cut, of the Gladys M. and Harry A. Snyder Me- scription of this magnificent collection. battuto-cut; steel cable. morial Trust. U.S., Seattle, WA, Lino Tagliapietra (Italian, b. The most significant acquisition of mod- *** 1934), 2004. Dimensions ern glass was Endeavor, an installation of variable; L. (largest boat) 18 suspended boatlike forms created by Among the gifts received by the Rakow 166.3 cm (2005.4.170). Lino Tagliapietra in 2004. Endeavor was Library were 33 notebooks compiled by Purchased with funds purchased after a major fund-raising cam- Frederick Carder between 1888 and 1930. from Corning Incorporat ed, the Ennion Society, paign, which received exceptional support The notebooks include Carder’s recipes for The Carbetz Foundation from friends of the Museum whose names different types of batch and his ideas about Inc., James B. Flaws and are listed in the caption on this page. A sec- designing glass. They were presented to the Marcia D. Weber, Mr. ond remarkable acquisition, also created in Library by Tim and Paddy Welles. The gift and Mrs. James R. 2004, was Karen LaMonte’s life-size, mold- from Barry Friedman Ltd., mentioned above, Houghton, Polly and John Guth, Mr. and Mrs. melted sculpture Evening Dress with Shawl. included the original designs for 11 objects Carl H. Pforzheimer III, The largest gift of modern glass was made by František Vízner in the 1960s and Wendell P. Weeks and made by Barry Friedman of Barry Friedman 1970s. Purchases by the Library included Kim Frock, Alan and Ltd., who donated 93 examples of contem- guides to trade fairs in Paris, London, and Nancy Cameros, E. Ma porary studio glass. elsewhere between 1812 and 1879. The rie McKee and Robert Cole Jr., the Honorable Finally, as this Report was in prepara- most unusual antiquarian acquisition was a and Mrs. Amory Hough- tion, the Museum learned that Ben W. Heine copy of a child’s introduction to vessels of ton Jr., Peter and Cathy man Sr. and his wife, Natalie, have promised glass and other materials made in ancient Volanakis, Lino Taglia the gift of their collection: the largest dona- Rome, which was published in 1535. pietra, Mr. and Mrs. tion of contemporary glass in the Museum’s Robert Turissini, and the Heller Gallery. history. It is distinguished by the uniformly *** high quality of the works and by the Heine- mans’ practice of focusing on individual art The Museum was the grateful recipient ists and collecting their creations in depth. of numerous gifts and grants in 2005. The

support of Corning Incorporated, our corpo Bawa, and the recipient of the 2005 Rakow rate benefactor, was, as always, munificent. Commission, Nicole Chesney. In addition to this, gift and membership income exceeded $1.2 million: the largest *** annual amount since the Development Department was established in 2002. The The centerpiece of the Museum’s 2005 many cash gifts included donations for the exhibitions was “Design in an Age of Ad- acquisition of Endeavor, $210,000 from the versity: Czech Glass, 1945–1980,” which Arthur Rubloff Residuary Trust, $100,000 was curated by Helmut Ricke of the Muse- from Corning Incorporated for a commis- um Kunst Palast in Düsseldorf, Germany, sioned work by Peter Aldridge, and $16,000 and coordinated at Corning by Tina Old- from the Gladys M. and Harry A. Snyder know. The exhibition included more than Memorial Trust. Grants included $64,000 350 objects and documented how artists in from The Getty Foundation for the restora- Czechoslovakia turned to glass as a medium tion of a 16th-century German house altar, for painting and sculpture, and for experi- $22,300 from the New York State Council menting with abstract art. “Design in an Age on the Arts for general operating support, of Adversity” was shown in Corning from $10,998 from The Triangle Fund for an June 15 to November 27. It was accompa- educational program at The Studio and a nied by two smaller, related exhibitions: workshop for local nonprofit organizations, “The Tradition of the Avant-Garde: Bohe- $10,000 from Polly and John Guth for gen- mian Glass, 1820–1935” and “Czech Glass eral support, and $10,000 from The Dana Now: Contemporary Sculpture, 1970–2004.” Foundation for the scholarship fund at The The Museum’s other exhibitions were Views of the Museum’s Studio. “Decades in Glass: The ’60s” and, in The 2005 special exhibition, “Design in an Age of The Development Department’s “Meet Gallery at Steuben Glass in New York City, Adversity: Czech Glass, the Artist” series featured presentations by “The Italian Influence in Contemporary 1945–1980.” Cappy Thompson, Josh Simpson, Hemi Glass.”

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The Education Department is expanding the scope of its activities. Its programs grow, and for some of these, the department is com bining its resources with those of the Rakow Library and The Studio. More than 11,000 schoolchildren visited the Museum in 2005. Their visits focused on science, social studies, and art, and whenever it was appropriate, they included stops at the Library and a hands-on glassmaking experience at The Studio. The department improved existing programs and introduced new activities. Among the ongoing programs, the Little Gather summer story hour attracted more than 3,500 children and their escorts, while the 10 events in the Family Exploration Series, each of which featured glass from a different period or culture, brought together perfor- mance, craft activities, and gallery tours. The new initiatives included the Young Educators Program, in which high-school students learned how to guide young visitors through the galleries. During the summer, graduates of this program became Explainers, who *** Students learn about the spent time with visitors and led camp tours. science and technology Such was the success of this program that we Marketing and communication initiatives of glass as they enjoy plan to expand it by more than 100 percent in 2005, which contributed to the five-per- one of the many hands- on exhibits in the Muse- in 2006. cent increase in visitation, included the first um’s Glass Innovation The Studio continued to prosper. In 2005, full year of the Free to Rediscover program, Center. it offered 58 one- and two-week courses, 48 which allows visitors who have paid for ad- weekend classes, and numerous workshops. mission to return free of charge for the rest Most of the courses were oversubscribed. of the year. More than 10,500 visitors signed The Studio renewed its collaboration with up for the program, and many elected to re- the High School Learning Center, offered ceive information about activities at the Mu several Elderhostel programs, and hosted seum by e-mail. Fun with Glass activities that attracted al- The Museum’s Web site was redesigned most 3,000 participants. and improved by the addition of more im- The Studio also completed a photography ages, videos, and research material, with the room with state-of-the-art digital equipment. result that it more closely reflects the Muse- Instructors and students have access to the um, its collections, and its activities. facility during classes. At other times, the The Museum also enjoyed widespread room is available for rental by regional glass coverage in the media. The Czech glass artists. exhibitions appeared in numerous news Five international artists—Frances Bin- papers and magazines, notably the New nington, Silvia Levenson, Maria Grazia York Times, Christian Science Monitor, Rosin, Eric Rubenstein, and Sayaka Suzuki Sculpture, and Art & Auction. Our You —were awarded residencies at The Studio, Design It; We Make It! program was fea- as the Museum continued to offer a practi- tured in Family Fun magazine, and Voice cal and creative atmosphere for artists from of Amer-ica broadcast a segment about all over the world. the Museum.

The Hot Glass Roadshow enjoyed a Mills is first vice president of the National busy and successful year. Between March American Glass Club. Tina Oldknow is and May, it was in Australia, appearing at secretary of the American Craft Council events in Sydney, Canberra, Melbourne, and a member of the international council and Wagga Wagga, and participating in the of the Pilchuck Glass School, and in 2005 Glass Art Society’s conference in Adelaide. she was a juror of the Coburg Glass Prize. In July, the Roadshow returned to Corning Jane Shadel Spillman is secretary of the In- to provide outdoor demonstrations at the ternational Association for the History of Museum before visiting the Catawba Sci- Glass. I continue to serve on the board of ence Center in Hickory, North Carolina; the Association, and in 2005 I became a the SOFA (Sculpture, Objects, and Func- founder-member of the American Friends tional Art) exposition in Chicago; and the of Chartres Cathedral. Other activities by Kalamazoo Institute of Arts in Kalamazoo, staff members are listed on pages 43–45. Michigan. Publications in 2005 included Sasanian The GlassMarket increased its revenue, and Post-Sasanian Glass in The Corning Mu thanks in part to special sales, a retail show seum of Glass, the latest in the occasional by the designer Bertil Vallien, and a mention series of catalogs of our collection; 25 Years in BusinessWeek. of New Glass Review, by Tina Oldknow; volume 47 of the Journal of Glass Studies; *** New Glass Review 26; and An Introduction to Flameworking with Emilio Santini, an Members of staff continued to play addition to The Studio’s Foundations Series prominent roles in national and interna of videos. tional organizations. Robert H. Brill helped to organize two conferences: on ancient glass *** along the Silk Road, in Shanghai, China, and on glass science in art and conservation, in The 2005 Rakow Grant for Glass Re- Lisbon, Portugal. Stephen P. Koob is chair- search was divided among four scholars man of Technical Committee 17 of the Inter working on the glass of Louis Comfort Tif- national Commission on Glass. Mary Cheek fany and the history of glass in India. Nina

In March, the Hot Glass Roadshow began a three-month multi-city tour of Australia, which culminated at the Glass Art Society’s annual conference, held in Ade- laide.

Gray and Lindsy Parrott of The Neustadt opher Gaston Bachelard and his ideas about Present, sandblasted Museum of Tiffany Art in New York City dreaming and imagination. Present, a large mirror; oil paint. U.S., are investigating the sources of the sheet oil painting on sandblasted glass, is a dream Cranston, RI, Nicole Chesney (American, b. glass that Tiffany Studios used in windows, like evocation of water or the sky. 1971), the 20th Rakow lamps, and mosaics. Even after Tiffany estab Commission, 2005. H. lished his own furnaces in 1892, he contin- *** 172.8 cm, W. 203.2 cm ued to buy glass from other manufacturers, (2005.4.162). and Ms. Gray and Ms. Parrott will docu- The activities described above could not ment this neglected aspect of his production. have taken place without the exceptional The third recipient of a grant, Ruth D. Nel- generosity of Corning Incorporated. In ad- son of the University of Illinois at Chicago, dition to underwriting capital expenditures is conducting research on the mosaic mural and providing in-kind services, the company in the rotunda of the Marquette Building in continues to provide the lion’s share of our Chicago, which was created by the Tiffany operating budget. The Museum acknowl- Glass and Decorating Company in 1894. edges with gratitude the support of Corning Finally, Dr. Alok Kumar Kanungo of Deccan and our many other donors, which enables College in Pune, India, received an award to us to pursue our vision to “tell the world study ancient glassworking in India. about glass.” The Rakow Commission was awarded to Nicole Chesney, an American artist whose David Whitehouse recent work is inspired by the French philos Executive Director

Ancient now in the Kelsey Museum of Archaeology Additions at the University of Michigan in Ann Arbor. The Museum’s acquisitions of ancient These and similar objects have been attrib- to the and Islamic glass in 2005 included an Iron uted to various dates between the sixth and Glass Age bracelet, a Sasanian bottle, and a Byz- 11th centuries. antine or early Islamic cup. Collection The bracelet is of translucent deep blue David Whitehouse glass decorated with triangular and lozenge- Executive Director shaped bosses, some of which have hemi- January 1 through spherical knobs. The object is further em- December 31, 2005 *** bellished with intricate opaque white and opaque yellow trails. Bracelets of this type European were made in central Europe between the third and first centuries B.C. This example This year’s most notable acquisitions of was granted an export license to leave Eu- European glass have formidable pedigrees: rope. they were made for a pope, a bishop, a The bottle was formed by blowing and queen, a king, the director of a glass facto- is of translucent deep green glass. It has a ry, and possibly a maharajah. flattened rim, a short and tapering neck, The earliest of these accessions is a jug and an oblate spheroidal body. Bottles with with the arms of a Medici pope. This vessel this distinctive form are generally regarded is well known to those who visited our 2004 as products of the Sasanian Empire, and “Beyond Venice” exhibition, where it ap- several examples have been found in Iran. peared as a loan to the Museum. The jug is Our example was a gift from The Wunsch part of a group of vessels with the same, but Foundation Inc. slightly varied, coat of arms. The group con- The cup is roughly cylindrical, and it sists mainly of bowls and footed plates (taz- Bottle, blown. Sasanian, is decorated with a rather untidy, spirally zas), of which the Museum already owns an third–seventh century. H. wound trail. It is the first object of this kind example. Two jugs that are almost identical 9.4 cm, D. (max.) 13.5 to enter the Museum’s collection. The closest to our new acquisition are in the collections cm (2005.1.1). Gift of The Wunsch Foundation published parallels are among a group of of The Metropolitan Museum of Art in New Inc. vessels excavated in the Faiyûm, Egypt, and York City and the Musée du Louvre in Paris. These vessels can be attributed either to Leo X (Giovanni de’ Medici; r. 1513–1521), who became pope when he was 38 years old and is famous for his sumptuous lifestyle and his patronage of the arts, or to his cousin Clem ent VII (Giulio de’ Medici; r. 1523–1534), who had to face a more difficult pontificate, during which the devastating sack of Rome occurred in 1527. A small lidded vessel with the arms of the bishop of Freising and a depiction of the ha loed Agnus Dei offers more questions than answers. We do not know why it was made and why, in its decoration, a mundane coat of arms is ranked at the same level as one of the most sacred symbols of Christianity. However, there are some things that we do know, and more that we can conclude. The vessel has an identical counterpart in The J. Paul Getty Museum, Los Angeles, which was also on view in the “Beyond Venice” show. The arms are those of the Pfalzgrafen bei

Rhein of the Wittelsbach dynasty, a power- ful family that provided three consecutive bishops in Freising from 1495 to 1552. The vessel probably belonged to Philipp, who was bishop from 1499 to 1541. The quality of the glass and the cold-painting technique indicate that the goblet was not made in Venice, but at one of the earliest enterprises that produced glass “à la façon de Venise,” Jug with coat of arms of a Medici pope, blown, probably the glasshouse at Hall in Tyrol, applied, gilded, enam- Austria, which was founded in 1534. Al- eled. Venice, 1513–1534. though the glassmaking does not match the OH. 19.7 cm (2005.3.28). Venetian standards of the time, the paint- Purchased with funds ing with transparent colors on a gold back- from the Houghton En- dowment Fund. ground displays a quality that would have been hard to match with the usual enameling methods on the island of Murano. A sensational addition to our collection of English glass is a tall, heavy baluster goblet with the royal arms of Great Britain (as used from 1603 to 1707) and the monogram of Queen Anne (r. 1702–1714). A rose and a thistle, the emblems of the English and Scottish nations, appear on the foot, and they seem to refer to the union of the two kingdoms in 1707. The goblet passed, together with the United Kingdom, to the royal House of Hanover, where it survived, apparently much respected and therefore in pristine condition. The goblet has a simple, well-balanced shape, but it is much larger than common English wineglasses. The last chapter of the history of the Bourbon kings in France is illustrated by a vase that was made for King Charles X, apparently at the Cristalleries de Baccarat. Covered vessel with Although the vase is not huge, it certainly arms of the bishop of is monumental. Its masterly proportions, its Freising, blown, applied, varied but balanced cut decoration, and its gilded, cold-painted. solemn ormolu mounts reflect the Empire Probably Austria, Hall in Tyrol, about 1534– style of the Napoleonic era. The vase also 1541. OH. 18.6 cm features brilliant enameling, which must (2005.3.115). have been accomplished by Jean-Alexandre Paris (1781–1850), a jeweler and goldsmith who specialized in producing enameled med als and decorations. About 1816, this artisan invented a method of encrusting his enamels in colorless glass. This technique, which may have been derived from cameo encrustations (sulphides) in glass, improved the brilliance and added to the protection of the enamels. In 1827, Paris founded his own glass factory at Bercy, near Paris, but it does not seem

In preparing for our 2006 summer ex hibition, “Glass of the Maharajahs,” we acquired a formidable side table or gueridon. The table is made of blue glass and magnifi- cently cut. The metal mount bears the mark of Birmingham’s F. & C. Osler company, which specialized in the making of glass for the Indian market in the second half of the 19th century. A newspaper article of 1883 mentions blue tables in the Osler showroom in Calcutta. Strictly speaking, a vase made in 1912 should appear in the “Modern” part of this section of the Annual Report. We are making this exception because, in every respect other than its date, this vase reflects late 19th-century European glassmaking. It was presented by staff members (35 names are listed in a frieze) of the Val St. Lambert glass factory in Belgium to Georges Deprez, who Baluster goblet with roy started to work at the factory in 1887 and al arms of Britain and monogram of Queen Anne, blown, matte and polished copper-wheel engraved. England, prob ably 1707. H. 23.5 cm (2005.2.8).

Vase, blown, engraved, to have produced glass of the quality that gilded; cast silver mounts. his enameling would have required. Our Belgium, Seraing, Cristal vase sheds new light on the mastery of leries de Val St. Lambert, dated 1912. H. 42.5 cm glassmaking in early 19th-century France, (2005.3.6). which has not been accorded the acknowl- edgment that it deserves. A cut and gilded coffee service is very likely also of French origin. It provides ev- erything that is necessary for a coffee hour for two persons tête-à-tête (face to face). This service reflects the culture of post-Na- poleonic Europe, when peace and privacy were valued more highly than public social representation. The mint condition of the glass indicates that its leather case was not used for traveling or picnics, but rather for careful storage. The shapes, gilding, and function of the glass are reminiscent of simi lar, contemporaneous porcelain sets, particularly from such Parisian Restoration-period manufactories as Denuelle and Honoré. Because the leather case was produced in Geneva, according to a note that is attached inside, the set was probably owned by a family in Switzerland.

10 became its director in 1894. In 1912, the “PFULB” and dated 1876. H. 25.7 cm year of his retirement, Deprez looked back (2005.3.116). on 25 years of work for the company, which Vase, blown, acid-etched, enameled, relief- he had successfully developed into “probably gilded; cut pontil mark. England, Amblecote (near Stourbridge), Thomas Webb and Sons, enameled, the most important producer for crystal and gilded, and signed by Jules Barbe, late 19th cen- glass for daily use in the world” (Le Temps, tury. H. 25.7 cm (2005.2.5). Paris, 1913). The vase had been part of the collection of the company’s museum, which *** was dissolved in the 1990s. Asian Dedo von Kerssenbrock-Krosigk Curator of European Glass A particularly fine document of colonial art in Asia came to the Museum in 2005 as a pair of reverse-painted portraits on glass. *** They show the great versatility of Chinese Other Major Purchases artists in adapting to the European style, Reliquary goblet with cover, blown, applied. after Jesuit missionaries had introduced Eu- Venice or Low Countries, early 17th century. ropean techniques of glassmaking in Qing- OH. 28.6 cm (2005.3.119). dynasty China. The portraits can be dated Bottle with flattened body, blown. Spain, to the late 18th century, and they probably probably Catalonia, 17th century. H. 28.8 cm show ladies who stayed in China at that (2005.3.117). time. The account of a French missionary Compote pineapple stand, blown, cut; silver in China describes three workshops for re- mount. England, about 1830. H. 43.5 cm, D. verse painting on glass at the imperial pal- 28.9 cm (2005.2.4). Plate, blown, gilded, enameled. Europe, possi- ace in Beijing, as well as the particular skill of Cantonese painters in this craft. Pair of reverse-painted bly France, Paris, Philippe-Joseph Brocard, portraits on glass; wood about 1865–1890. D. 22.1 cm (2005.3.29). en frames. China, late Footed beaker, enameled; gilt bronze mounts. Dedo von Kerssenbrock-Krosigk 18th century. H. 12.9 and France, Paris, Albert Pfulb et Pottier, signed Curator of European Glass 12.8 cm (2005.6.1, .2).

