Reviews on Nº 7 2019

ICOM Lectures: ICOM Glass Annual Meeting GLASS in Sars-Poteries () 2017 Edit

ICOM international committee GLASS for museums and collections of glass

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

Editorial and Board Members Reino Liefkes. Chair Teresa Medici. Secretary Sven Hauschke. Treasurer Katarina Benova Elvira Schuartz Paloma Pastor María Luisa Martínez

English text correction Amy McHugh

Coordinator of this journal Paloma Pastor

Cover illustration Harvey K. Líttleton, Sculpture, 1968. © Paul Louis

Back cover Illustration Les mascottes. © Musée Lalique

Layout Cyan, Proyectos Editoriales, S.A.

© 2019 ICOM Glass and authors

ISSN: 2227-1317

Journal sponsored by ICOM. International Council of Museums

No part of this magazine may be used or reproduced without the written permission of the publisher. ICOM Glass can not accept any responsibility for errors or inaccuracies in the information.

Vase en verre soufflé, avec projection d’émaux, inv. 2017.2.3. Don Barlach Heuer. © Musée du verre, Conches / Paul Louis. SUMMARY 4

Lectures 4 Le Stanze del Vetro 12 Glass, why not? 16 Momignies, Beauwelz, Macquenoise: du verre au rêve 24 Glass in the Region from the 18th Century to the Present 33 Georges Despret (1862-1952), l’aventure artistique d’un industriel verrier 39 The history and highlights of the glass collection in the State Pushkin Museum of Fine Arts, Moscow, Russian Federation 47 Le Musée du Verre de : une histoire, un musée, une collection 56 The Conches Glass Museum: its creation, collections and future 63 Le musée Lalique 70 Museum/Center of Glass art, Carmaux, South of France 74 80

Interview Vice VERsa, News 80 Congresses & Exhibitions Sally Fawkes 81 Book review 82 News 84 86

Memories Members Converging Connections. © Paul Louis. FOREWORD

The ICOM International Glass Committee is proud to present the seventh issue of its official publication Reviews on Glass. In this publication we present news of the activities of our Committee and provide a forum for our members to share common issues and remain up to date with the latest developments in our field.

In 2018, the ICOM Glass Committee held its annual meeting in St. Petersburg in , hosted by the State Hermitage Museum and organized by Curator Elena Anisimova. The meeting with the theme ‘Glass museums and collections in Russia’, attracted an ICOM Glass record number of 74 participants. 29 of these were from Russia. This was the first time ICOM Glass organized a meeting in Russia and the opportunity to interact with so many Russian colleagues has made this very successful annual meeting into one of our most fruitful and memorable ones.

Our successful meeting has reflected positively on our membership, which increased by an impressive 23 % from 2017 to 2018, to a total of 143 voting members! Within this total our number of institutional members rose from 20 to 23. Our diversity profile has also increased, and we now represent 30 different countries, up from 24. Over 80 % of our members is still from Europe, but we were pleased to see the number from the Asia/Pacific region double, from 4 to 8.

During 2018 we continued develop our Website. http://network.icom.museum/glass, where we publish our yearly newsletter http://network.icom.museum/glass/our-publications/annual-newsletter/. For the historic part of our Website, we are still looking for any issues of our Newsletter, programme or list of participants of our meetings before 1985. Please let us know if you have any! Please join us on Facebook (International Committee for Museums and Collections of Glass) or follow us on Instagram (icom_glasscommittee).

In this issue of Reviews on Glass we publish a selection of the papers presented at the ICOM GLASS annual meeting 2017, organized by the MusVerre in Sars-Poteries, France. The theme of our meeting was: New museums: documenting the past and reviving glass-making traditions and focussed on the industrial glassmaking area in Northern France and . I am pleased to include an interview with Anne Vanlatum, Artistic Director of the MusVerre as well as articles about glass and glass museums in France and Belgium and beyond.

I would like to thank those speakers who have taken the effort to turn their spoken papers into wonderfully illustrated published text. Finally, I would like to take the opportunity to thank Paloma Pastor – supported by Amy McHugh and Teresa Medici – for editing and putting together this issue.

Reino Liefkes, outgoing Chairperson ICOM International Glass Committee LECTURES

Carlo Scarpa, Rigati e Tessuti. Installation view. © Ettore Bellini.

4 LECTURES ICOM International Committee for Museums and Collections of Glass annual meeting 2017 was held in Sars-Poteries, (France), and organized by the MusVerre from 16th to 20th of October.

The paper sessions explored the theme: New museums: documenting and reviving glass-making traditions. In this new issue we present a selection of lectures given at this meeting thanks to Mrs. Aude Cordonnier, director of the MusVerre and Mrs. Anne Vanlatum artistic director of the museum and member of ICOM Glass Committee. Le Stanze del Vetro

Manuela Divari. LE STANZE DEL VETRO

LE STANZE DEL VETRO (Rooms contemporary forms of for Glass) is a cultural project glassmaking. and a permanent exhibition space located on the Island of LE STANZE DEL VETRO is San Giorgio Maggiore in . located in a former boarding school on the island. With 650 Founded in the summer of 2012 square metres of exhibition from the collaboration between space, the exhibition centre the Swiss nonprofit Pentagram hosts not only exhibitions but Stiftung and Fondazione Giorgio also conferences, workshops Cini it is dedicated to the study and other events dedicated and display of modern and to glass.

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The restoration was carried out contemporary artists, who For this reason, every year until by New York based architect have used glass as an original 2021, two exhibitions will be Annabelle Selldorf. means of expression, and to staged on the island. highlight and study the The cultural initiatives leading producers and major The first in spring, dedicated to of LE STANZE DEL VETRO are collections of glass the use of glass in the fields of dedicated both to promote worldwide. art and design of the 20th and 21st century; the second, in autumn, dedicated to the talented designers who created objects for the Venini glassware company in the 20th century.

Parallel to the exhibition program, LE STANZE DEL VETRO holds a series of special projects, often site-specific, where contemporary artists (Swiss artist Not Vital in 2013, Japanese photographer Hiroshi Sugimoto in 2014 and American artist Pae White in 2017) are invited to consider and create a work using glass as an artistic medium.

In addition to their installation, the artists are offered the opportunity to create a unique art object made of glass from .

The concept of these temporary installations is to allow an internationally acclaimed artist to work on a large scale, and to engage with the space between sculpture and architecture.

Each project will be presented over two years, during Venice’s Art and Architecture Biennales, aiming to address both of their respective audiences as well as This slide sums up the exhibitions held until now at LE STANZE DEL VETRO. the public at large.

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flow of the Gualala river in Northern California, which the work echoes in both its structure and layout.

As part of LE STANZE DEL VETRO project, the Fondazione Cini, with the support of Pentagram Stiftung, has set up a Glass Study Centre within its Institute of Art History. The centre aims at becoming a reference point for the international scientific community, for the study of the glass medium as a living and Pae White, Qwalala. ® Ph. Enrico Fiorese. topical material.

The Glass Study Centre is promoting the creation of a comprehensive Archive on , in order to gradually incorporate the historical archives of Murano- based furnaces, which include drawings, plans, letters and photos.

Furthermore, the Glass Study Centre aims to set up a specialized library, at organize seminars, conferences and workshops for scholars and artists interested in the history, Paolo Venini and his furnace. Installation view. ® Ph. Enrico Fiorese. technology and developments in glassmaking.

This image refers to the running 75 metres long and up to 2.4 The first exhibition that installation Qwalala by Pae metres high, it occupies the inaugurated the space was ‘Carlo White. It is the second outdoor entire area opposite LE STANZE Scarpa. Venini 1932-1947’. installation commissioned by Le DEL VETRO. Stanze del Vetro and consists of a The show reconstructed his curving wall made of thousands The title of the piece, Qwalala, creative development as artistic of solid glass-bricks, each hand- is a Native American Pomo word director of the Venini cast in the Veneto region. and references the meandering Glassworks.