11 American in the Museum’s 1954 exhibition “The Sto- ry of American Pressed Glass of the Lacy In 2005, the Museum secured some no- Period.” table acquisitions of American glass dating We recently acquired a beautiful blown from the early 19th to early 20th centuries. sugar bowl of opaque white glass decorat- As always, we were very fortunate in both ed with red and blue trails. The cover has the number and the importance of the gifts matching decoration, and if it is correctly we received. positioned on the bowl, the trails on the two Early in the year, through the generosity pieces line up exactly. Objects such as this of the Gladys M. and Harry A. Snyder Me- are usually attributed to glasshouses in the morial Trust, we were able to purchase two Pittsburgh area, but it is virtually impossible lacy pressed glass trays, one yellow and to identify the glassblower or factory that one blue, made by the Boston and Sand- produced our bowl. It is a unique piece that wich Glass Company in the 1830s or early was made by a blower on his own time in 1840s. This pattern is quite rare. There is order to show off his skills. The bowl may only one other example in yellow, but there have been a present for his wife or mother. are a few in colorless glass. The colorless It is a particularly fine example of the arti- trays were made to go with a casket, but no san’s craftsmanship, and it probably dates colored caskets are known. Our two trays from about 1850 to 1870. were in the same New England–area collec- Also added to our collection were two tion from the 1930s, and they were shown cordial glasses from the White House service

Two lacy glass trays, pressed. U.S., Sandwich, MA, Boston and Sand- wich Glass Company, about 1835–1845. L. 21.2 cm (2005.4.11, .12). Purchased with funds from the Gladys M. and Harry A. Snyder Endow ment Fund.

12 that was originally ordered by Mary Todd which contrast sharply with the color of the Covered sugar bowl, Lincoln in 1861 and reordered several times. vase itself. It is one of only two known ex- blown, marvered, cased. The engraved crest on one of these glasses is amples with this decoration. U.S., Pittsburgh, PA, about 1850–1870. H. somewhat simpler than that which appears The most impressive of our several fine 31.5 cm (2005.4.191). on the glasses in the original order, so it must acquisitions of cut glass is a plate that was have been part of a reorder in the 1860s or designed by Samuel Hawkes in the late Two Lincoln pattern 1870s. The variant crest is found on a glass 1930s and produced by T. G. Hawkes and cordial glasses, blown, that had been in the Museum on loan since Company for an exhibition that circulated applied, cut, polished, 1989. This object was given to us in 2005 among jewelry and department stores for engraved. U.S., Brook- by its owners, Kenneth and Sylvia Lyon. We several years during the Depression. This lyn, NY, Christian Dor- flinger or E. V. Haugh- also purchased a Lincoln service glass with plate, the most expensive cut piece in the wout and Company, or the standard crest. show, was illustrated in a brochure that de- Cambridge, MA, New The Museum received a box of batch scribed it as made in the “Empire” pattern. England Glass Compa- books and notes written by Frederick Carder It is a superb example of cutting in several ny, about 1865–1873 before and after he came to Corning (see motifs, and it features copper-wheel en- (left); and Brooklyn, NY, Christian Dorflinger or pages 21–22), as well as several important graved roundels around the rim. Following E. V. Haughwout and pieces of Carder’s glass. The donors of this the outbreak of World War II, Hawkes Company, 1861–1873 important gift are Tim Welles, Carder’s brought the exhibition back to Corning, and (right). H. (each) 8.9 cm great-grandson, and his wife, Paddy. Among this plate and other pieces were displayed in (2005.4.176, .30). Gift the glass objects are a magnificent and very the company’s store until the 1960s, when of Kenneth and Sylvia Lyon (left) and pur- rare decorated Rouge Flambé vase and sev- they were sold. The plate was part of an es- chased with funds by eral cire perdue (lost wax) sculptures. The tate sale in 2005, and we were able to pur- exchange from Mrs. opaque red Rouge Flambé was one of the chase it in part with funds from Dick and M. H. Riviere. most difficult colors that Carder tried to Joan Randles, and from John Kohut in mem- create, and very few pieces reached the mar- ory of his parents. ket. They were made about 1916, and they were sold for less than a year. This vase is Jane Shadel Spillman decorated with applied Blue Aurene leaves, Curator of American Glass

13 uniquely proportioned gondolas that navi- gate the Venetian lagoon. The artist’s mass- ing of the boats is an eloquent evocation of the emotional and romantic character of blown glass—and of Venice, its undisputed home. Tagliapietra is considered to be the foremost glassblower in the world today, and his exceptional talent, knowledge, and teaching ability have given direction to the careers of many artists working in glass throughout the world. Endeavor was purchased with funds from Corning Incorporated, the Museum’s Ennion Society, The Carbetz Foundation Inc., James B. Flaws and Marcia D. Weber, Mr. and Mrs. James R. Houghton, Polly and John Guth, Mr. and Mrs. Carl H. Pforz heimer III, Wendell P. Weeks and Kim Frock, Alan and Nancy Cameros, E. Marie McKee and Robert Cole Jr., the Honorable and Mrs. Amory Houghton Jr., Peter and Cathy Rouge Flambé vase, Other Major Purchases Volanakis, Mr. and Mrs. Robert Turissini, blown, tooled. U.S., Bowl, pressed. U.S., probably Massachusetts, Lino Tagliapietra, and the Heller Gallery. Corning, NY, Steuben Boston, about 1825–1830. H. 6.5 cm A second remarkable sculpture acquired Glass Works, Frederick (2005.4.54). in 2005 was Evening Dress with Shawl by Carder, about 1916. Covered compote, blown, applied. U.S., Pitts- H. 12.4 cm (2005.4.5). Karen LaMonte, an American artist who burgh, PA, Bakewell, Pears and Company, about Gift of Tim and Paddy works in the Czech Republic. LaMonte’s 1860–1882. OH. 32.2 cm (2005.4.166). Welles. subject is the dress, which is always life-size, Flower trough/centerpiece set, pressed. U.S., Sandwich, MA, Boston and Sandwich Glass whether it is for an infant, a young girl, or a Company, or New Bedford, MA, Mt. Washing- woman. She explores a variety of styles of ton Glass Company; possibly England, South clothing in her work, from stiff and frilly Vic Shields, Tyne Flint Glass Works, Edward Moore torian dresses to idealized classical drapery. and Company, about 1878–1900. Dimensions Her fashion choices reflect changing notions variable (2005.4.194a–i). of beauty, how women view themselves, and Bowl, “Arabesque” pattern, blown, cut, pol- how they have been viewed by others. Eve- ished. U.S., Corning, NY, J. Hoare and Compa- ning Dress with Shawl was purchased, in ny, 1889–1895. H. 10.6 cm (2005.4.24). part, with funds from the Museum’s Ennion Society. *** Nicole Chesney, an American artist, was the recipient of the 2005 Rakow Commis- Modern sion. Chesney’s recent works have been inspired by the writings of the French philos- In 2005, about 250 new objects entered opher Gaston Bachelard (1885–1962), and the Museum’s collection of modern glass. specific references in her art are made to The most significant acquisition was En Bachelard’s ideas about reverie, dreaming, deavor by the Italian artist Lino Tagliapietra. and imagination. Present, a waterscape or A major installation of 18 suspended boat skyscape, is a large oil painting on sand- forms, each approximately four feet long, blasted mirror. It is an abstract, dreamlike the airy and brilliantly colored Endeavor depiction of fog or clouds, a poetic visual captures the evanescence and mystery of interpretation of the union of the elements glass. Tagliapietra’s boats are elegant and of air and water that illustrates Bachelard’s natural, impossibly elongated yet beautiful- vision of the “infinite, unsilvered mirror, ly light, strong, and efficient, just like the where the horizon ceases and the beyond con

14 tinues.” Using glass as her canvas, Chesney achieves a luminosity, depth, and reflection that no other material affords. The largest gift in 2005 was made by Barry Friedman of Barry Friedman Ltd. in Vase, mold-blown, hot- New York City, who has been a generous worked. Czechoslovakia, supporter and friend of the Museum for Škrdlovice, František many years. In 2002 and 2003, Barry Fried- Vízner (Czech, b. 1936), man Ltd. made sizable donations to the Mu 1973. H. 19.1 cm seum, and this third gift of 93 examples of (2005.3.95). Gift of Barry Friedman Ltd., contemporary studio glass gives the Museum New York. an excellent representation of some of the artists who have exhibited in Friedman’s Evening Dress with well-known gallery, including Galia Amsel Shawl, mold-melted. (U.K.), Philip Baldwin (U.S.) and Monica Czech Republic, Železný Brod, Karen LaMonte Guggisberg (Switzerland), Mieke Groot (The (American, b. 1967), Netherlands), and Paul Schwieder (Canada). 2004. H. 150 cm Artists new to the Museum’s collection in the (2005.3.21). Part gift Friedman gift are Benjamin Edols and Kathy of the Ennion Society. Elliott (Australia). The numerous sculptures and vessels by Richard Meitner (U.S.), dating from the 1980s and 1990s, and vessels and drawings by František Vízner (Czech Repub lic), created in the 1960s and 1970s, are note worthy additions to the Museum’s holdings. Special exhibitions that appeared at the Museum in 2005 inspired a number of key acquisitions. “Decades in Glass: The ’60s” occasioned the purchase of historically significant objects made between 1964 and 1970 by the American studio glass pioneers Richard Marquis and Fritz Dreisbach. In the area of Czech glass, in addition to the 35 designs by Vízner that were donated by Barry Friedman Ltd., the Museum made several needed purchases that included works by Pavel Hlava, René Roubícˇek, and Jan Mareš. Early 20th-century Czech glass acquisitions included a borosilicate glass tea set designed by Ladislav Sutnar in 1931, as well as designs by Josef Hoffmann for the Wiener Werkstätte, the Fachschule Haida in Nový Bor, and the famous glassworks Jo- hann Loetz Witwe, which were purchased from the private collection of the “father” of American studio glass, Harvey Littleton. Other early 20th-century works purchased from Littleton were objects by the French makers Ste. Marie François Augustin (Au- guste) Jean, Marcel Goupy, Jean Sala, and Daum Frères. Other gifts and purchases in contemporary glass by artists already represented in

15 the Museum’s collection included the work Waugh. Everett and Carol Norris donated a of Sydney Cash (U.S.), Flo Perkins (U.S.), comprehensive and carefully chosen collec- Maria Grazia Rosin (Italy), Ann Wåhlström tion of Corning Ware products, which was (Sweden), and Toots Zynsky (U.S.). Artists a welcome and much-needed gift. A long Bottle and stopper, new to the collection were Hemi Bawa (In- sought after Pyrex Silver Streak electric iron, opaline glass, blown, dia), Rene Culler (U.S.), Mel Douglas (Aus- the result of the World War II–era collabo- hot-worked. U.S., Prov- tralia), Alan Goldfarb (U.S.), Luke Jacomb ration between Corning Glass Works and idence, RI, Rhode Is- land School of Design, (New Zealand), Denise Stillwaggon Leone Saunders Machine and Tool Corporation, Fritz Dreisbach (Ameri- (U.S.), Milissa Montini (U.S.), and Dafna was a particularly satisfying find. can, b. 1941), 1970. H. Kaffeman (Israel), whose Horse Skeleton Finally, as the Annual Report was being 34.4 cm (2005.4.174). was the gift of Dale and Doug Anderson. readied for publication in the first weeks of Silver Gray Nocturne Triptych, a kinetic January 2006, the Museum received excit- Double bubble vessel, wall sculpture by Therese Lahaie (U.S.), is ing news of the promised gift of an extraor- trapezoidal bottle, and an especially ambitious piece by an up-and- dinary collection of contemporary studio double-handled vessel, blown, paint (bottle). coming artist new to the Museum. glass belonging to Ben W. Heineman Sr. U.S., Berkeley, CA, Uni- Luxury glass and housewares made in and his wife, Natalie. A description and il- versity of California, Corning are areas of collecting that the Mu- lustration of this magnificent donation will Richard Marquis (Amer- seum is always interested in expanding. In appear in the pages of the 2006 Annual ican, b. 1945), 1967– 2005, Steuben Glass Inc. continued its prac- Report. 1968. Largest: OH. 25 cm (2005.4.167, gift of tice of giving the Museum select pieces, in- Johanna Nitzke Marquis; cluding designs by Lloyd Atkins, Angela Tina Oldknow .168; .169). Cummings, Donald Pollard, and Sidney Curator of Modern Glass

16 Anonymous Amory Houghton Jr., Corning, NY; Peter and Bottle with stopper. U.S., Madison, WI, Fritz Cathy Volanakis, Corning, NY; Mr. and Mrs. Donors Dreisbach, 1965–1967. Robert Turissini, Hammondsport, NY; Lino Tagliapietra, Murano, Italy; and Heller Gallery, to the William C. Agnew, Santa Fe, NM New York, NY Sculpture, 53 Year Old Cactus. U.S., Santa Fe, Sculptural installation, Endeavor. U.S., Seattle, Glass NM, Flo Perkins, 2004. WA, Lino Tagliapietra, 2004. Collection Dale and Doug Anderson, New York, NY De Dietrich Process Systems Inc., Horseheads, NY Sculpture, Horse Skeleton. Israel, Jerusalem, Three large Pyrex cylinders. France, Villeneuve- Dafna Kaffeman, 2003. The generosity of La-Garenne, Equipment Industriel en Verres 88 donors allowed Speciaux, 1980. Lee Baldwin, Corning, NY the Museum to add Cut bowl. U.S. Corning, NY, T. G. Hawkes Thomas P. Dimitroff and Family, Corning, NY 311 objects to the and Company, 1960–1962. Wineglass. France, Cristalleries de Baccarat, collection during Carol Barron, Cambridge, MA designed in 1896. the year. Ashtray. U.S., New Bedford, MA, Pairpoint Pressed tray with scene of Niagara Falls. U.S., Crystal, about 1950–1959. 20th century. Pyrex Flameware saucepan. U.S., Corning, NY, Hemi Bawa, New Delhi, India Corning Glass Works, 1947. Sculpture, The Spirit Within. India, New Delhi, Hemi Bawa, 2004. Gerald M. Eggert and Holly C. Duchene, East Plate, “Empire” pattern, Rochester, NY cut, engraved. U.S., Cor Albert Bradtke and David Jacobson, Cayuga, NY Acid-cut Ivrene lamps. U.S., Corning, NY, ning, NY, T. G. Hawkes Engraved covered urn. U.S., Corning, NY, H. P. Frederick Carder, 1900–1963. and Company, designed Sinclaire and Company, about 1920–1928. Blue Aurene lamp. U.S., Corning, NY, Frederick by Samuel Hawkes, Carder, 1915–1933. 1937–1939. D. 41 cm Alan and Nancy Cameros Bowl. U.S., Corning, NY, H. P. Sinclaire and (2005.4.49). Purchased in part with funds from See Corning Incorporated. Company, 1920–1927. Dick and Joan Randles, The Carbetz Foundation Inc. Acid-cutback lamp in black and amber jade. and from John Kohut in See Corning Incorporated. U.S., Corning, NY, Frederick Carder, 1920–1933. memory of his parents, Footed bowl with pear handles. U.S., Corning, John J. and Frances M. Sydney Cash, Marlboro, NY NY, Frederick Carder, 1920–1933. Piecuch Kohut. Black and white optical cuff links. U.S., Marlboro, NY, Sydney Cash, 2004.

Scott Chaseling, Pialligo, ACT, Australia, and the Hot Glass Roadshow of The Corning Museum of Glass, Corning, NY Demonstration vessel, CMOG in OZ. Austra- lia, Canberra, Australian Capital Territory, Hot Glass Roadshow of The Corning Museum of Glass, 2005.

Karen Cope, Oviedo, FL Corning Ware Electromatic 10-cup percolator with yellow flowers. U.S., Corning, NY, Corning Glass Works, probably early 1970s.

Corning Incorporated, Corning, NY; the Ennion Society of The Corning Museum of Glass, Cor ning, NY; The Carbetz Foundation Inc., New York, NY; James B. Flaws and Marcia D. Weber, Painted Post, NY; Mr. and Mrs. James R. Houghton, Corning, NY; Polly and John Guth, Corning, NY; Mr. and Mrs. Carl H. Pforzheimer III, New York, NY; Wendell P. Weeks and Kim Frock, Corning, NY; Alan and Nancy Cameros, Rochester, NY; E. Marie McKee and Robert Cole Jr., Corning, NY; the Honorable and Mrs.

17 Salvador, untitled (19), and Zihuatanejo. The Netherlands, Amsterdam, Richard Meitner, 1981–2001. Sculpture, Blue Cut. England, London, Galia Amsel, about 1996. Sculptural vases, Airy Spindle, Black Spin Top, Bully Spindle, Clear and Black Striped Sentinel, Crosscuts, Faceted Night Planes in Blue, Faceted Night Planes in Purple, Faceted Planes Black and Steel, Faceted Planes in the Afternoon, Gi- raffa Molato Piatto, Labyrinthine Puzzle, Wide Watcher in Blue, and Zebra Sentinel. Switzer- land, Nonfoux, and France, Paris (Giraffa Mo lato Piatto), Philip Baldwin and Monica Guggis- berg, 1996–2002. Sculptural vases (6). The Netherlands, Amster- dam, Mieke Groot, 1997–2000. Sculptural vases, Ebony Asymmetrical, Ebony Long Neck (2), Ebony Low Vessel, and Groove Series. Australia, Sydney, Benjamin Edols and Kathy Elliott, 1998–2000. Sculptures, Clutch, Cobalt Football, Leo’s Breath, Wave, and Womb with a View. U.S., Waterbury Center and Moscow (Womb with a View), VT, Paul Schwieder, 1999 and 2002.

David Giles, London, England, U.K. Blue beaker. Egypt, El Faiyûm, perhaps sixth– eighth centuries.