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It was organised around a selection of over 300 works. Some of them shown for the first time.

The works displayed were divided into approximately 30 types that varied according to technique and glass types from sommerso, to pennelate.

The exhibition explored the significance and importance of Scarpa’s glass design within his overall work, which involved continuous research into materials, colours and techniques, both traditional and Vasi-fazzoletto vetro-incamiciato 1949-50. new, and which he carried out daily with the best master glassblowers. exhibition ever entirely glass techniques, the Macchie dedicated to glass in the series, with recognizable opaque From the series a bollicine that Metropolitan. abstract decorations that stand fills the glass with tiny out on the thick transparent bubbles, to murrine romane, The above images refer to the glass and bring to the artworks a with the variation murrine exhibition of ‘Fulvio Bianconi at distinctive pictorial value, the opache, proceeding with the Venini’ that aimed to give a Sirene and the Nudi made in variegati zigrinati, the vetri a comprehensive description of the monochrome crystal glass. macchie, and the laccati neri fruitful, longlasting collaboration e rossi. between the artist and the famous The Pezzati series of 1950-51 Murano glassware company. was received with great success, The show also included (as in they were created using a every exhibition), prototypes, Bianconi focussed on pieces patchwork of multicolored and one-offs, original drawings and with sophisticated shapes, strong transparent tesserae arranged designs, as well as period colours, designing striking works, like a chessboard, toghether with photographs and archive some of which sum up the the A Spicchi series, those with documents. enthusiasm of the “fabulous” horizontal and vertical stripes, Fifties, and later became true and the Scozzesi, which show an The Carlo Scarpa exhibition was icons of Murano glassmaking. exciting weave of crossed canes, received with great success and shaped into an irregularly square enthusiasm by the public, the Among them the series entitled mould. press and critics, and then Maschere italiane, the famous travelled onto the Metropolitan Fazzoletto vase, of which there In the same period Bianconi Museum of Art, New York, in are several versions, with made several glass animals, 2013 which was the first different dimensions, styles and where the virtuosity of the

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well as from the 30s, including the Trinkservice n. 248, the only glass service designed by Adolf Loos still in production today.

The show also presented the ‘Boudoir d’une grande vedette’, the glass room designed by Josef Hoffmann for the Austrian Pavilion at the 1937 Paris World Exhibition, reconstructed by the MAK.

The glass building, which resembled a monumental showcase, was the definition of LE STANZE DEL VETRO. a clichéd modern room: with mirrors on the walls, on the floor and sumptuous luxury techniques mastered in Murano pioneering developments of furniture. was combined with his modern decorative and playfulness and irony. functional glass, working in close J. & L. Lobmeyr delivered the connection with the furnaces. glass for the room and a In 2016 LE STANZE DEL chandelier designed by Haerdtl VETRO realized a very fruitful The cooperation between the and Hoffmann. The wall collaboration with the Museum designers and the manufacturers paneling was made of carved MAK in Vienna offering for the led to new projects like the wood with a silver layering to first time a comprehensive ‘Wiener Werkstätte’ and the support the glassy, bright, overview of the period from the ‘Werkbund’ aiming to glorify the shimmering effect within the final decades of the Austro- production process and foster room. Hungarian Monarchy up to the the collaboration between art, end of the First Republic. craft and industry. After its successful showing in Venice, this impressive It was our second exhibition - The show was complemented exhibition was presented in the after the ‘Glass from Finland in with a layout featuring examples MAK itself at the beginning of the Bischofberger Collection’- of the Wiener Werkstätte’s 2017 and will be travelling to that focused on the international wallpapers and textile designs New York next year. developments of glass in the and presented the war and 20th century. classicist glasses shown at the This slide refers to the Werkbund exhibition in Cologne exhibition devoted to the The protagonists of the Viennese in 1914, the glass works shown creative entrepreneur Paolo Modernism, such as Hoffmann, at the Exposition Internationale Venini exhibiting 300 works that , Olbrich, Prutscher, and des Arts décoratifs et industriels recount his vision as well as Loos, launched the first modernes in Paris, in 1925, as that of the artists who