Axis, blown; oxidized Two-part bottle, Jonquil. U.S., Milton, WV, Carl and Jean Gortzig, Ithaca, NY iron. The Netherlands, Blenko Glass Company Inc., designed by Wayne Fiftieth-anniversary Corelle plate honoring the Amsterdam, Richard Dale Husted, 1959. American Flint Glass Workers Union Local 1000. Meitner (American, b. U.S., Corning, NY, Corning Incorporated, Press- 1949), 2001. H. 62.2 cm Elliott Brown Gallery ware Plant, 1993. (2005.3.63). Gift of See Ann Wåhlström. Barry Friedman Ltd., Greater Milwaukee Foundation, Kenneth R. New York. Ennion Society of The Corning Museum of Treis Fund, Milwaukee, WI Glass, Corning, NY Brass and glass birdcage. England or U.S., pos- Sculpture, Evening Dress with Shawl. Czech sibly about 1920. Republic, Železný Brod, Karen LaMonte, 2004. See also Corning Incorporated. Polly and John Guth See Corning Incorporated. Harry and Margaret Fancy, Whitehaven, England, U.K. Heller Gallery Two-part inkwell. Probably England, 1850– See Corning Incorporated. 1899. The Honorable and Mrs. Amory Houghton Jr. James B. Flaws and Marcia D. Weber See Corning Incorporated. See Corning Incorporated. Mr. and Mrs. James R. Houghton Barry Friedman Ltd., New York, NY See Corning Incorporated. Lettuce-leaf compote with winged griffins. Houghton Endowment Fund (funds) Italy, Murano, Antonio Salviati, 1880–1900. Gilded and enameled jug with coat of arms of Sculptural vases and bowls (24). Czechoslova- a Medici pope. Venice, 1513–1534. kia, Škrdlovice, Teplice, and Zdar nad Sazavou, František Vízner, 1962–1991. Houze Glass Corporation, Point Marion, PA Sculptures and sculptural vases, Anthropo Souvenir dish with front page of the Charlotte morphic Vase, Axis, Bigrustmonkey, Branch, News, November 23, 1963, reporting the assas- Dreiging, Kimono Vase (3), Lucy, Opsai (2), sination of President John F. Kennedy. U.S.,

18 Point Marion, PA, Houze Glass Corporation, Richard and Winifred Peer, Painted Post, NY early 1960s. Landscape painting. U.S., Corning, NY, Fred- erick Carder, 20th century. Luke Jacomb, Brooklyn, NY (in honor of S. D. Bronze bust of Francis B. Williams. U.S., Cor Stookey) ning, NY, Frederick Carder, 1926. Vase, Taha (Gourd). U.S., Corning, NY, Luke Jacomb, 2005. Mr. and Mrs. Carl H. Pforzheimer III See Corning Incorporated. Lawrence Jessen, Frederick, MD Cut glass celery vase. U.S., 19th or 20th century. Barbara Polasik, Eden, NY Corning Designs Corelle Christmas plate. U.S., John Kohut, Elkland, PA Corning, NY, Corning Glass Works, Pressware Painted porcelain plate. France, Limoges, 19th Plant, 1981. or 20th century. Juicer. U.S., Dunkirk, NY, Radnt, 1925–1927. Maria Grazia Rosin and Caterina Tognon Arte Contemporanea, Venice, Italy Peter and Alda Lambrinos, Binghamton, NY (in Set of four drinking glasses, Glasses and Pills. memory of Irene and Christo Lambrinos) Italy, Murano, Maria Grazia Rosin, designed in Carnival glass punch bowl. U.S., 1905–1916. 2000, made in 2005. Denise Stillwaggon Leone, Hamilton, NY Necklace, Pearls in Pills. Italy, Murano, Maria Painting on glass, Passing Through. U.S., Grazia Rosin, 2005. Hamilton, NY, Denise Stillwaggon Leone, 2003. Morgan and Esther Sinclaire, San Anselmo, CA Hank Loftus, White Mills, PA Two Nubian Black compotes and six drinking Wooden packing crate for window glass. U.S., glasses. U.S., Corning, NY, H. P. Sinclaire and Pittsburgh, PA, American Window Glass Com- Company, 20th century. pany, 19th or 20th century. Gladys M. and Harry A. Snyder Endowment Zoe Ann Ludlum, Spring, TX Fund (funds) Lidded dish, mold- blown, cut. Czechoslo- Cut bowl. U.S., Corning, NY, T. G. Hawkes Dolphin open salt. Belgium, Seraing (near vakia, Karlovy Vary and Company, 1930–1940. Liège), Cristalleries de Val St. Lambert, 1829– 1840. (Karlsbad), Josef Hoff- mann (Austrian, 1870– Kenneth and Sylvia Lyon, Fishers Hill, VA Two lacy pressed trays. U.S., Sandwich, MA, 1956), made by Ludwig Lincoln pattern cordial glass. U.S., Brooklyn, Boston and Sandwich Glass Company, about Moser & Söhne for the NY, Christian Dorflinger or E. V. Haughwout 1835–1845. Wiener Werkstätte, and Company, or Cambridge, MA, New England Covered sugar bowl pressed in the “Gothic Vienna, Austria, about Glass Company, about 1865–1873. Arch” pattern. U.S., Sandwich, MA, Boston and 1923. H. 12.2 cm, D. Sandwich Glass Company, about 1840–1860. 21.3 cm (2005.3.10). Charmaine B. and Gleb Mamantov, Knoxville, TN Scientific glass cell. U.S., Knoxville, TN, Lester H. Norman, 20th century.

Johanna Nitzke Marquis, Freeland, WA Double bubble vessel. U.S., Berkeley, CA, University of California, Richard Marquis, 1968.

Richard Marquis, Freeland, WA “Blow Glass Down Under” souvenir pin. Australia, Sydney, New South Wales, Crafts Board, Australian Council for the Arts, 1974. J. Thomas and Constance McAndrew, Tucson, AZ Green jade over alabaster vase. U.S., Corning, NY, Frederick Carder, about 1920–1930. E. Marie McKee and Robert Cole Jr. See Corning Incorporated. Everett and Carol Norris, Normal, IL Collection of Corning Ware housewares. U.S., Corning, NY, Corning Glass Works, 1963–1983.

19 Steuben Glass Inc., Corning, NY Ann Wåhlström, Stockholm, Sweden, and Elliott Bowl of American Legends. U.S., Corning, Brown Gallery, Seattle, WA NY, Steuben Glass Inc., Sidney Waugh, 1942. Vases, Bulb III and Bulb VI. U.S., Tacoma, WA, Vase with Presidential Seal. U.S., Corning, NY, Museum of Glass: International Center for Con- Steuben Glass Inc., Lloyd Atkins, 1950s. temporary Art, Ann Wåhlström, 2003. Sculpture, Voyage. U.S., Corning, NY, Steuben Glass, a Division of Corning Glass Works, Donald Wendell P. Weeks and Kim Frock Pollard, 1961–1969. See Corning Incorporated. Oak Necklace. U.S., Corning, NY, Steuben, Tim and Paddy Welles, Horseheads, NY designed by Angela Cummings, 1991. Cameo-cut bottle with bird and jack-in-the- Lino Tagliapietra pulpit vase. England, Brierley Hill (Stourbridge), See Corning Incorporated. Stevens & Williams Ltd., Frederick Carder, about 1900. Sean Testone, Horseheads, NY Rouge Flambé vase. U.S., Corning, NY, Steuben Large Pyrex reducer. France, Villeneuve-La- Glass Works, Frederick Carder, about 1916. Garenne, Equipment Industriel en Verres Spe- Enameled perfume bottle with stopper. U.S., ciaux, about 1969. Corning, NY, T. G. Hawkes and Company and Frederick Carder, about 1920–1940. Harley N. Trice, Pittsburgh, PA Two portrait plaques. U.S., Corning, NY, Fred- Specimen glass. U.S., about 1820–1830. erick Carder, 1933–1935. Mr. and Mrs. Robert Turissini Box with silver and cire perdue lid. U.S., Cor See Corning Incorporated. ning, NY, T. G. Hawkes and Company and Fred- erick Carder, about 1933–1940. Jack Vaughn, West End, NC (in memory of Lois Plaque or bookend with figure. U.S., Corning, Vaughn) NY, Frederick Carder, 1935–1950. Compote with cover, cordial glass, pressed oil Cire perdue bird ashtray. U.S., Corning, NY, lamp, salt and pepper shakers, salt dip, sauce Frederick Carder, 1944. Covered compote, blown, dish, water goblet, and wine goblet, all in “Three applied. U.S., Pittsburgh, Face” pattern. U.S., Pittsburgh, PA, George Dun- David Whitehouse, Corning, NY PA, Bakewell, Pears and can & Sons, about 1878. Paperweight, Microworld. U.S., Shelburne Company, about 1860– Falls, MA, Josh Simpson, about 2004. 1882. OH. 32.2 cm Peter and Cathy Volanakis (2005.4.166). See Corning Incorporated. The Wunsch Foundation Inc., New York, NY Bottle. Sasanian, third–seventh centuries. Goblet. Germany, Saxony, Glücksburg, prob ably about 1730–1760. Goblet with relief portrait of King Augustus III. Germany, Saxony, Dresden or Glücksburg, after 1733.

*** Donors to the Future Machines Gallery

Judith Cicero, Eastham, MA Thirteen glassmaking molds. U.S., Coraopolis, PA, Phoenix Glass Company and Consolidated Lamp and Glass Company, 1920s.

Houze Glass Corporation, Point Marion, PA Large group of pressed glass and color samples. U.S., Point Marion, PA, Houze Glass Corpora- tion, 20th century.

Patricia Max Poe, Provincetown, MA Thirteen glassmaking molds. U.S., Coraopolis, PA, Phoenix Glass Company and Consolidated Lamp and Glass Company, 1920s.

20 Advances in two principal program-relat The Library’s preservation mandate has ed areas highlighted an ambitious Library assumed a dual focus, addressing print and Rakow agenda in 2005. In both collection manage- nonprint parts of the collection with strat ment and public outreach, we undertook new egies appropriate to each. In 2005, we re- Research initiatives. Our staff members set themselves ceived funds from The State Education De- Library considerable challenges, and their creativity partment/The University of the State of and commitment, combined with sustained New York to pay for a preservation needs Museum support, helped to achieve those assessment of our paper-based materials. A goals. preservation specialist from the Northeast The year was a period of many begin- Document Conservation Center will conduct nings, including the start of my tenure as the survey and prepare a report that will librarian on June 1. The Rakow Research serve to leverage future grant proposals. Library is an important part of The Corning We preserve resources so they may contin Museum of Glass, a unique cultural endeav- ue to be used. In the last decade, the connec or. It is also my new professional home, and tion between accessibility and preservation I am pleased to share in both its beginnings has become all the more evident in the con- and its traditions. text of digitization, which effaces the geo- As we continue to exhaustively collect graphic and temporal boundaries between a growing body of glass literature, the task a resource and its user. In 2005, the Library of managing the collection has become a began to convert its audiovisual materials pivotal piece of our mission. Moreover, the to digital format. This program, which is challenges and opportunities of collection designed to extend over five years, started management are taking us in new directions, with the most endangered films, but it will prompting us to chart new solutions for tra- eventually convert audio tapes and slides to ditional needs and to draw new topographies digital format as well. for the shifting landscape of an information- The Library serves a broad range of users, centric world. both in person and via the Internet, and an Growth requires space, and so our focus Outreach Plan, adopted in 2005, offers strat on conserving and reclaiming it is ongoing. egies to reach actual and potential constitu- We have started to selectively microfilm ents. The pace of outreach accelerated during trade newspapers and store the originals the year. We introduced the Question Point off-site, which has gained us some space in reference management tool, enhancing inter the overcrowded periodical stacks. Since action with Internet users and improving our the newspapers are in poor physical condi- ability to track and document inquiries. We tion, this action doubles as a preservation provided service on Sunday afternoons dur- measure. We have also begun to plan for ing Studio class sessions, developed presen- the reconfiguration of the collection, based tations for Studio students and the Family on the organizing principles of enhanced Exploration Series, and gave workshops for accessibility and a more cohesive physical Museum staff members on archives, rare arrangement. books, and the Google search engine. Our Bibliographic control is another organiz- Glass Exhibition Database also went live in ing principle of collection management. It’s 2005. This unique guide contains informa- about knowing what we own, cataloguing tion about glass exhibitions that have taken it, and making the information available place in venues worldwide since 1982, and to our patrons and to the rest of the world it also previews upcoming shows. The con- through the global online OCLC database. tents of this interactive database are com- A standard tool for bibliographic control is piled from information sent to the Library bar-coding. In 2005, we began to bar-code by galleries, artists, and others. the items in our collection: new acquisitions Generous donors provided support for as received and older materials in logical our collection in 2005. Here are some of groups. The bar code provides a means of our notable acquisitions: checks and accountability to better protect We were very fortunate to receive a col- our collection. lection of 33 personal notebooks compiled

21 by Frederick Carder between 1888 and 1930. A gift to the Museum from Barry Fried- This wonderful gift came to us from Tim man Ltd. in New York City included draw- and Paddy Welles. (Mr. Welles is Carder’s ings for 11 objects designed by František great-grandson.) The notebooks document Vízner (Czech, b. 1936). These drawings, Carder’s chemical recipes for different types which will reside in the Library, match nine of glass, his general observations on glass- sculptural vases and two bowls in our glass making, and his ideas for glass designs, tech collection. One exceptional example is a vase niques, and equipment. His pencil and ink with orange scattered through a broad band sketches make these volumes all the more just below its lip, creating the look of a clas- valuable for research and truly delightful for sical architectural frieze. These drawings, Glass formulas and ink browsing. Carder’s constant companions which date from the mid-1960s to mid- drawings of glassmaking for almost half a century, these notebooks 1970s, will add significantly to the Library’s equipment from personal render a vivid portrait of a master and his collection of contemporary glass designs on notebooks compiled by Frederick Carder. Gift of passion for innovative glassmaking in the paper. That collection already includes the Tim and Paddy Welles. service of art. drawings of earlier Czech masters acquired

22 from The Steinberg Foundation of Vaduz, Liechtenstein. We expanded our collection of primary resources relating to 19th-century European industrial fairs with the acquisition of two important first-edition guides to the second and third French national exhibitions, held in the courtyard of the Louvre. Among the 220 exhibitors in the 1801 guide are the glassmakers Le Creusot, Mont-Cenis, and Assier-Perricat, who displayed his glass instruments for physics experiments. The 1802 guide, which lists more than twice the number of exhibitors in the previous fair’s publication, includes eight glass manufacturers, as well as the Parisian inventor Bertin, who fused metal with glass to produce lamps and “fontaines de feu.” The Rakow Fund provided money for the purchase of similar resources documenting fairs that took place in Paris, Angers, Milan, Turin, Copenhagen, and London between 1812 and 1879. Throughout this pe- Drawings of sculptural riod, despite unstable political climates and vases by František sometimes violent regime changes, industri- Vízner. Gift of Barry al fairs were a constant. These exhibitions Friedman Ltd., New York. The vase that was celebrated the nation’s ingenuity and pros- made from the lower de- perity, and they confirmed its status as a sign drawing is shown key player in science, technology, and in- on page 15. dustry. Publications documenting industrial fairs provide rare references to glass manu- factures and situate the art and technology of glass within the framework of progress that would increasingly dominate Western culture. One of our 2005 acquisitions falls into the category of juvenile literature. It is a small (56 pages of text and a seven-page in- dex) book in Latin, aptly titled De Vasculis Libellus (A little book about small vessels), written by Charles Estienne (about 1504– 1564) in 1535, a time when recreational reading was not a common pastime for children. The book describes ancient Roman storage vessels made of gold, glass, crystal, paper is still clean and supple, showing the and earthenware that were used to contain fine, faint lines of the wire mesh on which it wine, water, and oil. It is part of a series was made. An early example of glass litera- that also includes books about Roman dress ture written for children, De Vasculis is an and ancient ships. These volumes, written important addition to our rare book collec- for entertainment as well as instruction, tion. were adapted from Lazare de Baif’s scholar- ly treatises on Roman antiquities. Our copy Diane Dolbashian of De Vasculis is in very good condition. Its Librarian

23 Alexandria’s Art for the Senses, Elkhart, IN Allen Memorial Art Museum, Oberlin, OH Aluarte Art in Aluminum, Carlsbad, CA Amici dei Musei di Roma, Rome, Italy Jerry D. Anderson, Mason City, IA Anokha Imports, New Baltimore, NY Antique Hardware & Home, Woon- socket, SD Architectural Products by Outwater LLC, Wood-Ridge, NJ Title page of De Vasculis The Art Alliance for Contemporary Libellus (A little book Glass, Chicago, IL about small vessels), Art Glass Ensembles, Denton, TX 1535. Art Glass Environments Inc., Delray Beach, FL Arte Primitivo, Howard S. Rose Gallery Inc., New York, NY Marvin and Esther Ashburn, Irvine, PA Association des Collectionneurs et Amateurs de Presse Papiers, Pont-à- Mousson, France The Association for Glass Art Studies, Japan, Tokyo, Japan Astrids Glass ANS, Magnor, Norway Ateneo Veneto, Venice, Italy Friedrich Karl Azzola, Trebur, Germany B & P Lamp Supply Co., McMinnville, TN Badash Crystal, Boca Raton, FL Acquisitions by Category David D. Schepps, Aventura, FL Pronob and Gail Bardhan, Corning, NY Monographs 4,333 The State Education Department/The Hemi Bawa, New Delhi, India Films/videotapes/DVDs 81 University of the State of New York, Bella Breeze, Elkhart, IN Slides 5,576 Albany, NY Edward H. and Kay Berg, Newark, DE Miscellaneous 754 Robert† and Deborah Truitt, Carmel, Gler í Bergvík, Reykjavík, Iceland IN Barry L. Bernas, Gettysburg, PA *** Biedermann & Sons Inc., Northfield, IL *** Wyn Bielaska, Callison Architecture Inc., Financial Donors Seattle, WA Klaus and Vera Biemann, Alton Donors to the Library Collection Frederick and Jeannie Birkhill, Pinckney, Bay, NH A to Z Bohemian Glass Inc., Brook- MI Frederick and Jeannie Birkhill, lyn, NY Blacksheep Glass Studio, San Diego, CA Pinckney, MI AAMSCO Lighting Inc., Summerville, Pat Blair, American Cut Glass Associa- Neila and Tom Bredehoft, St. Louis- SC tion, Escondido, CA The Blair Museum of Lithophanes, ville, OH Robert Abbey Inc., Hickory, NC ABR Imagery, Bloomington, IN Toledo, OH Jay and Micki Doros, Irvington, NJ Absolute Acrylic Inc., Jacksonville, FL Lubomír Blecha, Sliacˇ-Kúpele, Slovak (in memory of Irene “Tommy” Step- Academic Travel Abroad, Washing- Republic toe) ton, DC Blue Rain Gallery, Santa Fe, NM IBM International Foundation, Ra- After 5 Catalog, Santa Barbara, CA Boisgirard & Associés, Paris, France leigh, NC AIBo Glass, Topeka, KS Bollettino di Archeologia, Rome, Italy Dorothy-Lee Jones, Sebago, ME AIM Manufacturing, Corvallis, OR Mauro Bonaventura, Mestre-Venezia, Barbara Krueger, Hartland, MI Helen Aitken-Kuhnen, Queanbeyan, Italy Howard J. Lockwood, Fort Lee, NJ Australia Bonhams, London, England Kathleen M. Moyer, Poughkeepsie, Alba Lamp S.r.l., Figline Valdorno, Bonhams & Butterfields, San Francisco, NY Italy CA National American Glass Club, James Alderfer’s Fine Art & Antiques, Hat- Frank H. Boos Gallery, Troy, MI Rose Chapter, Evanston, IL field, PA Botti’s Perspective, Richmond, ME

24 Angela Bowey, Paihia, New Zealand Church & Maple Glass Studio, Burling- Mark Ditzler, Seattle, WA Peter Paedra Bramhall, Bridgewater ton, VT Dollmasters, Annapolis, MD Corners, VT Church of St. James, Basking Ridge, NJ Donghia Showrooms, Boston, MA Alvina Breckel, Winnetka, IL Cincinnati Art Galleries, Cincinnati, OH Jay and Micki Doros, Irvington, NJ Neila and Tom Bredehoft, St. Louisville, Brian Clarke, Spedant Works, London, Dragonfly Glass, Tallahassee, FL OH England Tim Drier, Sanford, MI Broadfield House Glass Museum, Kings Coastal Bend College, Beeville, TX John Drury and Robby Miller, Brooklyn, winford, England Coatings by Sandberg Inc., Orange, CA NY Brooklyn Museum, Brooklyn, NY Cobane Studio LLC, Lake Orion, MI David Dungworth, English Heritage, John T. Brown, Corning, NY Emilie Cohrs, Arlon, Belgium Portsmouth, England Terry Brown: Glass, McKenzie Bridge, Contemporary Glass Society, Kingswin- Bandhu Scott Dunham, Prescott, AZ OR ford, England Early Auction Company LLC, Milford, Bruck Lighting Systems, Costa Mesa, Judith Conway, Laurel, MD OH CA Cornell University, Herbert F. Johnson Eavenheat Kiln Inc., Caseville, MI Thomas S. Buechner, Corning, NY Museum of Art, Ithaca, NY Erwin Eisch, Frauenau, Germany The Bullseye Connection, Portland, OR Corning Incorporated, Endicott, NY Elaginoostrovsky Palace-Museum, St. Bullseye Glass Company, Portland, OR Barbara R. Coulter, Easton, MA Petersburg, Russia Constance A. Burns, Hannibal, NY Country Originals Inc., Jackson, MS Arthur R. Elder, Houston, TX Edward A. and Louise K. Bush, Painted Arthur Court Designs, Brisbane, CA Judi Elliott, Judi Elliott Glass Studio, Post, NY J. W. and Treva Courter, Kevil, KY Wanniassa, Australia Nadine Busque, Montreal, Quebec, Cowan’s Auctions Inc., Cincinnati, OH Paul and Lori Engle, Hubbardston, MA Canada Craft Organization Directors Associa- Brigitte Ernst, Kreis Paderborn-Fach C&C Studios Inc., Wescoville, PA tion, Onia, AR bereich “Kultur,” Büren, Germany Danielle Caluwé, Vrie Universiteit Craftmade International Inc., Coppell, Eurofase Inc., Richmond Hill, Ontario, Brussel, Brussels, Belgium TX Canada Canadian Clay & Glass Gallery, Water- Crenshaw Lighting, Floyd, VA Fairfield Auction LLC, Newton, CT loo, Ontario, Canada Cress Manufacturing Company Inc., The Fenton Art Glass Company, The Canberra Times, Canberra, Carson City, NV Williamstown, WV Australia Crystal by Pairpoint, Sagamore, MA Gerhard Finkenbeiner Inc., Waltham, Canfield Technologies Inc., Sayreville, Susan Cummins, Mill Valley, CA MA NJ Currey & Company, Atlanta, GA Fire Mountain Gems and Beads, Grants Canisius Fine Arts Department, East The Currier Museum of Art, Man Pass, OR Aurora, NY chester, NH Fire River Art Glass, West Sacramento, Didem Çapa, Tes¸vikiye/Istanbul, Turkey The Glenn H. Curtiss Museum, CA Josep Capsir, Institut de Cultura: Museu Hammondsport, NY Firegläss, Lake Havasu City, AZ de les Arts Decoratives, Barcelona, The Czech Point, Miami, FL Florida Craftsmen Gallery, St. Peters- Spain D & L Stained Glass Supply Inc., burg, FL Robert Carlson, Bainbridge Island, WA Boulder, CO George A. Fogg, Boston, MA Carlson Glassworks, Middlesex, NY Steven Dale Studios, Cardiff by the Chantal Fontaine, Brussels, Belgium Judy Carlsson, The Bead Society of Sea, CA Franklin Art Glass Studios Inc., Colum- Greater Washington, Washington, DC Dale Tiffany Inc., La Mirada, CA bus, OH Carson Home Accents, Freeport, PA Franco D’Angelo, Palermo, Italy Susanne K. Frantz, Paradise Valley, AZ CatBecca.com Auctions, Columbia The David Collection, Copenhagen, Frantz Art Glass & Supply, Shelton, WA City, IN Denmark Peggy Fredrickx, University of Antwerp– Centre International de Recherches Michael Davis Stained Glass, Long EMAT, Antwerp, Belgium Glyptographiques, Braine-le-Château, Island City, NY James Friant, Corning, NY Belgium Laura de Santillana, Venice, Italy Frick Art Museum, Pittsburgh, PA Centro de Artesanía e Deseño, Galicia, Delmarva A. & A. Auctions, Wilming- Barry Friedman Ltd., New York, NY Spain ton, DE Friesen Gallery, Sun Valley, ID CERFAV, Vannes-le-Châtel, France Ellen Demko, Oriental, NC Fuller Craft Museum, Brockton, MA Chappell Gallery, New York, NY Nadège Desgenétez, Australian National Fusion Headquarters Inc., Newberg, OR Charlton Glassworks, Sedro Woolley, University, School of Art, Canberra, Fusion Z Inc., Healdsburg, CA WA Australia Future Forms, Sarasota, FL Doris Chase, Seattle, WA Design Impact, Key Biscayne, FL Kris Gable, Painted Post, NY Château de Blois, Blois, France DeVine Corporation, Neptune, NJ Galerie Groll, Naarden, The Netherlands Chazen Museum of Art, Madison, WI Diamond Tech International, Tampa, FL Galerie Pokorna, Prague, Czech Republic Cherry Designs Inc., Huffman, TX Dietrich Schneider-Henn, Munich, Galveston Arts Center, Galveston, TX Christie Glass Works Studio, Bethlehem, Germany Gazelle Glass Inc., Philomath, OR PA Direzione Affari della Presidenza, William L. Geary, Västervik, Sweden Christie’s, Paris, France L’Aquila, Italy

25 Gemini Saw Company Inc., Torrance, Ed Hoy’s International, Warrenville, IL Therese Lahaie, Emerville, CA CA Pete Hunner and Maibritt Jönsson, Karen LaMonte, Prague, Czech Republic Georgia Marketing Group, Lawrence Baltic Sea Glass, Gudhjem, Denmark Lampada Inc., St-Leonard, Quebec, ville, GA Huntsville Museum of Art, Huntsville, Canada Jill Gerston, Baltimore, MD AL Lampe Avenue, Pittsburg, TX Ginger, Fort Mill, SC Martina Huson, Martina’s Glass Studio, Lamps Plus, Chatsworth, CA Glasgalerie Michael Kovacek, Vienna, Charleston, WV Landesamt für Archäologie mit Landes- Austria Beth Hylen, Corning, NY museum für Vorgeschichte, Dresden, Glashütte Limburg, Limburg, Germany Richard Hylen, Painted Post, NY Germany Glass Crafters, Sarasota, FL Indital USA, Houston, TX Landesmedienzentrum Rheinland-Pfalz, The Glass Forge, Grants Pass, OR Infinity Instruments, La Crescent, MN Koblenz, Germany Glass Manufacturing Industry Council, Institución Ferial de Madrid, Madrid, Landmark Lighting Inc., Chula Vista, CA Westerville, OH Spain Langham Glass, Norfolk, England Glassmasters, Richmond, VA The International Guild of Lamp Michael Larson, Armstrong Glass Com- Glastar Corp., Chatsworth, CA Researchers, St. Thomas, PA pany, Kennesaw, GA Global Village Glass Studios, Seattle, WA Internationale Sommerakademie für La-Tee-Da!, Scottsville, TX Goebel of North America, Pennington, Bildende Kunst, Salzburg, Austria Lee Valley Tools Ltd., Ogdensburg, NY NJ Islamic Archaeological Mission in Lefler Design Studio, Asheville, NC Gogosian Gallery, London, England Egypt, Tokyo, Japan Louis LeLoup, Neupré, Belgium Gorny & Mosch Geissener Münzhand- Richard Jefferson and Paul Wakem, Denise Stillwaggon Leone, Hamilton, lung GmbH, Munich, Germany Webster, NY NY Grafschaftsmuseum, Wertheim, Germany Jennie Kay Designs, Joseph, OR Silvia Levenson, Vigevano, Italy Peggy Grant, New Century Art & Design Johns Manville, Denver, CO Lhotský s.r.o., Železný Brod, Czech Studio, Toledo, OH Richard Jolley, Knoxville, TN Republic Rudi Gritsch, Kramsach, Austria Janet Jones, Bucknell University, Lewis- Paul von Lichtenberg, Munich, Germany Guild of Glass Engravers, London, burg, PA Rosemarie Lierke, Schwalbach/Taunus, England Taliaferro Jones, Toronto, Ontario, Germany Guild.com, Madison, WI Canada Lightwriters, Northbrook, IL Darrick Gurski, LumenArt Ltd., The Judson Studios, Los Angeles, CA Liquid Light Glass Inc., Santa Fe, NM Chicago, IL James D. Julia Inc., Fairfield, ME John Littleton and Kate Vogel, Littleton Suzanne Guttman, Langley, WA Juliska, Stamford, CT Vogel Inc., Bakersville, NC Habatat Galleries, Royal Oak, MI Jun Kaneko and Ree Schonlau, Omaha, Maurine Littleton Gallery, Washington, Haddonstone Ltd., Bellmawr, NJ NE DC Ben Hafey, Toronto, Ontario, Canada Alok Kumar Kanungo, Pune, India JoAnn Locktov, Mill Valley, CA Robert Hall, Hong Kong, People’s Re- Daniel Katz Ltd., London, England Werner Loibl, Gauting, Germany public of China Robin Kern, Hotspur Ltd., London, Looking Glass Designs, Everett, WA Steve Handelman Studios Inc., Santa England LSArts Inc., Tamarac, FL Barbara, CA Alex Kerr, Burbank, CA P. Tracey Ludwin, Long Beach, CA Caryl Hanson, Oakland, CA Marshall Ketchum, Genoa, NY Luxluce, Staten Island, NY Terry E. Hartman, Libbey Inc., Toledo, Gunilla Kihlgren, Hägersten, Sweden Lynchburg Stained Glass Company, OH Ki-Ra Kim, Chunchon, Kangwon Do, Lynchburg, VA James M. Havens, Corning, NY Republic of Korea Finn Lynggaard, Ebeltoft, Denmark Hawk Galleries, Columbus, OH Kimble/Kontes, Vineland, NJ Thomas C. MacAvoy, Charlottesville, Haystack Mountain School of Crafts, Keith King, Paris, France VA Deer Isle, ME Koganezaki Glass Museum, Kamogun, Angela Macelli, Musei Civici, Comune Janine Henri, Austin, TX Japan di Pavia, Pavia, Italy Heritage Galleries & Auctioneers, John Kohut, The American Cut Glass Martin Mádl, Národní Muzeum, Dallas, TX Association, Elkland, PA Prague, Czech Republic Hortense B. Hewitt Co., Rexburg, ID Kokomo Opalescent Glass Co., Koko- Charles Mahlon, New York, NY Hi-Lite Mfg. Co., Chino, CA mo, IN Tamara Malinina, The State Hermitage Stan Hill, Stourbridge, England Stephen Koob, Corning, NY Museum, St. Petersburg, Russia Historisches Museum Basel, Basel, Katerˇina Krausová, Rychnov nad Mallett & Son Ltd., London, England Switzerland Nisou, Czech Republic Manorisms International Inc., New Milan Hlaveš, Umeˇleckopru° myslové Ingeborg Krueger, Bonn, Germany York, NY Muzeum v Praze, Prague, Czech Re- Önder Küçükerman, Mimar Sinan Luisa Martínez García, Museo de Arte public University, Istanbul, Turkey en Vidrio de Alcorcón, Alcorcón- Holsten Galleries, Stockbridge, MA Kunsthaus Lempertz, Cologne, Germany Madrid, Spain Helena Horn, Frechen, Germany Kunstkammer Georg Laue, Munich, Ana Martins, Faculdade de Ciências e Teresa Howard, Glass from the Avenue, Germany Tecnologia, Caparica, Portugal Middlesboro, KY Gérard LaCroix, Melvin Village, NH Marx-Saunders Gallery, Chicago, IL

26 Franz Mayer of Munich Inc., New John and Loretta Nielsen, Sunshine Reflection Studios, Emeryville, CA York, NY State Carnival Glass Association, Henri Reiling, Utrecht, The Netherlands Elizabeth McClure, Auckland, New Palm City, FL Rejuvenation, Portland, OR Zealand Northstar Glassworks Inc., Tigard, OR Renaissance Conservatories, Leola, PA Ann G. McDonald, Arlington, VA Cornelius O’Donnell, Corning, NY Kait Rhoads, Seattle, WA Lani McGregor, The Bullseye Connec- Old Barn Auction, Findlay, OH Riedel Crystal of America, Edison, NJ tion Gallery, Portland, OR Tina Oldknow, Corning, NY Rieunier & Associés, Paris, France E. Marie McKee, Corning, NY Olympic Kilns, Olympic, GA Michele Rinaldo, Venice, Italy Michele McManus Glass & Jewelery Angelo Orsoni Mosaici, Venice, Italy Rings and Things, Spokane, WA LLC, Denver, CO Otteson Company, Lewisville, TX Rochester Museum & Science Center Me 2 U Fused Glass, Jonestown, TX Yuko Ozawa, Paris, France Research Library, Rochester, NY Mårten Medbo, Romakloster, Sweden Stéphane Palaude, Marchais, France Rock Cottage Glassworks, Merriam, KS Melting Sands Glass, Ludington, MI Paragon Industries, Mesquite, TX Jude Rose, Ancient Child Studios, Apple Meredith Corporation, Traditional Parasol LLC, Denver, CO ton, WI Home, Des Moines, IA Deb Parish, Funky Pretty Jewelry, Norman Ross, Ross Publishing Inc., Jef Mertens, Landcommanderij Alden Freeport, ME New York, NY Biesen, Bilzen, Belgium Park Designs, Goldsboro, NC The Royal China & Porcelain Compa- Meyda Tiffany, Yorkville, NY Dr. Paul D. and Elmerina L. Parkman, nies Inc., Moorestown, NJ Deb Meyer, Lebanon, NH Kensington, MD Royal Leerdam Crystal, Leerdam, The Mica Lamp Company, Glendale, CA Simon Pearce, Windsor, VT Netherlands Jane C. Milosch, Renwick Gallery, Pegasus Industrial Specialties, Guelph, David Ruth, David Ruth Studio, Oak- Washington, DC Ontario, Canada land, CA Leatrice H. Minzter, West Windsor, NJ Penland School of Crafts, Penland, NC Jaromír Rybák, Prague, Czech Republic Mode Int’l Inc., Brooklyn, NY Sylva Petrová, University of Sunderland, St. Catharine Parish, Columbus, OH James R. Moder Crystal Chandelier Inc., Sunderland, England St. Paul’s Episcopal Church, Burlingame, Dallas, TX Philabaum Glass Gallery, Tucson, AZ CA Morphy Auctions, Denver, PA Henning von Philipsborn, Universität Salusa Glassworks Inc., Prescott, AZ Carol Morris, Lexington Park, MD Regensburg, Regensburg, Germany Sarner Cristal, Uetendorf/Thun, Swit- William Morris, William Morris Studio, Phillips de Pury & Company, New zerland Stanwood, WA York, NY Sattler’s Stained Glass Studio Ltd., Morris Museum of Art, Augusta, GA Phoenix Studios, Harmony, CA Pleasantville, Nova Scotia, Canada Musée d’Histoire de Marseille, Mar- Margaret M. Piette, Concord, NH Jacolyn S. Saunders, Corning, NY seilles, France Terry Pitts, Cedar Rapids Museum of Savannah College of Art & Design, Jen Musée Suisse du Vitrail, Romont, Swit- Art, Cedar Rapids, IA Library, Savannah, GA zerland Pittsburgh Glass Center, Pittsburgh, PA Martha Sayers, Draper, VA Musée-Atelier du Verre, Sars-Poteries, Playing with Words Specialty Publica- Clementine Schack von Wittenau, France tions, Rosseau, Ontario, Canada Coburg, Germany Musée-Site d’Archéologie, Bavay, France PLC Lighting Inc., Chatsworth, CA Christa Schauer, Austrian Archaeological Museo de Zaragoza, Zaragoza, Spain Jitka Pokorná, Prague, Czech Republic Institute, Athens, Greece Museum für Glaskunst Lauscha, Polski Komitet Narodowy, Warsaw, David D. Schepps, Aventura, FL Lauscha, Germany Poland G. W. Schleidt Inc., North Las Vegas, NV Museum of American Glass at Wheaton The Pottery Supply House, Oakville, Michael Schmaedecke, Bildungs-, Kul- Village, Millville, NJ Ontario, Canada tur- und Sportdirektion, Kanton Basel- Museum of Arts & Design, New York, Helen Powell, Fieldings Auctioneers Landschaft, Liestal, Switzerland NY Ltd., Stourbridge, England Schöler & Co. GmbH, Kremsmünster, Museum of Contemporary Art, Los Preciosa, Jablonec nad Nisou, Czech Austria Angeles, CA Republic Beth Schwersky, Wired Stained Glass, Joel Philip Myers, Marietta, PA Paula Radke Dichroic Glass, Morro Palm Harbor, FL Peter Nahum at the Leicester Galleries, Bay, CA See More Glass, Santa Fe, NM London, England Rainbow Art Glass Inc., Farmingdale, Holly Segur, Corning Incorporated, The National Glass Centre, Sunderland, NJ Corning, NY England R.A.M. Lighting, Milton, Ontario, Livio Seguso, Venice, Italy Naugatuck Glass Company, Naugatuck, Canada Seguso Viro Usa, New York, NY CT Ranamok Art Glass Prize, Sydney, Carter Seibels, Divali Glass Jewelry, Ruth Nelson, Downers Grove, IL Australia Charleston, SC Ioan Nemtoi, Ioan Nemtoi Gallery, New Richard F. and Joan P. Randles, L. H. Selman Ltd., Santa Cruz, CA York, NY Webster, NY Serviente Glass Studios, Ithaca, NY Neumann Studios, Brattleboro, VT Red Fern Glass, Green Forest, AR Jirˇí Šetlík, Prague, Czech Republic New Zealand Society of Artists in Glass, Reed Business Information S.p.A., Severocˇeské Muzeum v Liberci, Liberec, Newton, Auckland, New Zealand Milan, Italy Czech Republic