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We are able to offer most of our exhibitions to fellow institutions around the world

Ettore Sottsass: The glass exhibition View. collaborated with him over the a white lace-like pattern that Tobia Scarpa, the son of Carlo years. stands out against the coloured Scarpa. surface, and the stunning Milanese by birth and Muranese mosaico tessuto multicolore. To coincide with every exhibition by choice, Paolo Venini was a a scholarly catalogue, edited by great protagonist of 20th century Venini himself designed the some of the most important glass, and made a decisive Diamante series in the 1930s, scholars in the field, is contribution to keeping it alive and the important series of published by Skira for LE with his enthusiastic work over incisi glass that reflect the STANZE DEL VETRO. the course of almost forty years. influence of Nordic design orientated towards delicate On the occasion of the 100th Paolo Venini, was a skilled monochromes. anniversary of the birth of Italian businessman, sensitive to the architect Ettore Sottsass, LE trends of contemporary art as The exhibition also features the STANZE DEL VETRO celebrated well as the demands of the creations of those who his glass and crystal production international market. collaborated with him between with the spring exhibition ‘Ettore the Thirties and Fifties: Tyra Sottsass: the Glass’. Several of his glass works Lundgren, , Piero stemmed from a refined and Fornasetti, Eugène Berman, Ken Curated by Luca Massimo innovative reinterpretation of Scott who created the colourful Barbero, Director of the Institute traditional Murano techniques, series of 18 stylised fish of Art History of Fondazione such as the zanfirico a reticello, produced for the American Giorgio Cini, the show feautured in monochrome and sometimes department store Macy’s, 200 works – mostly from the richly coloured, together with the Charles Lin Tissot, Riccardo Ernest Mourmans collection – mosaico zanfirico, decorated with Licata, Massimo Vignelli and many of which on show for the

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first time with an innovative by the Native American Among the classical-shaped ones exhibition set-up design by ceremonial dolls. is the well-known Veronese vase Annabelle Selldorf Studio. that was inspired by the one Many pieces had never been depicted in the sixteenth-century Rather than following a exhibited before, such as the 22 Annunciation painting at the chronological exploration, the glass sculptures of different Galleria dell’ Accademia in show began with works from the dimensions, some over a meter Venice. 1980s, belonging to Sottsass’s tall, produced at the Cenedese Memphis series. glassworks in Murano that The Cappellin Venini glass Sottsass originally designed for production was immediately The Memphis room made for a the foyer of the “Millennium distinguishable from the dazzling opener: on a plinth in House” in Doha, a vanity project Murano craftsmanship of the the center, eight whimsical yet by the Emir of Qatar that was time, both for its classical elegant vases in vivid colors face never realized. proportions and rigorous a wall of backlit shelves, each shapes, as well as for its holding a piece from the 1986 The currently running exhibition remarkable colours, mostly series that highlight Sottsass’s ‘Vittorio Zecchin: Transparent delicate but at times intense departure from functionality in Glass for Cappellin and Venini’ and bright shades of yellow, his work with glass. features 250 fine hand-blown green, blue and amethyst. mostly monochrome works These works also mark his designed by the artist and painter The exhibition ran until the 7th unorthodox experimentation with in the 1920s, when he was of January 2018. the medium where, for the first appointed Artistic Director first at time in 1986, he introduced the the V.S.M. Cappellin Venini & Co. We are able to offer most of our use of chemical gluing glassware company and then at exhibitions to fellow institutions techniques, breaking with the the M.V.M. Cappellin & Co. around the world. They can be centuries-old Murano glass tailored to the size required, tradition of joint heating. Vittorio Zecchin was a from say a 100 to 350 works. revolutionary figure of twentieth- The fact that catalogues are all The following rooms featured century glass, which he produced also in English and pieces produced with different contributed to revive with the that they comprise in each case craftsmen testing the boundaries support of two enlightened all the works by each designer of the medium, among other entrepreneurs – Giacomo or school, would enable the things through combinations Cappellin and Paolo Venini – hosting museum to readily use with materials such as marble producing elegant glass works our catalogue as their own, if and clay. which introduced modernism to necessary changing the Murano, though drawing frontmatter to suit their The glass works gradually inspiration from Venetian needs. become more geometrically renaissance glass or paintings. coherent such as in the ironic We’d love to collaborate with piece Asparagi sacri (sacred The exhibition features his any of you, and are ready to asparagus), created in 1994 for rigorous bowls and vases, some start today. Please get in touch Galerie Bruno Bischofberger, and with a flat base, others with with me at the following then more earnestly, as in the folds or pinches in the body or address: 2004 series Kachinas, inspired the neck. exhibitions@estanzedelvetro.