27 Shannon, Plainview, NJ Jeffrey and Heather Thompson, Glass Wayfarers Chapel, Rancho Palos Verdes, Grant Sharman, Corning, NY Temple, Bend, OR CA Shipley Art Gallery, Gateshead, England Æsa Björk Thorsteinsdóttir, Bergen, John J. Weishar, Weishar Enterprises, Alan N. and Susan Shovers, Evansville, Norway Wheeling, WV IN Thunderbird Supply Company, Albu- Neil and Donna Weisman, New York, Tracey Simoniti-Stocker, Painted Post, querque, NM NY NY Gail Tierney, Tiburon, CA Tim and Paddy Welles, Horseheads, NY Dean Six, Harrisville, WV David E. and Judy C. Tingen, Raleigh, Weschler’s, Washington, DC Skutt Ceramic Products, Portland, OR NC White Light Productions, Downing- Sleepin’ Dog, Greensboro, NC Caterina Tognon, Bergamo, Italy town, PA Smålands Museum–Bibliotek, Växjö, Remy Toledo Gallery, New York, NY David Whitehouse, Corning, NY Sweden The Toledo Museum of Art, Toledo, OH Penelope Wilner, Putney, VT Harry A. Smith, Latrobe, PA Toltec, Burnsville, MS David Wilson Design, South New Berlin, Val and Rob Smith, LABAC, Leawood, Totally Blown Glassworks, Seattle, WA NY KS Toyama Glass Studio, Toyama, Japan Winship Designs Inc., Eugene, OR June Sohl, National Milk Glass Collec- William Traver Gallery, Seattle, WA Kelly Winters, Wheaton Village, Mill- tors Society, Salina, KS Angelika Traylor, Indian Harbour ville, NJ Sotheby’s, Munich, Germany Beach, FL The Paul Wissmach Glass Co. Inc., Sotheby’s, New York, NY True To Form, Braintree, MA Paden City, WV Specialty Glass Products Inc., Willow Robert† and Deborah Truitt, Carmel, IN Bettina Witteveen, New York, NY Grove, PA Sheila Tshudy, Sabinsville, PA World Class Lighting, Clearwater, FL Spectrum Glass Co., Woodinville, WA Ruriko Tsuchida, Suntory Museum of Jerry and Virginia Wright, Corning, NY Sperlich Art Glass & Doors Inc., Art, Tokyo, Japan R. D. Wright Inc., Greenville, NY Miami, FL Türkiye S¸is¸e ve Cam Fabrikalari A.S¸., Karel Wünsch, Nový Bor, Czech Re- Jane Shadel Spillman, Corning, NY Istanbul-Besiktas, Turkey public Robert Stahr, West Chicago, IL Jill Turnbull, Edinburgh, Scotland Württembergisches Landesmuseum, Stained Glass Reflections, Wellsboro, PA Uncommon Radiance, Skokie, IL Stuttgart, Germany Stained Glass Workshop, Farmingdale, The University of Michigan Library, Jean H. Wurtz, Metz, France NY Ann Arbor, MI Jay Okun Yedvab, Toronto, Ontario, Maja Lozar Štamcar, Narodni Muzej University of Sunderland, Sunderland, Canada Slovenije, Ljubljana, Slovenia England Naoto Yokoyama, Tokyo, Japan Danica Staššíková-Štukovská, AÚ SAV, University of Washington Press, Seattle, Wendy Yothers, Hopatcong, NJ Nitra, Slovak Republic WA Tanya Youngling, Baccarat, Aspen, CO Steinitz Antiquaires, Paris, France Mimi H. Updegraff, Elmira, NY Jan Zandhuis, Galena, MD Lisabeth A. Sterling, Seattle, WA UrbanGlass, Brooklyn, NY Elena Zang, Shady, NY Steuben Glass Inc., Rye, NY Uroboros Glass Studios, Portland, OR Eos Zervoudaki, Athens, Greece Stephen and Barbara Strzepek, Ormond Van Dyke’s Restorers, Woonsocket, SD Beach, FL Lieve Van Stappen, Ghent, Belgium † Deceased Melinda Young Stuart, American Cul- Anne Vanlatum, Musée-Atelier du Verre, tural History and Museums, Barnards Sars-Poteries, France ville, NC Variety Glass, Beech Bottom, WV Sulgrave Manor, Oxfordshire, England Villa Terrace Decorative Arts Museum, Per B. Sundberg, Stockholm, Sweden Milwaukee, WI Sunshine Glassworks Ltd., Buffalo, NY Viracon Inc., Owatonna, MN Sunshine Lighting Company, Brooklyn, Virginia Tech Art & Architecture Li- NY brary, Blacksburg, VA Frank O. Swanson, Livonia, MI Visier: Das Internationale Waffen-Maga Elaine Palda Swiler, Cameron, NY zin, Bad Ems, Germany Tablecraft Products Company, Gurnee, Vista Alegre Atlantis SA, Alcobaça, IL Portugal Tamglass Ltd., Tampere, Finland Viva Vermont, Norwich, VT Albert M. Tannler, Pittsburgh History Vortex Glassworks, Florence, OR & Landmarks Foundation, Pitts- Waddington’s, Toronto, Ontario, Canada burgh, PA Wale Apparatus Co. Inc., Hellertown, PA Gabriella Tassinari, Milan, Italy Jian Zhong Wang, Tsinghua University, Steven Tatar, Cleveland Heights, OH Beijing, People’s Republic of China Roger V. Thomas, Portland, OR Sunny Wang, Kaoshsiung, Republic of Jill Thomas-Clark, Elmira, NY China Cappy Thompson, Seattle, WA The Waterford Society, Wall, NJ

28 Several exceptional gifts and grants for Center, the alternative high school of the Cor acquisitions brought 2005 private and pub- ning–Painted Post Area School District. The Development lic donations to the highest level since the grant enabled students who had completed and major gifts program was organized in 2002. the beginning glassblowing program to take Total gift and membership income, exclusive a course in flameworking. It also supported Membership of operating and capital support from Cor a beginning glassmaking course for new stu- ning Incorporated, the Museum’s corporate dents in the alternative high school. The sec benefactor, was $1,228,854. ond grant from The Triangle Fund under- We were also pleased to welcome the wrote a two-day workshop on development 100th household member to the Ennion So principles and techniques for local nonprof- ciety, a patrons group devoted to supporting its. Birdcage, blown, cut, important acquisitions for the Museum’s The many generous grants and gifts to tooled; brass. England glass collection. Organized in 2003, the soci The Studio are listed on page 37. or U.S., possibly about ety is named for the first glassmaker whose The Getty Foundation made a grant of 1920. OH. 129.5 cm name is known. He lived in the Roman Em- $64,000 for treatment and research related (2005.2.9). Purchased with funds from the pire in the first century A.D. to the conservation of reverse paintings on Greater Milwaukee Among the major gift initiatives in 2005 glass that are part of a 16th-century German Foundation, Kenneth R. was a special campaign to raise funds to ac- house altar. Grants of $22,300 from the New Treis Fund. quire Endeavor, an installation by the Italian artist Lino Tagliapietra (see page 14). In ad dition to the major donors (listed on page 17), members of the Directors’, Curators’, Sustainers, and Collectors Circles of the Ennion Society voted to allocate undesig- nated society gifts in 2005 toward the acquisition of Endeavor. The installation will be formally dedicat ed at the Ennion Society’s annual dinner on November 8, 2006. The artist will be present. The event will also help to mark the 10th anniversary of the Museum’s glassmaking school, The Studio, where Mr. Tagliapietra was one of the first instructors. A grant from the Robert Lehman Foundation Inc. will underwrite a five-day workshop to be taught by Mr. Tagliapietra at The Studio in November 2006. Other gifts and grants in 2005 included $210,000 from the Arthur Rubloff Residua ry Trust, $100,000 from Corning Incorpo- rated for a commissioned work by Peter Aldridge, and $16,000 from the Gladys M. and Harry A. Snyder Memorial Trust. A grant from the Greater Milwaukee Foun dation, Kenneth R. Treis Fund enabled the Museum to acquire an early 20th-century Oriental-style birdcage with brilliant blue glass panels. The birdcage was once owned by the Doubleday family of Chicago. The Triangle Fund made two grants to- taling $10,998. One provided renewed support for a glassmaking program at The Stu- dio for students in the High School Learning

29 York State Council on the Arts and $10,000 York City for supporters of the Museum. from Polly and John Guth were made for The first was a reception and lecture titled general support of the Museum. “Redrawing the Map of Mid-Century” by Tina Oldknow, our curator of modern glass, “Meet the Artist” Series presented at Christie’s on June 7. This program introduced the Museum’s major 2005 The popular “Meet the Artist” lecture exhibition, “Design in an Age of Adversity: series, inaugurated by the Museum’s Devel- Czech Glass, 1945–1980,” to friends of the opment Department in 2004, featured four Museum and members of the news media artists who work with glass. In February, in the New York metropolitan area. Cappy Thompson, who is one of the leading Also in June, the Museum hosted a re- American artists working with enameling on ception in association with an exhibition glass, discussed how her narrative paintings of Carder Steuben glass at The Gallery at are inspired by medieval manuscripts, folk Steuben Glass in New York City. tales, primitive painting, Hindu imagery, and The culminating event of 2005 was the personal experiences. annual Ennion Society dinner on November In April, the featured artist was Josh 9. Titled “An Evening in Rajasthan,” this Simpson, who is known for his visionary event gave the society’s members a preview landscapes in glass. At a luncheon for Muse of the Museum’s 2006 major exhibition, um docents and volunteers, a public lecture, “Glass of the Maharajahs.” Dancer Parul and a private dinner for Ennion Society mem Shah performed traditional kathak dance, ac bers, Simpson shared how his “planets” and companied by the tabla, sitar, and wooden larger “megaworlds” and vessels of his own flute. The program also raised funds for The “New Mexico” glass have evolved from his Studio’s scholarships and residencies through thoughts of what far-off universes or deep the sale of glass objects made by faculty oceans might look like. members of The Studio. Hemi Bawa, a sculptor who lives in New Delhi, India, was the guest artist in July. She Membership Program is one of the few Indian artists who work with glass and among the first to use glass A new Museum membership offering in for sculpture. She explained how she has 2005 was complimentary membership in the been influenced by Hindu views of world North American Reciprocal Program for forces, and how she uses glassworking tech- all Members at the Donor ($100) level and niques she learned in England and Scandi- above. The program offers free admission navia. and members’ shop discounts to about 200 The final “Meet the Artist” event fea- museums in the United States. tured the 2005 Rakow Commission recip Museum Members previewed “Design ient, the American artist Nicole Chesney. in an Age of Adversity: Czech Glass, 1945– She discussed her commission in a lecture 1980” at a dessert reception. The preview that was part of the Museum’s annual Semi- of the fall West Bridge exhibition, “Glass of nar on Glass. A private dinner for Ennion the ’60s,” began with a Members-only lec- Society members followed. ture by Tina Oldknow, followed by a self- guided tour of the exhibition. Other Events Eleanor T. Cicerchi The Development and Communications Development Director Departments organized two events in New

30 In 2005, the Museum organized the larg This major traveling exhibition, curated est exhibition of Czech glass ever shown in by Helmut Ricke of the Museum Kunst Pa Exhibitions the United States. Three distinct shows occu last in Düsseldorf, Germany, and organized pied different exhibition areas in the Museum by Tina Oldknow, the Corning Museum’s and showcased glass made in what is now curator of modern glass, was the featured the Czech Republic from the 19th century show at the Museum in 2005. It presented to the present day. the first comprehensive survey of a little- known but dynamic movement in postwar “The Tradition of the Avant-Garde: design that influenced the course of modern Bohemian Glass, 1820–1935” and contemporary glassmaking. West Bridge The exhibition included more than 350 May 19–October 30, 2005 objects drawn primarily from the private Glassmaking in Bohemia, the major part collection of The Steinberg Foundation in of what is today the Czech Republic, dates Liechtenstein and loans from the Czech Re- back to the 13th century. It has a long tradi public, including the Museum of Decorative tion of innovation, notably in the 17th and Arts in Prague, the Northern Bohemian Mu 18th centuries. Most commonly, however, seum in Liberec, the glass museums in Nový Bohemian glass is identified with the 19th Bor and Kamenický Šenov, and the private century. This period, together with the first collections of the artists Jirˇí Harcuba, René decades of the 20th century, was the focus of Roubícˇek and Miluše Roubícˇková, and Jirˇi this exhibition of 74 objects, which was or- na Žertová. Other lenders to the exhibition ganized by Dedo von Kerssenbrock-Krosigk, were the Museum Kunst Palast and The the Museum’s curator of European glass. Corning Museum of Glass. The show started with the distinct shapes “Design in an Age of Adversity” docu- and decorations of the Biedermeier period, mented how, in the wake of World War II, which were significant in the development of artists in Czechoslovakia turned to glass as modernism. This part featured engravings a medium for painting, sculpture, and archi on glass by Dominik Biemann and his lesser- tecture, and as vehicle for the exploration of known contemporaries, as well as the evolu abstract art. The repression of abstract art tion of colored glass. Some of the most im- and the promotion of Socialist Realism, an portant inventions in Bohemian glass at that artistic movement based on the principle time were made by the chemist Friedrich that the political, social, and cultural goals The Biedermeier section of the West Bridge exhi- Egermann, and the show displayed examples of communism should be glorified, were bition “The Tradition of of his ruby stained and Lithyalin glass. widely practiced behind the Iron Curtain. the Avant-Garde: Bohe- Bohemian glass of the later 19th century Painting, sculpture, and graphic arts were mian Glass, 1820–1935.” and the first decades of the 20th century re- lied heavily on the artistic influence of the capital of the Austrian empire, Vienna. In the exhibition, the Viennese decorative arts scene was represented by works that were commissioned by the glass dealer Lobmeyr, and by glass that had been designed in the arts and crafts workshops of the Wiener Werkstätte. The maturation of an indepen- dent Czech style in design in the early 20th century is reflected in the glass of Jan Koteˇra, Ladislav Sutnar, and Ludvica Smrcˇková.

“Design in an Age of Adversity: Czech Glass, 1945–1980” Changing Exhibitions Gallery June 15–November 27, 2005

31 supposed to illustrate ideology, and artists section of several key factors: the political re- who rejected the state-approved direction pression of the fine arts; strong painters and ran the risk of persecution. However, glass sculptors who brought their ideas, through and other applied arts were considered to teaching, into the applied arts; an excellent be decorative materials for functional use, educational system in the applied arts; a gov- and these media were not as closely moni- ernment that funded and promoted explo- tored as painting and sculpture. ration, experimentation, and international In Czechoslovakia, artists working in exhibitions in glass; the relative isolation of glass were allowed to pursue their work Czech artists from the outside; and the spirit with relatively few restrictions, and in cer- of artistic cooperation, ambition, and opti- tain cases, they were encouraged to be ex- mism that was honed by political adversity. perimental. The communist government needed forward-looking products to show- “Czech Glass Now: Contemporary case at major international expositions, Sculpture, 1970–2004” which allowed Czechoslovakia to burnish Sculpture Gallery its image abroad, attract foreign currency, June 15–December 31, 2005 and compete with the West in the cultural From the 1970s to the present, Czech arena. Many of the objects on view in “De- oslovak artists have become increasingly sign in an Age of Adversity” were commis- recognized for their work in glass. This ex- sioned for international expositions and hibition of 65 objects, curated by Tina Old- world’s fairs. It was thus a strange duality— know, featured the recent work of some of government repression and support—that the most important artists represented in fueled the extraordinary burst of artistic in- “Design in an Age of Adversity,” and work vention evidenced in the exhibition. by artists of the next generation who have The role of Czech glass design as an out- risen to prominence in Czech glass. let for artistic exploration in a period of po- In the 1960s, when American studio litical repression has lasting importance for glass artist-teachers such as Harvey Littleton, the history of 20th-century glass. There was Dale Chihuly, and Marvin Lipofsky were no similar crossover from painting and sculp discovering the sculptural potential of glass, ture to a decorative arts medium anywhere artists such as Stanislav Libenský, Jaroslava else. In other totalitarian regimes of central Brychtová, and René Roubícˇek had already and eastern Europe, there was neither the been working for years with large-scale Entrance to the exhibi- strong craft tradition nor the long history of glass. However, because Czechoslovakia tion “Design in an Age of Adversity: Czech glassmaking that Czechoslovakia possessed. was an Iron Curtain country, Czech glass Glass, 1945–1980.” This unique situation arose from the inter- was relatively unknown. The 1967 Montreal world’s fair was particularly significant for American studio glass artists, who saw Czech glass for the first time. American artists began to correspond with and visit Czechoslovak artists in the late 1960s and 1970s. Expo 70 in Osaka, Japan, was also successful, but the Czecho slovak government had grown increasingly conservative since the 1968 Soviet-led inva- sion of Prague. Throughout the 1970s, artists taught and worked under highly repres- sive conditions. When government restrictions began to soften once again in the early 1980s, certain artists were allowed to travel and to teach abroad. The most influential Czechoslovak artist-teachers in the United States were Libenský and Brychtová. The Libenskýs

32 brought a much-needed intellectual, theoret- ical, and philosophical focus to making art with glass. In the 1980s, Jirˇí Harcuba came to the United States to begin his teaching of the art of engraving, and in the 1990s, Rou bícˇek and others traveled outside Czechoslo vakia to share their knowledge with studio glass artists worldwide. It was not until after the fall of communism in 1989 that Czechoslovak artists were able to pursue truly free expression, and to take control of the way in which their works were presented and sold. Today, Czechoslo- vak artists are best known for their work in large- and small-scale casting, but they have also been influential in the development of painting, cutting, and assembling, and in large-scale installations in glass. *** “Decades in Glass: The ’60s” West Bridge design by artists from the Czech Republic, View of the exhibition November 17, 2005–April 2, 2006 Finland, Germany, Italy, the Netherlands, “Czech Glass Now: This exhibition, curated by Tina Old- Contemporary Sculp- and Sweden. Also presented were objects by ture, 1970–2004,” know, presented art and design in glass made American designer-craftsmen, studio glass showing sculptures by in the United States and Europe during the by the new generation of American artists Stanislav Libenský and 1960s. The widely varied production of this (including the “fathers” of American studio Jaroslava Brychtová. historic decade in glass ranged from sleek, glass, Harvey K. Littleton and Dominick modern commercial designs to expressive Labino), and European studio glass. and eccentric studio objects. Glass design in Italy, Czechoslovakia, and *** Scandinavia did not change dramatically in “The Italian Influence in Contemporary the 1960s. Commercial art glass reflected Glass” the changing fashions of the new decade in The Gallery at Steuben Glass, New York, NY terms of color, pattern, and form, but the February 11–July 30, 2005 styles and modernist approaches explored This show, which was presented on the and defined in the 1950s continued to play Museum’s West Bridge in 2004, traveled to an important role. In contrast, by 1960, the New York City in 2005. Curated by Tina craft of blowing glass by hand in American Oldknow, the exhibition demonstrated that factories had declined almost to the point of the Italian impact on contemporary studio extinction. glass throughout the world—and especially The most surprising and influential devel in the United States—is the most recent chap opment in glass during the 1960s occurred ter in the long and complex history of Vene- in the United States, where art glass was tian-style glass. dramatically transformed. The movement Italian glassworking techniques are of artistic glassmaking from the factory to important tools with which contemporary the artist’s studio, and new perspectives on artists realize their ideas. The exhibition the use of glass for art, resulted in a wide- featured 28 examples of contemporary glass spread burst of artistic activity that is called made with Venetian techniques by non-Ital- the Studio Glass movement. ian artists. Artists represented included the The 70 objects in the exhibition, which American studio glass pioneers Dale Chihuly, were drawn from the Museum’s permanent Richard Marquis, Marvin Lipofsky, and collection, featured examples of European Benjamin Moore. Works made by other

33 Glass by Harvey Littleton and Dominick Labino in “Decades in Glass: The ’60s.”

American artists, as well as by artists from Rakow Research Library). (Exhibition will tour Switzerland, Japan, and France, were also into 2006.) featured. “American Fancy: Exuberance in the Arts, 1790–1840,” Maryland Historical Society, Balti- *** more, MD, through March 20, 2005; five objects. Glass on Loan “Particle Theories: International Pâte de Verre In 2005, the Museum had 143 objects on loan and Other Cast Granulations,” Museum of to 12 exhibitions in the United States and Europe. American Glass at Wheaton Village, Millville, These loans are listed below in chronological NJ, April 2–December 31, 2005; 26 objects. order. “Lustrous: A Centennial Celebration of Art “Kickin’ It with Joyce J. Scott,” ExhibitsUSA Glass Designed by Frederick Carder,” Wichita Art traveling exhibition, Dane G. Hansen Memorial Museum, Wichita, KS, through April 7, 2005; 42 Museum, Logan, KS, through January 7, 2005; objects. Art Museum of South Texas, Corpus Christi, “Iraq and China: Ceramics, Trade, and Inno- TX, January 28–March 16, 2005; The Arkansas vation,” Arthur M. Sackler Gallery, Smithsonian Arts Center, Little Rock, AR, September 1–Octo- Institution, Washington, DC, through July 17, ber 20, 2005; one object. (Exhibition will tour 2005; seven objects. through 2007.) “Frederick Carder: Glass, Passion, Invention,” “Bringing Modernism Home,” The Columbus The Gallery at Steuben Glass, New York, NY, Museum of Art, Columbus, OH, January 28– September 5, 2005–February 18, 2006; 41 ob- April 17, 2005; three objects. jects. “The Nature of Craft and the Penland Experi- “Grant Wood at 5 Turner Alley,” Cedar Rap- Opposite: ence,” Mint Museum of Craft + Design, Char- ids Museum of Art, Cedar Rapids, IA, Septem- Tiny Glover tells lotte, NC, through January 30, 2005; one object. ber 9, 2005–January 15, 2006; Renwick Gallery stories of animals in “Eric Hilton Retrospective,” The Gallery at of the Smithsonian American Art Museum, glass at a Little Gath- Steuben Glass, New York, NY, through January Washington, DC, March 1–July 16, 2006; one er program 31, 2005; one object. object. “Czech Glass, 1945–1980: Design in an Age of “Louis Comfort Tiffany: Artist for the Ages,” Explainers interact Adversity,” traveling exhibition, Museum Kunst Exhibitions International traveling exhibition, with young visitors Palast, Düsseldorf, Germany, February 19–May Seattle Art Museum, Seattle, WA, October 12, in the galleries, using 15, 2005; The Corning Museum of Glass, Cor 2005–January 4, 2006; three objects. (Exhibition carts containing ob- ning, NY, June 15–November 27, 2005; 12 ob- will tour through 2007.) jects that can be han- jects (and 50 works on paper from the Museum’s dled.

34 The Museum’s Education Department properties of various types of glass and the made great strides in 2005. We hired Mary techniques that were employed to make the Education Cheek Mills as manager for our school and objects. This program was so well received docent programs. Mary, a specialist in Amer- that the number of Young Educators will be ican glass, has also been a middle-school expanded to 18 in 2006, and the number of teacher. She regularly teaches the history and carts in the galleries will increase from two technology of European and American glass to four. for graduate programs in the decorative arts at the Cooper-Hewitt National Design Muse um in New York City and the Smithsonian Institution in Washington, D.C. She is creating interdisciplinary programs for our K–12 audience while continuing to broaden the knowledge of our docents by focusing on their training program. More than 11,200 schoolchildren visit ed the Museum this year. Visits by students from local school districts integrated science and language arts subjects to make full use of our collections. Whenever possible, these visits included a stop at the Rakow Research Library so that students could learn about library research, primary documents, and some ways in which the Rakow Library can assist them in their future studies. Another component of these visits is a hands-on glass working experience at The Studio. We offered a wide range of programs in 2005. The nine-week Little Gather summer story-hour program attracted more than 3,500 children and their escorts. Draw & Discover, which was offered in the spring and autumn, encouraged participants to look at our collection from an artist’s point of view. The 10 events in the Family Explora- tion Series focused on glass from the Islamic world, India, Egypt, Venice, and elsewhere. These sessions included performances, crafts, storytelling, and cultural exchange. During the year, we initiated our Young Educators Program, and it was very successful. Eight high-school students spent six months learning how to interact with the public and how to lead groups of young people through the Museum. Along the way, these students gathered considerable information about our collection and tried their hand at glassworking. During the busy summer season, graduates of this program became Explainers and spent time talking with visitors in our galleries and leading camp tours. Using objects on a cart, each Explain- er was able to share information about the

35 Some of the Young Educators were grad object during their stop at the Museum. A uates of our Junior Curators program. In new addition in the fall was the opportunity 2005, seven students became Junior Cura- to create blown glass pumpkins, an option tors. This group researched the works of liv that was selected by 60 percent of visitors ing artists and went behind the scenes at the who chose to work with hot glass. In pre Museum to learn what happens when an vious years, reservations for the Walk-in object is acquired. The Junior Curators then Workshop could be made only on the day presented their own exhibition, complete of the visit. In 2005, we started to take res- with a special opening for friends and family ervations in advance, an offering that our members. visitors found to be very helpful in planning Two Evening for Educators programs their stay in Corning. were attended by more than 100 teachers in The Studio continued its collaboration the region, who learned how the Museum with the High School Learning Center, can assist them in planning curricula for which was designed to meet the needs of their students. Participants listened as edu- academically capable students who are nev- cators and students from the Watkins Glen ertheless at risk of dropping out of school. Middle School and the Corning–Painted Our program enables these students to earn Post West High School discussed programs their art credit while they learn how to that they had conducted in collaboration blow glass. We also offered five beginning with the Museum’s Education Department. and next-step Elderhostel programs, dem- onstrating that every age is a good age to The Studio learn about glassworking. Almost 3,000 people participated in our Fun with Glass In 2005, The Studio offered 58 summer event for groups. and winter intensive courses, 48 weekend An exciting addition to our facility was classes, eight one-day sessions, and 11 semes the photography room, which is equipped ter-long courses that met once each week. with state-of-the-art lighting and digital pho Our Family Workshop Series included 10 tography equipment. Artists and students are programs for parents and children on such permitted to use this room during intensive Artists and students are able to take pic- topics as mosaic-making, fusing, and paint- classes, when a photographer is available at tures of their work ing on glass. certain times to assist them in taking pictures in The Studio’s new The Walk-in Workshop continues to be of their work. At other times, the room can state-of-the-art pho- a big attraction. More than 20 percent of our be rented by the hour. Photographs of work tography room. individual and family visitors made a glass can be e-mailed, placed on CD or DVD, or printed on high-quality photo paper. A com- puter with Photoshop software is also available so that images may be adjusted. The creation of the photography room was made possible by private donations. The room has already been used extensively, and we hope that this practice will continue. The artists Eric Rubenstein, Frances Binnington, Silvia Levenson, Maria Grazia Rosin, and Sayaka Suzuki enjoyed month- long residencies at The Studio during the year. Each of them was provided with travel to and from The Studio, a food stipend, supplies, assistants, and the use of our fa- cilities. We received a $10,000 grant from The Dana Foundation to benefit our scholarship fund. A sale of glass works at our Ennion Society dinner in November raised $12,000,

36 and our annual holiday open house and Jeremy Burdge, M.D., Columbus, OH Cesare Toffolo flame- glass sale netted almost $25,000. The Dana Foundation, New York, NY works a decorative The Studio released An Introduction to German Language Publications, Englewood, NJ goblet during a sum- Flameworking with Emilio Santini, the sec- Glass Brokers Inc., Pittston, PA mer workshop at The ond video in the Foundations Series. Addi- Larry Hornhung, Wilmington, DE Studio. Johnson & Johnson Family of Companies, tional information on this video will be Princeton, NJ (for the Christopher John found on page 46. Kammerer Memorial Scholarship Fund) Nancy King, M.D., Elmira, NY Amy Schwartz Robert Lehman Foundation Inc., New York, NY Deputy Director, Education Programs Robin Lehman and Marie Rolf, Rochester, NY and The Studio Metropolitan Contemporary Glass Group, Briarcliff Manor, NY *** Northstar Glassworks, Tigard, OR Olympic Color Rod, Seattle, WA We wish to thank the foundations, individuals, Dr. Susan W. Schwartz, State College, PA and companies that made generous donations of Josh Simpson, Shelburne Falls, MA money and materials to our programs in 2005: Josh Simpson Contemporary Glass Inc., Shel- burne Falls, MA Guy Bodemer, Painted Post, NY The Triangle Fund, Corning, NY Bullseye Glass Company, Portland, OR Uroboros Glass, Portland, OR Jeffrey J. and Mary E. Burdge Charitable Trust, Vitrum Studio, Beltsville, MD Harrisburg, PA Theresa Volpe and Robert Michaelson, Kinnelon, NJ

37 Marketing and Communications to return free of charge for the remainder of Marketing, the year. More than 10,500 visitors signed up A number of innovative marketing and for the program, and 22 percent took advan- Commu- communication initiatives helped to attract tage of the opportunity to return in 2005. nications, more than 326,000 visitors to the Museum The overwhelming response to Free to in 2005, a five-percent increase from 2004. Rediscover also allowed the Museum to and Public One of the strongest areas of growth was in capture important visitor data. As part of tour-group attendance, which accounted for their registration, many Free to Rediscover Programs more than one-third of visitation during the participants elected to receive information year. Those who came were pleased with about Museum programs via e-mail. We their experience: customer surveys showed put a great deal of emphasis on building a that the Museum continues to exceed the ex highly qualified marketing database this pectations of the majority of visitors, and year, and we were able to launch a targeted most find the price/value relationship to be e-mail marketing campaign in the summer exceptional. of 2005. For the first time, the start of the Muse- E-mail marketing helped direct traffic to um’s summer season was moved to the Me- the Museum’s Web site, which was signifi- morial Day weekend from July 1. Visitors cantly updated and redesigned this year to experienced an extra month of extended more accurately reflect the quality and scope hours (open until 8 p.m.), Late Shows on the of the Museum. The site now incorporates Hot Glass Show stage, and special family- more images, video, and research material, oriented programs. and it is updated daily to reflect current ac- These programs and hours were heavily tivities in, and news about, the Museum. promoted, as were two key admission strat- The emphasis on database management egies: our ongoing Kids Free! 17 and Under also helped us better target print mailings program and our new Free to Rediscover and introduce an effective print marketing program. This was the first full year of Free tool: a seasonal Calendar of Programs. The to Rediscover, which allows visitors, upon 20-page calendar is mailed three times a year entering the Museum and paying admission, (at the beginning of the winter, summer, and

2300° events, which continued to grow in popularity in 2005, offer an eclectic mix of entertainers, glassmakers, and interactive art.

38 fall seasons), and it covers upcoming events A targeted advertising and media out- Participants of all in all areas of the Museum, from lectures in reach campaign supported all of these ef- ages watch glass the Rakow Research Library to Little Gather forts, and it offered information about the break, bend, and storytelling sessions in the Auditorium. The rich array of exhibitions, publications, and stretch in the Magic first calendar was mailed in January 2005 programs that the Museum offers. of Glass show in the to more than 10,000 recipients. Paid advertising ran in the form of bill- Museum’s Glass In- In 2005, the GlassMarket launched some boards, television and radio commercials, novation Center. unique sales activities to attract new interest and print ads. Television commercials were The Hot Glass Road- in its product offerings. Spring and holiday especially effective. They were aired in re- show brought live sales drew many shoppers, and the Day- gional metropolitan areas, including a lim- glassmaking to five After-Thanksgiving sale (communicated for ited run on NY1, the largest cable news sta- Australian cities dur- the first time with an insert and coupon in tion in the New York City area. In addition, ing its “Blow Glass local newspapers) netted the GlassMarket the Museum introduced a new commercial Down Under 2005” its biggest sales day ever. In November and focusing on the appeal of the Museum, and tour. December, the GlassMarket hosted its first especially the Hot Glass Show, to multiple retail show of works by an individual artist, generations. the Kosta Boda designer and artist Bertil Media impact was also very strong this Vallien. year. Major articles and reviews pertaining In addition, the GlassMarket began to to our Czech glass exhibitions appeared upgrade its retail Web site this year, which in newspapers and magazines around the has resulted in increased Web sales. In a world, including the New York Times, Chris- December edition of BusinessWeek, a glass tian Science Monitor, Sculpture, and Art & golf putter from the GlassMarket Web site Auction. The design of the press kit an- was featured in a gift guide of unique prod- nouncing these shows was honored by the ucts available for purchase on top museum American Association of Museums in its store Web sites. annual publications competition.

39 artists to demonstrate their talents and techniques. Members of the Roadshow crew conducted interviews with the major media outlets in each market and were recognized by representatives of the U.S. Embassy in Australia for the Museum’s contribution as a cultural ambassador for America. In July, the Roadshow returned to a busy summer schedule, providing outdoor Hot Glass Shows at the Museum, and then it rolled on to a variety of locales. During the fall, the Roadshow demonstrated at the Catawba Science Center in Hickory, North Carolina; the international SOFA (Sculpture, Objects, and Functional Art) exposition in Chicago; and a Dale Chihuly exhibition at the Kalamazoo Institute of Arts in Kalama- zoo, Michigan. Finally, it celebrated the new year at First Night in Binghamton, New York. At each stop, the Roadshow provided narrated demonstrations and programming that showcased the educational and artistic Fritz Dreisbach, one Other media-coverage highlights included expertise of The Corning Museum of Glass of the pioneers of an April article about the You Design It; We as the world’s best glass museum. studio glass, gets into Make It! program in Family Fun magazine, At home in Corning, evening events built the ’60s spirit during an Associated Press article featuring our a community spirit that was stronger than the November 2300° family activities, and travel articles about ever. 2300° events continued to grow in program. He was one the Museum in the Pittsburgh Post-Gazette popularity and attendance, peaking at just of many top glass artists who demon- and Chicago Tribune and on Voice of over 2,500 at some events. An eclectic mix- strated at Museum America. ture of music, themes, and glassmaking dem events throughout onstrations throughout the year attracted the year. Public Programs an incredibly diverse and loyal audience. The year’s lineup incorporated creative use The Hot Glass Roadshow was truly the of space and multimedia capabilities, includ Museum’s international ambassador this ing an interpretive multimedia design by the year. In March, the Roadshow kicked off Tony-nominated designer Jerome Sirlin at a three-month tour of Australia, appearing the November “Decades in Glass: The ’60s” at high-profile events in Sydney, Canberra, 2300° installment. In addition, Summer Melbourne, and Wagga Wagga. At the final Bouquet, a ticketed wine-tasting event, took stop, Adelaide, the Roadshow was part of place in June, with record-breaking ticket the Glass Art Society’s annual conference. sales and a considerable variety of wineries, The goal of the tour was to celebrate caterers, and restaurants. the ever growing glassmaking culture of Free events and activities aimed at fami- Australia and to honor a similar trip taken lies and young children also served the local by the glass artist Richard Marquis in 1974, community. Kids’ Nights at the Museum, which brought new glassmaking techniques Ghosts in the Galleries, and the Holiday to schools and universities across the coun- Open House offered special weekend and try. Many credit that tour with helping to evening events, and they attracted large turn shape the Australian Studio Glass movement outs. Daily public programming, including and nurturing the interest of some of today’s You Design It; We Make It!, and the Magic top Australian glass artists. of Glass science show, which was offered At each stop, the Roadshow provided during school breaks, provided reasons for a platform for prominent Australian glass families to return to the Museum.

40 A bonus for You Design It; We Make It! The Glory Hole Pub and Eatery, Corning, NY participants this year was the addition of Goose Watch Winery, Romulus, NY samples of chosen drawings and the finished Grill 125, Radisson Hotel Corning, Corning, NY glass pieces on our Web site, allowing partic Hazlitt 1852 Vineyards, Hector, NY Heron Hill Winery, Hammondsport, NY ipants to share their excitement with friends Keith Hoover, Corning, NY and family around the globe. Hosmer Winery, Ovid, NY Hunt Country Vineyards, Branchport, NY Yvette M. Sterbenk iGourmet.com, Yorktown Heights, NY Communications Manager Keuka Springs Vineyard, Penn Yan, NY King Ferry Winery, King Ferry, NY *** Knapp Vineyards, Romulus, NY Toby Lagonegro, Elmira, NY Gifts in Kind Lakewood Vineyards, Watkins Glen, NY Special thanks to the businesses and individu- Lamoreaux Landing, Lodi, NY als that provided goods, services, and gifts of Logan Ridge Estates Winery, Hector, NY time and talent to the Museum in 2005: Long Point Winery, Romulus, NY Lost Angel Studio, Corning, NY Americana Vineyards & Winery, Interlaken, NY Lucas Vineyards, Interlaken, NY Anthony Road Wine Company Inc., Penn Yan, Massi’s Greenhouses, Painted Post, NY NY McGregor Vineyard Winery, Dundee, NY Anthony’s at Holiday Inn, Elmira, NY Miles Wine Cellars, Himrod, NY Arcadian Estate Vineyards, Rock Stream, NY Morley Candy Makers, Clinton Township, MI Atwater Estate Vineyards, Hector, NY Noslo Glass, Corning, NY The Bistro at Red Newt, Hector, NY Old World Café and Ice Cream, Corning, NY Bloomer Chocolate Company, East Greenville, PA Petioles Restaurant at Logan Ridge Estates Bully Hill Vineyards, Penn Yan, NY Winery, Hector, NY Byron Dairy, Syracuse, NY Pierce’s 1894 Restaurant, Elmira Heights, NY Casa Larga Vineyards, Fairport, NY Prejean Winery, Penn Yan, NY Castel Grisch Estate Winery, Watkins Glen, NY Red Newt Cellars Inc., Hector, NY Château Frank, Hammondsport, NY Rockwell Museum of Western Art, Corning, NY Château LaFayette Reneau, Hector, NY Rooster Hill Vineyard, Penn Yan, NY Chocolate Cheers, Kingston, NY San Francisco Chocolate Factory, San Francisco, Corning Gaffer District, Corning, NY CA Corning–Painted Post Area School District, Sheldrake Point Vineyard, Ovid, NY Painted Post, NY Snug Harbor, Hammondsport, NY Crystal City Wedding and Party Center, Corning, Standing Stone Vineyard, Hector, NY NY Swedish Hill Vineyard, Romulus, NY Tom Dimitroff, Corning, NY Three Birds Restaurant, Corning, NY Jim Ellison, Elmira, NY Three Treasures Martial Arts, Corning, NY Elmira Distributing Company, Elmira, NY Veraisons at the Inn, Glenora Wine Cellars, Evanna Chocolates, Corning, NY Dundee, NY The Fantasy Fountain Company, Hoboken, NJ Vineyard and Winery Management, Watkins Fox Run Vineyards, Penn Yan, NY Glen, NY Dr. Frank’s Vinifera Wine Cellars Ltd., Ham George Vreeland, Buffalo, NY mondsport, NY Wagner Vineyards, Lodi, NY Fulkerson Winery, Dundee, NY Wegmans Food & Pharmacy, Corning, NY Gaffer Grille and Tap Room, Corning, NY West End Gallery, Corning, NY Garcia’s Mexican Restaurant, Corning, NY Hermann J. Wiemer Vineyards Inc., Dundee, NY Tom Gardner, Corning, NY Woodbury Vineyards, Dundee, NY Glenora Wine Cellars Inc., Dundee, NY Yancey’s Fancy Inc., Corfu, NY