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Esther Pizarro and Emilio Elvira, MAVA Summer 2015.

1212 REVIEWS ON GLASS Nº 7 2019 Glass, why not?

María Luisa Martínez García. Contemporary Art Glass Museum in Alcorcón-MAVA

The boom of the Studio Glass spontaneous work with a great Tony Cragg, Jaume Plensa, Javier movement took place between conceptual load. Pérez and many others were the 1960s and 1990s; a new available to the general public type of artist emerged dedicated In the last ten years, since the in exhibitions. exclusively to glass, while the beginning of the new rest of the artists watched with millennium, there has been a They do not only present their curiosity and amazement at the change in the trend. There is work in specialized glass technical sophistication that they increasingly a frequent presence museums, but also in important were developing. of glass in exhibitions, prizes, centers of contemporary art, museums, galleries, and such as Reina Sofía Museum, For several decades they lived publications. There has been a Guggenheim Museum in Bilbao, estranged. The first group proliferation of glass teaching the Tate Modern and the Center focused on the material, getting centers with students of all Georges Pompidou, just to caught-up in the technical nationalities, who move quickly mention a few. difficulties and challenges. They and comfortably through our made the object itself the global village. These In “The Art of not making. The ultimate objective of their developments have heightened new artist / artisan relationship,” activity, turning “the medium its growth and the general Michael Petry writes about this in the message.” interest in glass. new taste, this return to the recognition of the artisanal part General contemporary artists, The largest push occurred the of the contemporary artist. showed some contempt towards glass art of international artists an activity that requires so much with enormous media impact like Unfortunately, most of the new effort and time in its production, Kiki Smith, Mona Hatoum, Ai artists who want to work with and were in favor of a more Weiwei, Fred Wilson, Jean Fabre, glass, are not willing to devote