41 Scientific Research Dr. Colleen Stapleton. The results of our Scientific analyses of Sasanian glasses appeared in the One of the great strengths of our Muse- new catalog of the Museum’s Sasanian hold Research um is the extraordinary breadth of its collec- ings. We also completed chapters for books and tions. We have glass from just about every- on the window glasses from Jarrow (which where it was ever made, and from every many specialists believe are the earliest col- Curatorial period. This breadth was reflected in the ored window glasses ever discovered) and activities of the Scientific Research Depart- the 11th-century Levantine glass recovered Activities ment in 2005. from the famous Serçe Limanı shipwreck. We continued putting together our new Our findings on the compositions of the analytical data for ancient Egyptian glasses 11th-century Byzantine mosaics at Hosios with our existing analyses of Mycenaean Loukas in Greece, and from the Lido in the glasses in order to investigate the origins of Venetian lagoon, were also readied for pub- the glass ingots recovered from the 13th- lication in 2006. century B.C. shipwreck at Ulu Burun. At a At a different meeting in Portugal, I re- conference in Lisbon, we reported on our ported the results of our earlier studies of analyses of samples of Egyptian blue, many artifacts excavated on San Salvador in the of which are contemporaneous with that Bahamas. The artifacts correspond closely early glass. It appears possible to distinguish to descriptions of trinkets traded to native between Egyptian blue artifacts from Egypt inhabitants by Columbus on his first land- Side table, blown, cut, and Mesopotamia by chemical analysis. fall in the New World. The aim was to locate assembled; metal mounts. England, Birmingham, Moving ahead in history, we continued possible parallels for a relatively rare type F. & C. Osler, about 1880. our statistical analysis of data on Hellenistic of glass beads included among the San Sal- H. 75 cm (2005.2.11). and Roman glasses, with part-time help from vador finds. We are quite certain that these beads were made somewhere on the Iberian Peninsula. For our survey of strontium isotope analy ses, 175 glasses representing 2,500 years of glass history have been analyzed. The work is being conducted in collaboration with the University of North Carolina, and our results are now ready to be published in 2006. This is a new investigative method that comple- ments chemical analysis. In addition to ancient glasses, the study will eventually include numerous samples of medieval stained glass windows. Among later glasses, we analyzed samples submitted by researchers from other institu- tions. They included examples of the 19th- century milk glasses used for opalotypes. An opalotype was an early form of photograph ic image. We also ran analyses to identify the materials mentioned in batch books for mak ing certain early American glasses and Ger- man Renaissance glasses. Several minute bits of broken Blaschka marine invertebrate mod els were also analyzed. The results were then used to prepare rods of glass duplicating those compositions in order to investigate the working properties of the Blaschkas’ glasses. In April, Stephen Koob and I attended the first international conference on glass found

42 along the Silk Road. The conference was held Kerssenbrock-Krosigk, Dedo von. “Additions in Shanghai. We had helped to organize the to the Glass Collection: European,” AR, pp. 8–11; conference, and I presented the keynote ad- “The Cadmiologia of Johann Gottlob Lehmann: dress. The proceedings will be published in A Sourcebook for the History of Preindustrial Glass Furnaces in Central Europe,” Journal of Chinese in 2006 and in English at a later Glass Studies, v. 47, 2005 (hereafter, JGS), pp. date. After the conference, I traveled to Bei- 121–136. jing to lecture and to examine some recent Koob, Stephen P. “A French Feast: The Cor glass finds. ning Theatre in Context” (with Jutta-Annette Finally, we have undertaken the analysis Page), Annales de l’Association Internationale of some glass fragments and possible raw pour l’Histoire du Verre, v. 16, London, 2003 materials collected near the site of the first (Nottingham, 2005) (hereafter, Annales), pp. ancient glass furnace found in India. This 371–374 and color pls. 116–118; “Tricks with work, as well as follow-up projects, is being Epoxy and Other Casting Materials,” American conducted in collaboration with one of the Institute for Conservation Object Specialty recipients of the 2005 Rakow Grant for Group Postprints, v. 10, Washington, DC: the institute, 2005, pp. 158–172. Glass Research, Dr. Alok Kanungo. In the Oldknow, Tina. 25 Years of New Glass Re- fall, we also continued our fieldwork on view, Corning: The Corning Museum of Glass, documentation of traditional glassmaking 2005; “Additions to the Glass Collection: Mod- in India. ern,” AR, pp. 14–16; “Design in an Age of Ad- At the Lisbon conference where we pre- versity,” Glass (The UrbanGlass Art Quarterly), sented our analyses of Egyptian blue, we no. 99, Summer 2005, pp. 38–45; “Design in an moved into a new area for our department: Age of Adversity: Postwar Glass in Czechoslova- contemporary glass. We showed examples kia,” Modernism, v. 8, no. 2, Summer 2005, pp. of modern chemical analogues of ancient 82–91; “Jury Statement” and “Notes,” New Egyptian blue that might provide studio Glass Review 26, Corning: The Corning Museum glass artists with new materials and new of Glass, 2005, pp. 72–74 and 101–103; “Mate- rial Witness: The Object and Memory,” in Lieve ways to work with them. Van Stappen: Fading Memories (exhibition cata- Looking forward, 2006 promises to in- log), Sars-Poteries: Musée-Atelier du Verre, 2005, volve a similarly wide range of subjects, of pp. 5–15; “MexicaniDada: The de la Torres’ Fine geography, and of historical periods. Art of Sacrifice,” in Einar and Jamex de la Torre: Intersecting Time and Place, Tacoma, WA: The Robert H. Brill Museum of Glass: International Center for Con- Research Scientist temporary Art, and Seattle: University of Wash- ington Press, 2005, pp. 7–22; “Mid-20th-Century *** Glass in Czechoslovakia: Design in an Age of Adversity,” The World of Antiques & Art, v. 68, Curatorial Activities February–August 2005, pp. 72–76; “Painting and Sculpture in Glass: Czech Design Drawings from Publications the 1950s and 1960s in The Corning Museum of Brill, Robert H. “Chemical Analyses of Some Glass,” in Czech Glass, 1945–1980: Design in an Sasanian Glasses from Iraq,” in David White- Age of Adversity, ed. Helmut Ricke, Stuttgart: house, Sasanian and Post-Sasanian Glass in The Arnoldsche Publishers, 2005, pp. 58–73. Corning Museum of Glass, Corning: the museum, Spillman, Jane Shadel. Editor, The Glass Club 2005, pp. 65–88; “Egyptian Blue, Chinese Blue Bulletin (GCB), National American Glass Club, & Purple, and Some of Their Chemical Ana- nos. 201–203, 2005; “Additions to the Glass Col logues,” Glass Science in Art and Conservation, lection: American,” AR, pp. 11–13; “The Auto- New University of Lisbon Campus, Caparica, matic Crystal Fountain,” Annales, pp. 298–300; Portugal (extended abstracts), 2005, pp. 83–87; “Curious Finds,” GCB, no. 201, Spring/Summer “Scientific Research,” The Corning Museum of 2005, pp. 17–18; “The Egginton Family: Glass- Glass Annual Report 2004, Corning: the muse- makers on the Move,” GCB, no. 203, Winter um, 2005 (hereafter, AR), p. 40; “Some Small 2005, pp. 5–16; “A Glass Engraver’s Design Glass Beads from San Salvador Island,” Glass Book, 1860–1880,” The Magazine Antiques, v. Science in Art and Conservation, Marinha 168, no. 2, August 2005, pp. 64–69; “Glasshouse Grande, Portugal (extended abstracts), 2005, Money: A Real Medium of Exchange,” GCB, no. pp. 135–136. 202, Autumn 2005, pp. 10–13; “Glasshouse Mon

43 ey: A Real Medium of Exchange (Part Two),” Koob, Stephen P. “Cleaning Glass: A Many- GCB, no. 203, Winter 2005, pp. 16–19; “Robert Faceted Issue,” for American Institute for Con- A. Truitt, 1935–2005” and “Kenneth Morley servation Object Specialty Group Postprints, Wilson, 1922–2005,” GCB, no. 202, Autumn v. 11. 2005, pp. 17–18. Spillman, Jane Shadel. European Glass Fur- Whitehouse, David. Excavations at Siraf, Bu¯ nishings for Eastern Palaces, 2006. shehr: Bu¯shehr Branch of the Iranology Founda- Whitehouse, David. “Cut and Engraved Glass tion, 2005 (reprint of interim reports, with Farsi in the Islamic World between the Eighth and the translations and additional material by Gholam- 11th Centuries,” for Glass Technology, 2006; reza Masoomi); Sasanian and Post-Sasanian Glass “Glassmaking,” for Medieval Science, Technolo- in The Corning Museum of Glass, Corning: the gy and Medicine: An Encyclopedia, New York museum, 2005; 25 entries in Catherine Hess and London: Routledge; “Introduction,” for Jane and Karol Wight, Looking at Glass: A Guide to Shadel Spillman, European Glass Furnishings for Terms, Styles, and Techniques, Los Angeles: The Eastern Palaces; “An Unusual Fragment of Ayyu J. Paul Getty Museum, 2005; “David Frederick bid Glass,” for a Festschrift for Jens Kröger; “La Grose (1945–2004),” JGS, pp. 198–200; “David Verrerie” and six catalog entries for Les Perses Grose: His Contribution to the Study of Ancient Sassanides ou les fastes d’un empire oublié, ed. Glass” (obituary), Newsletter, Western Massa- F. Demange, Paris: Paris-Musées, 2006. chusetts Chapter of the Archaeological Institute of America, v. 18, no. 2, Winter/Spring 2005, pp. Lectures 3–4; “Director’s Letter” and “Favorite Things,” Brill, Robert H. “Egyptian Blue, Chinese Blue The Gather (Corning Museum of Glass newslet- & Purple, and Some of Their Chemical Ana- ter), Spring/Summer 2005, p. 2; “Director’s Let- logues,” Glass Science in Art and Conservation ter,” The Gather, Fall 2005/Winter 2006, p. 2; conference, Lisbon, Portugal; “Opening Remarks “Executive Director’s Report” and “Additions to and Setting the Stage,” Ancient Glass along the the Glass Collection: Ancient,” AR, pp. 2–7 and Silk Road conference, Shanghai, China; “Scien- 8; “Foreword,” in Kenneth M. Wilson, Mt. Wash tific Investigations of Chinese Glass,” China Na- ington & Pairpoint Glass, v. 1, Woodbridge, Suf tional Institute of Cultural Properties, Beijing; folk: Antique Collectors’ Club, 2005, pp. 7–8; “Silk Road Glass,” staff training lecture at The “Glass from the Crusader Castle at Montfort,” Corning Museum of Glass; “Some Small Glass Annales, pp. 198–200; “Introduction,” “An Ar- Beads from San Salvador Island,” glass history chaeological Overview (abstract),” and “Domes- sessions in Marinha Grande, Portugal. tic Architecture (abstract),” in Proceedings of the Gudenrath, William. “A History of Enameling International Congress on Siraf Port, Bu¯shehr, on Glass,” Lisbon, Portugal. November 14–16, 2005, Bu¯shehr: Bu¯shehr Kerssenbrock-Krosigk, Dedo von. “Das Kri- Branch of the Iranology Foundation, 2005, pp. stallglas und seine Entwicklung gegen Ende des 1–8, 215, and 216; “Rakow Research Library 17. Jahrhunderts” (Crystal and its development Acquires Tiffany and Lalique Archives,” JGS, in the late 17th century), Tradition and Innova- pp. 190–192; review of E. M. Stern, Roman, tion: Czech Glass and Its Context, Fourth Inter- Byzantine and Early Medieval Glass, 10 BCE– national Conference on the History of the Manu 700 CE: Ernesto Wolf Collection, in Bibliotheca facture of Glass and Glass Jewelry, Nový Bor and Orientalis, v. 62, nos. 1/2, 2005, cc. 144–146. Jablonec nad Nisou, Czech Republic; “A History of New Beginnings: Glass in Bohemia, 1350– Manuscripts Completed 1850,” 44th Seminar on Glass, The Corning Mu Brill, Robert H. “Chemical Analyses of the seum of Glass (hereafter, SG 44). Glasses from Jarrow and Wearmouth,” chapter Koob, Stephen P. “Adhesives for Glass Conser in final excavation report on the site; “Chemical vation,” Glass Science in Art and Conservation Analyses of the Serçe Limanı Glasses,” chapter conference, Lisbon, Portugal; “Care, Cleaning, in excavation report on glass from the Serçe Li and Conservation of Glass,” Fellows lecture, manı shipwreck; “Opening Remarks and Setting The Corning Museum of Glass. the Stage,” for Ancient Glass along the Silk Road, Oldknow, Tina. “Latin American Art in Glass: 2005 International Symposium on Glass in Con- Silvia Levenson and Einar and Jamex de la Torre,” nection with the Annual Meeting of the Interna- SOFA (Sculpture, Objects, and Functional Art) tional Commission on Glass, Shanghai, China exposition, Chicago, IL; “MexicaniDada: The (in Chinese). de la Torres’ Fine Art of Sacrifice,” Museum of Gudenrath, William. “Enameled Glass Vessels, Glass: International Center for Contemporary 1425 B.C.E.–1800: The Decorating Process,” for Art, Tacoma, WA; “New Glass Review: What Journal of Glass Studies, v. 48, 2006. Makes the Cut?,” BeCON (Bullseye Glass con-

44 ference), Portland, OR (keynote lecture); “No- oratory; chairman, Technical Committee 17, tions of Landscape in Glass,” Canberra School International Commission on Glass. of Art, Canberra, Australia; “Recent Czech Glass: Mills, Mary Cheek. First vice president, Na- Trends and Influences in Contemporary Sculp- tional American Glass Club; taught Topics in ture,” SG 44; “Redrawing the Map of Mid-Cen- Glass for the M.A. program in decorative arts tury,” Christie’s, New York, NY. at the Cooper-Hewitt National Design Museum, Spillman, Jane Shadel. “All That Glitters,” Mt. Smithsonian Institution, New York, NY. Washington Art Glass Society conference, New Oldknow, Tina. Secretary, American Craft Bedford, MA; “American Cut Glass,” Oklahoma Council, New York, NY; juror, Coburg Glass City Early American Glass Club, Oklahoma City, Prize, Kunstsammlungen der Veste Coburg, Co- OK; “American Cut Glass at the End of the 19th burg, Germany; member of advisory committee, Century,” Henry B. Plant Museum, Tampa, FL; North Lands Creative Glass, Caithness, Scot- “Eyewitness: Frederick Carder’s 1902 Visit to land; member of editorial advisory committee, Germany and Bohemia,” SG 44; “Fakes and For Object magazine, Sydney, Australia, and Glass geries in American Glass,” Seminar on American Quarterly magazine, Brooklyn, NY; member of Glass, Eastfield Village, East Nassau, NY; “Mid- international council, Pilchuck Glass School, western Glass,” Chicago chapter, National Amer Stanwood, WA; panel moderator, “The Design ican Glass Club; “Tiffany and His Competitors,” Element,” North Lands annual conference, Lyb- The Charles Hosmer Morse Museum of American ster, Caithness, Scotland. Art, Winter Park, FL. Spillman, Jane Shadel. Secretary, Association Whitehouse, David. “Cut and Engraved Glass Internationale pour l’Histoire du Verre (hereafter, in the Islamic World” (17th Turner Memorial AIHV); attended American Association of Mu Tête-à-tête service, Lecture), Sheffield University, Sheffield, England; seums annual meeting and participated in panel blown, applied, cut, “East of Suez: Glass of the Sasanian Empire,” discussion “Turning the Tables: Putting Our Pro- gilded; tray of mirror SG 44. fession on Public Display” in Indianapolis, IN; glass with brass mounts; attended American Cut Glass Association con- case leather-bound, with Other Activities ference, Oak Brook, IL; planned and led tour enameled brass fittings. Brill, Robert H. Helped to organize and attend to Scandinavia and St. Petersburg for Museum France, 1823 or earlier; leather case made by ed Ancient Glass along the Silk Road conference Members. Jardin of Geneva, Switz in Shanghai, China, and Glass Science in Art and Whitehouse, David. Board member, AIHV erland, dated 1823. OH. Conservation conference in Lisbon, Portugal; pre and American Friends of Chartres Cathedral; (coffeepot) 14.6 cm, H. sented keynote lecture at the first of these two trustee, Rockwell Museum of Western Art, (cups) 11.2 cm, D. (tray) conferences. Corning, NY. 28.9 cm (2005.3.7). Gudenrath, William. Demonstrated glassmaking techniques at Marinha Grande, Portugal; took part in Roman Glassmakers’ experiment in Eng- land; lectured and demonstrated at the Speed Art Museum, Louisville, KY. Kerssenbrock-Krosigk, Dedo von. Started a re search and conservation project on a 16th-century German house altar in the Museum’s collection that has severely damaged reverse paintings on glass. The project is funded by The Getty Foun- dation, Los Angeles, and is expected to take two years. Simone Bretz, a specialist in the conservation of reverse paintings in Munich, Germany, has been commissioned to restore the glass panes. Johannes von Miller, also of Germany, will assist with the restoration of the wooden frames. Koob, Stephen P. Taught “Conservation of Glass,” one-week course co-sponsored by The Corning Museum of Glass and International Ac- ademic Projects at Sydonie (Orlando), FL; taught and supervised two student conservators from the New York University Conservation Program for two weeks at the Samothrace Museum, Samo thrace, Greece; taught and supervised three in- terns in the Corning Museum’s conservation lab-

45 Sasanian and Post-Sasanian Glass Journal of Glass Studies Publications in The Corning Museum of Glass Volume 47, 2005. 248 pp., illustrations. David Whitehouse, with a contribution $40.00. by Robert H. Brill 112 pp., 75 color illustrations, drawings. The topics of the nine articles in this $65.00. volume include glasses found in Beirut, the Muranese specialty of aventurine, the Between the early third and mid-sev- origins of Venetian beadmaking, and Bo- Sasanian and enth centuries, the Sasanians ruled a vast hemia’s Harrach Glassworks, which is Post-Sasanian Glass empire that extended from Mesopotamia nearing its 300th anniversary. There are in the Corning Museum of Glass to parts of Central Asia. Some Sasanian also studies of two remarkable documents: glass was similar in form and decoration the Cadmiologia of the Prussian mining to Roman production, but other pieces director Johann Gottlob Lehmann, which were inspired by a specifically Iranian features the most detailed available ac- style. count of a preindustrial wood-fueled glass This catalog contains 72 objects in the furnace; and a portfolio written by Jacob Museum’s collection that are believed to Cist, a founding partner of the first glass- be Sasanian or “post-Sasanian” (i.e., made works in Washington, D.C., that provides DaviD Whitehouse in Sasanian style in the centuries imme important insights into the mid-Atlantic diately following the fall of the Sasanid glass industry between 1807 and 1818. dynasty). No Sasanian glass collection of comparable size and variety has yet been New Glass Review 26 published. 128 pp., 184 color illustrations. $10.00. The book is divided into eight sections. 25years Each catalog entry consists of a detailed This report on glassmaking develop- of description, usually accompanied by a ments features 100 of the most innovative NewGlass comment on the significance of the object works made between October 1, 2003, Review and notes on similar pieces in other col- and October 1, 2004. A panel of four lections. jurors selected these objects from 2,528 The Corning Museum of Glass slides submitted by 936 individuals and 25 Years of New Glass Review companies from 41 countries. Works by Tina Oldknow artists from 21 countries were chosen. 247 pp., 200 color illustrations. $29.95. The Review also includes notes on Sil-

J O U R N A L O F via Levenson, recipient of the Museum’s GLASS This book presents 200 of the 2,500 2004 Rakow Commission, and the new STUDIES photographs of contemporary glass that Contemporary Glass Gallery of the Vic- appeared in New Glass Review between toria and Albert Museum in London. 1980 and 2004. The author, the Museum’s curator of modern glass, says that the vol An Introduction to Flameworking ume “is not about what or who is best in with Emilio Santini glass. It is about what I think has been sig 34-minute color video. $29.95 (VHS); nificant in the field and who I think has $34.95 (DVD); $35.95 (PAL). made an important contribution to it, as

VOLUME 47 • 2005 reflected in the pages of New Glass Re- This video is the second volume in the THE CORNING MUSEUM OF GLASS view.” The works selected for this over- Foundations Series of The Studio of The view emphasize “the excellence of the idea Corning Museum of Glass, which is de- or function, as well as the high quality of signed to help beginning students learn the aesthetic or technique.” basic glassworking techniques. It features The five sections of the book are de- Emilio Santini, who was born into a fam- voted to vessels, sculpture, flat/painted ily with a 600-year-old glassblowing tra- glass, installations/architectural glass, and dition on the island of Murano, Italy. design. Each section is introduced with This popular instructor presents the ba- an essay that briefly discusses the works. sics of both hollow ware and solid work.

46 Operating Results exhibitions, glassmaking demonstrations, and hands-on experiences. Individual and Financial With growing visitation, increased family visitation was flat to 2004, impacted earned revenues, and strong financial sup- by unusually good summer weather. Motor- Report port from Corning Incorporated, the Muse- coach visitation, on the other hand, was um was able to operate within budget and strong, increasing 18 percent over 2004, generate a small operating surplus in 2005. and returning to pre-9/11 levels. Visitor rev- In addition, significant donor activities for enue per capitas averaged $24 from Admis- glass and library acquisitions, along with sions, the GlassMarket, Food Services, and Studio programs, surpassed $1 million. The the Studio’s Walk-in Workshop. More than support of our donors allows the Museum 20 percent of the Museum’s individual and to continue to build the world’s foremost family visitors participated in a glassmaking collections of glass and glass-related library experience at the Walk-in Workshop, up materials, and to provide outstanding edu- from 16 percent in 2004. cational programs. The following pie charts summarize the Visitor attendance grew five percent in Museum’s 2005 operating results. 2005, with continued excitement for glass

Corning Incorporated Museum CashCo Contributions 4% 63% Admissions Earned Revenues 6% and Other Support: Sales from $32,366,000 Other Support Earned Revenues Merchandising and Food Services 15%

Studio and Education Programs 4% Other Revenues and Contributions 8%

Marketing and Public Relations 6% Information Services General 2% Administration 23% Acquisitions Operating Expenses 5% and Acquisitions: Support Services $31,777,700 Curatorial Exhibitions, Research Program Services Cost of Sales: 19% Merchandising, Food 7%

Publications Merchandising 1% and Food Services Studio and Education 11% Programs Visitor Services Library Services 14% 8% 4%

47 The Corning Museum of Glass Statements of Revenues and Expenditures Years Ended December 31, 2005 and 2004 (Amounts in Thousands)

The following comparative statements consolidate the Museum’s unrestricted, temporarily restricted, and permanently restricted activities.

2005 2004 Revenue, gains, and other support: Contributions from Corning Incorporated $ 20,470 $ 11,698 Admissions 1,804 1,804 Sales from merchandising and food services 4,821 4,714 Studio and education programs 1,384 1,272 Other revenues and contributions 1,684 835 Interest and dividends 574 462 Net appreciation (depreciation) of investments _____426 (3,883) Total revenue, gains, and other support 31,163 16,902

Expenses: Program Services: Curatorial, exhibitions, and research 5,947 5,826 Studio and education programs 4,546 4,170 Library services 1,221 1,171 Publications 433 412 Visitor services 2,440 2,418 Merchandising and food services 3,599 3,534 Cost of sales from merchandising and food services 2,238 2,260 Total program services 20,424 19,791

Support Services: General administration 7,399 7,036 Marketing and public relations 1,734 1,513 Information services 624 612 Total support services 9,757 9,161

Acquisitions: Purchases for the glass collection 1,426 837 Purchases for the library collection 171 214 Total acquisitions 1,597 1,051

Total expenses 31,778 30,003

Other: Minimum pension costs (555) (502)

Change in net assets (1,170) (13,603)

Net assets at beginning of year 23,147 36,750

Net assets at end of year $______21,977 ______$ 23,147

48 The Corning Museum of Glass Statements of Financial Position Years Ended December 31, 2005 and 2004 (Amounts in Thousands)

2005 2004 Assets: Cash and cash equivalents $ 2,969 $ 3,577 Accounts receivable 82 36 Other receivables, Rockwell Museum 49 225 Inventories 889 688 Contributions receivable 250 4 Other assets _ 110 88 Total current assets 4,349 4,618

Investments 17,854 17,089 Fixed assets 3,812 4,129 Intangible pension costs 67 80 Total assets ______$ 26,082 ______$ 25,916

Liabilities and net assets: Accounts payable $ 495 $ 226 Accrued liabilities 466 546 Post-retirement benefits other than pension 26 27 Total current liabilities 987 799

Accrued pension liability 1,370 549 Post-retirement benefits other than pension 1,748 1,421 Total liabilities 4,105 2,769

Net assets: Unrestricted 20,131 21,410 Temporarily restricted 481 377 Permanently restricted 1,365 1,360 Total net assets 21,977 23,147

Total liabilities and net assets ______$ 26,082 ______$ 25,916

Notes to Financial Position Also reported in unrestricted net assets at December 31, 2004, was $1 million in remaining proceeds from Unrestricted Net Assets the sale of Avanex stock in 2004. These proceeds were The major component of unrestricted net assets is the utilized in 2005 for operating expenditures. Museum Operating Reserve Fund, which was $16.4 mil Other unrestricted net assets decreased $1.2 million lion at the end of 2005, up from $15.5 million at the end from various increases and decreases in other assets and of 2004, an increase of $900,000 from interest, capital liabilities during 2005. gains, and unrealized gain on stock value. This fund was established in 2001 from the proceeds on the sale of Temporarily Restricted Net Assets stock previously contributed by Corning Incorporated. Grants and contributions to the Museum with donor In 2005, no funds were utilized to support the operating restrictions exceeded $580,000 in 2005, more than dou- budget. ble the 2004 contributions of $284,000. Donors (listed

49 on pages 53–54) made a significant contribution to the Financial Outlook Museum’s programs, activities, and acquisitions in 2005. With the beginning fund balance of $377,000 and The operating budget for fiscal year 2006 has been the new contributions, the Museum spent more than set with expectations for continued growth in visitation, $500,000 on the following activities: earned revenues, and support from Corning Incorporat- ed. Operating and acquisition expenditures for the year 2005 2005 are expected to total $32.7 million, an increase of six Contributions Expenditures percent over 2005. The 2006 deficit from operations is projected to be Glass acquisitions $405 $380 $10 million, up from $9 million in 2005. Corning Incor- Library acquisitions 25 31 porated is budgeted to contribute $10 million in 2006, Scholarships and awards 51 47 and no funds are expected to be drawn from the Muse- Grants, other _100 __43 um Operating Reserve Fund for 2006 operations. Total $581 $501 Audited Financial Statements Permanently Restricted Net Assets The permanently restricted net assets are restricted to The complete financial records of the Museum are investments in perpetuity, the income from which is ex- audited on an annual basis. The financial information pendable to support library acquisitions and annual provided for 2004 is post-audit, while that for 2005 is awards for excellence in glass. In 2005, $20,000 was ex- pre-audit. The 2005 audited financial statements and ac- pended, $13,600 in grants for the Rakow Commission companying notes to the financial statements are avail- and the Rakow Grant for Glass Research, and $6,400 in able upon request from the Museum Controller. library acquisitions. Nancy J. Earley Director of Finance and Administration

Bowl, pressed. U.S., Bowl, “Arabesque” pat- probably Massachusetts, tern, blown, cut, pol- Boston, about 1825– ished. U.S., Corning, 1830. H. 6.5 cm NY, J. Hoare and Com- (2005.4.54). pany, 1889–1895. H. 10.6 cm (2005.4.24).

50 Leadership Team Edward J. Cornelius Diane E. Hoaglin Lesley G. Murphy Audiovisual Coordinator Guest Services Associate Collection Management Robert K. Cassetti Museum Specialist Director, Marketing Julia A. Corrice Elizabeth J. Hylen and Guest Services Serials Assistant Reference Assistant Shawn W. Murrey Assistant Facility Staff Ellen D. Corradini Laura A. Cotton Scott R. Ignaszewski Coordinator, The Studio Human Resource Manager Curatorial Research Assistant Audiovisual Coordinator Nancy J. Earley John P. Cowden Nedra J. Jumper Aprille C. Nace Staff as of Director, Finance and Hot Glass Show Supervisor Administrative Assistant, Public Services Team Leader December 31, 2005 Administration Marketing and Guest Lynn M. Creeley Victor A. Nemard Jr. Services E. Marie McKee GlassMarket Area GlassMarket and Guest President and CEO Coordinator Kathy A. Kapral Services Manager Acquisitions Assistant David B. Whitehouse Laurie J. Derr Tina Oldknow Executive Director Technical Services Assistant Jonathan J. Keegan Curator, Modern Glass GlassMarket Stock Associate Diane Dolbashian Erin A. O’Neil *** Librarian George M. Kennard Special Projects Gaffer/Narrator Coordinator, The Studio Donna L. Ayers Elizabeth M. Duane Web/PC Imaging Deputy Director, Marketing, Dedo C. von Kerssenbrock- Miriam M. Paul Technician Communications, and Sales Krosigk Membership and Human Curator, European Glass Resource Coordinator Milka S. Todorova Peter Bambo-Kocze Matthew K. Eaker GlassMarket Area Bibliographer Maintenance Technician Thomas M. Knotts Nancy J. Perkins Coordinator Executive Secretary Events Coordinator Gail P. Bardhan Peggy J. Ellis David R. Togni Jr. Reference Librarian Guest Services Associate Stephen P. Koob Shelley M. Peterson Controller Conservator Retail Operations and Kristy M. Bartenstein Shirley K. Faucett Guest Services Supervisor Sheila S. Tshudy Education Coordinator GlassMarket Area Valerie M. Kretschmann Cataloguing Specialist Coordinator Accounting Associate Donald G. Pierce Deborah K. Bates Gaffer John S. Van Otterloo Guide Services Coordinator Warren M. Faucett David A. Kuentz Web Coordinator Storage Facility Associate Audiovisual Technician Martin J. Pierce Jeannine M. Bates Information Technology Lynn R. VanSkiver GlassMarket Associate A. John Ford Lynn H. Labarr Technician Guest Services Associate Guest Services Associate/ Gaffer Billie Jean Bennett Interpreter Richard W. Price Karen L. Vaughn Consumer Sales Assistant JoAnne M. Leisenring Head, Publications Visitor and Student Andrew M. Fortune Guest Services Associate JoAnne Bernhardt Department Coordinator, The Studio Assistant Photographer/ Guest Services Associate Suzette L. Lutcher Digital Image Specialist/ Cassandra J. Putman Ling Wang GlassMarket Team Leader Mathew R. Bieri Mount Maker Assistant Buyer Database Administrator Storage Facility Coordinator Joseph J. Maio Jr. Lori A. Fuller Jacolyn S. Saunders Heather A. Weber Exhibitions Coordinator Frederick J. Bierline Technical Services Team Publications Specialist Group Sales Manager Louise M. Maio Operations Manager Leader Amy J. Schwartz Gladys M. West Public Programs Kelly L. Bliss Lekova K. Giadom Deputy Director, Education Walk-in Workshop Coordinator Cataloguer Assistant Preparator Programs and The Studio Coordinator Mary S. Malley Flora A. Bonzo Steven T. Gibbs Harry E. Seaman Melissa J. White GlassMarket Associate Tour Reservations Manager, Events Marketing Facility Supervisor, Assistant Collection Coordinator Julie A. McAlinn The Studio Management Specialist William J. Gilbert Secretary, Rakow Research Jacqueline M. Brandow Safety Manager Carl A. Siglin Tina M. Wilcox Library Walk-in Workshop Assistant Facility Coordinator, Accounting Associate Eric S. Goldschmidt Linda R. McCollumn The Studio Nancy R. Brennan Walk-in Workshop Assistant/ Nicholas L. Williams Walk-in Workshop Assistant Buyer Resident Flameworker Tina S. Snow Photographic Department Linda K. McInerny Marketing and Communica- Manager Robert H. Brill Barbara J. Gordnier GlassMarket Associate tions Coordinator Research Scientist GlassMarket Associate Nicholas C. Wilson Eric T. Meek Jane Shadel Spillman GlassMarket and Guest Ser- Elizabeth R. Brumagen William Gudenrath Gaffer Curator, American Glass vices Technical Coordinator Reference Librarian Resident Adviser, The Studio Deborah G. Mekos June E. Stanton Shana L. Wilson Ann M. Bullock Sheila A. Guidice Advertising and Creative GlassMarket Supervisor Assistant to the Research Constituent Management Leisure Sales Manager Services Specialist Scientist Specialist Frank H. Starr Bonnie L. Hackett Lisa D. Miller-Gray Gallery Educator and Violet J. Wilson Warren M. Bunn II GlassMarket Area Senior Accounting Associate Weekend Supervisor Administrative Assistant, Registrar Coordinator Mary Cheek Mills Charles C. Stefanini Curatorial Department Nivedita Chatterjee Brandy L. Harold School and Docent Information Technology Processing Archivist Assistant Registrar Programs Manager Technician Eleanor T. Cicerchi Myrna L. Hawbaker Timothy M. Morgan Yvette M. Sterbenk Development Director Telephone Administrator/ Information Technology Communications Manager Receptionist Margaret C. Comstock Technician Jill Thomas-Clark Inventory Control Stephen Hazlett Rights and Reproductions Coordinator Preparator Manager

51 Docents Docents The Museum has an extremely committed group of docents. We began the year with 53 and docents, who were joined in the fall by 14 new docents. Our docents led more than 1,200 tours in 2005. Docents participate in monthly meetings, where they learn about our exhibi- Volunteers tions and how to present our collection to the public. New docents take part in a 10-week training program. These docents, and their years of service to the Museum, are:

Philip Addabbo, 14 Charles Ellis, 4 Patricia Lynch, 5 Sharon Ryerson, 1 Barbara Cooper James Bange, 6 Nancy Evans, 3 Mary Margeson, 1 Loris Sawchuk, 25 Dee Eolin Kathryn Baumgardner, 5 Sherry Gehl, 5 Mia McNitt, 1 Tracey Simoniti-Stocker, 4 Nathalie Gollier Bonnie Belcher, 8 Cheryl Glasgow, 1 Daniel Minster, 1 Gisela Smith, 2 Catherine Herve Karen Biesanz, 1 Thomas Hart, 4 Virginia Minster, 1 Joseph Strait, 1 Roberta Hirliman Kylie Blaylock, 1 Virginia Hauff, 5 Martha Olmstead, 5 Patricia Thiel, 13 Suzanne Jeffery Barbara Burdick, 4 Eloise Hopkins, 4 Roberta Osgood, 2 Steve Tong, 2 Steven Levine Richard Castor, 5 William Horsfall, 3 Tami Peterson, 3 Edward Trexler, 3 Dennis Lockard Zung Sing Chang, 3 Mary Ellen Ivers, 16 William Plummer, 3 Florence Villa, 2 Connie McCarrick Mary Chervenak, 14 Carla Dyer Jaeger, 2 Barbara Powell, 1 Donald Walker, 5 Mark Stocker Anne Darling, 1 Albert Johnson, 4 William Powell, 1 Mechtild Zink Marilyn Denson, 1 John Kohut, 1 Anna Rice, 7 New docents are: Marcelline Dunn, 5 Jean Krebs, 3 Lucille Richter, 18 Jerry Altilio Jean Ecklund, 5 Lenore Lewis, 7 Martha Ritter, 4 Melissa Bauco Shirley Edsall, 5 Doris Lundy, 14 Karen Rowe, 1 Sharon Colacino

Volunteers For more than 50 years, volunteers have been fundamental to the success of many Muse- um activities. In 2005, volunteers supported such programs as 2300°, Kids’ Night at the Mu- seum, the Little Gather storytelling hour, and our Holiday Open House. At special events hosted by the Museum, volunteers served as ushers, greeters, and ticket collectors. They also assisted staff members with mailings, data entry, telephoning, and filing. Our volunteers include scientists, teachers, nurses, and administrators, and they offer a broad range of skills. Their efforts are greatly appreciated. Volunteers in 2005 were:

Eloise Ackerson Kathleen Fordham Joy Sabol Tracey Everleth Joan Lese Stanley Ackerson Yolanda Giuffrida Pat Sabol Lee Fitzgerald Dick Lincoln Elaine Acomb Terri Grace Emma Schockner Johanna Fratarcangelo Stephanie Louch Marcia Adamy Awanda Hunt Connie Scudder Brandon Frisbie Adrian McGrady Hilda Allington George Hunt Donna Shaut Justin Gandy Mary Milliken Rose Baker-Paris Julie Hunt Deborah Smith Ernie Goodrich Amy Nichols Helen Bierwiler Tom Hunt Carolyn Stephenson Sarah Goodrich Dave Patil Nancy Burdick Joan Jacobs Joseph Stutzman Susan Goodrich Kimberly Price Annette Bush Sally Johnson Maria Stutzman Katie Grainda Danielle Remy Louise Bush Rossette LaBreque Genevieve Tarantelli Zach Grosser Ron Remy Terry Callahan June Laughlin Winifred Thom Sarah Grossman Jamie Ricci Margaret Carter Lee Mertson Joanne Woodruff Katie Guardino Don Rogers Charles Chase Mildred Miles Radha Wusirika Elaine Hardman Pauline Root Lois Chase Julie Miller Rick Hardman Adrianna Ruggiero Sally Childs Lori Mitchell New volunteers were: Amelia Hawbaker Caroline Sonnefeld Harold Cook Janet Mong Kimmie Baer Olivia Hawbaker Southern Tier Indian Phyllis Cook Erin Nagyfy Elsene Bartlett Jason He Cultural Association Mary Ann Cross James Nelson Aaron Briggs Amanda Hendrick Kaylin Stephenson Carole Cummings Jane Nelson Jacob Burdick Phillip Hess Melody Stroell Diana Cushing Janet Oliver Terry Burlingame The Islamic Center of Sean Terry Beverly Dates Kavita Patil Chemung Chinese the Finger Lakes Brian Wich Rita Donnelly Frances Pierce School Justine Jividen Caitlin Woodruff Charles (Dick) Evans Shelley Pierri Corning Chinese Matthew Kemp Lindsay Woodruff Dorothy Ferreira Rocco Pucchio Association Sehar Khalid Alison Xie Helene Ford Rose Pucchio Jeremy Cummings Katie Kremer Lucy Xie Willis Ford Roxanne Reed Nick Eaton Monique Lattimer