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workshop that covers the three I believe we can finally say that phases of creativity: research, glass is a present element in the experimentation and production. mind of any artist when facing how to materialize their creative For more than thirty years, it has impulse. retained a magnificent collection of works produced in its But precisely for this reason, facilities. This is due to the our work must be perseverant highly qualified multi-lingual and we, the museums whose technical team who are very main function is to expose and receptive and open to the educate, must also promote and Thinking in Glass exhibition in exchanging of ideas and . look to help substantiate this MAVA, 2016 March. © Phtoto, Markus Schroll. concern of a growing number of In addition, the Glasstress artists who wish to use glass phenomenon is something that in their works. deserves to be studied in depth five, ten, or fifteen years of their because of its media impact and Most of our museums have life to learn how to execute and its international recognition realized this and, some with produce the pieces themselves. more modest means and others Created in 2011 by the Berengo with large and complete In the 1980s and 1990s many Foundation, the organization is facilities, have a Studio or training centers emerged for all directed by Adriano Berengo, an Workshop to offer artists. levels of education, from small audacious businessman with craft workshops to university many high-level, global contacts, The artist must find in our departments at major schools including artists, gallerists and institutions a welcoming place and national centers. They were museums. The Glasstress beyond the exhibition of great endowed with important exhibitions means only the last works on which to be inspired. technical facilities and great reflection of a whole set of an We must open our museums to teachers, mostly artists incredible work, that includes accompany and stimulate them themselves, some were communication, production, to overcome the technical, mentioned earlier. exhibition, collecting and the art training and economic brake that market. involves the use of glass in their Besides, there are some works. landmarks places as CIRVA in This portfolio of very diverse Marseille, as an example, with a activities, some more MAVA launched two projects in rigorous trajectory, but with an commercial and others of a recent the years, the first was elitist and minority impact. In more institutional nature, have called Think in glass (2016) and 1983, the Center Internationel borne fruit, bringing a great the second Working Glass de Recherche sur le Verre e les legacy and an enormous amount (2018). Arts Plastiques was inaugurated, of possibilities. The artist of a center for contemporary art today, as soon as he enters the The goal of these projects is to that includes a residence for world of glass, immediately stimulate the use of glass as a artists, designers and architects. perceives that he/she has many medium among artists who have It is a place for experimentation possibilities at his disposal to never used it in their works and and creation; it contains a glass use it. who probably would not have

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The museum offers its facilities and its technicians to new artists, and the non-glass artist, in return the museum receives attention and pieces for the collection. Attention is important to the development of the collection because we always use the collection to explain the possibilities offered by glass. The creation of a piece is equally important because, although the Working Glass. final piece is owned by the artist, many end up donating some works to MAVA. At the done it if it were not for a The second project, Working conclusion of the collaboration, proposal like ours. Glass, was with a group of the works produced are shown in sixteen talented young artists, the galleries and later In the first project, nine mid- some of them awarded with exhibitions. career Spanish artists were Spanish Academy in Rome, brought together for Think in French Academy, or Fulbright However, I must confess that for glass. The artists come from scholarships. The galleries me the true objective of these different fields: video, painting, display their work at projects, which are often photography, sculpture, and international fairs like ARCO, difficult, complex and involve a installation. They are artists with ESTAMPA, MACO and at lot of work, is to have that the successful careers whose works Spanish contemporary art artist become infatuated by can be seen in national and museums. Among them there are glass. Sylva Petrova told us in international museums. We street artists like E1000 and her great book Czech Glass proposed them to produce their Pelucas, installers like Andrea published in 2001: projects at the MAVA’s workshop, Canepa, painters like Ana H. del getting involved in the process as Amo, artists who work with “It is well known that most of much as each of them would like. objects such as Jorge Perianes, the people who have developed etc. their lives in artistic glass, have Some artists provided drawings or come to it by accident. Glass models of their works, others Working together for months at has the special magic of made the molds for the the MAVA’s workshop, they attracting people who come thermoformed. A third group was showed enormous enthusiasm across it. A relationship between involved in a much more active and interest in glass, a new them is established for life, no way. They learned to make their material that they had never matter how much you are an own pieces, like the Madrid artist worked with before. artist, a researcher or a Esther Pizarro who molded collector.” with torch Finally, I would like to assisted by Emilio Elvira, a emphasize the importance Today’s artists should wonder scientific blower from the of the synergies that this kind about the use of glass, Complutense University in Madrid. of projects brings with them. and think: why not?

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Itinéraire de Momignies. Musée Royal de Mariemont. © IRPA-KIK.

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Momignies, Beauwelz, Macquenoise: du verre au rêve Retour sur 35 années de mystifications

Janette Lefrancq. Musées Royaux d’Art et d’Histoire, Bruxelles

L’actuelle commune de verre en raison des découvertes 1950, bien des professionnels de Momignies, constituée des — extraordinaires — qui y étaient l’archéologie et de l’histoire anciennes localités de Beauwelz, faites et qui étaient toutes nationale n’avaient pas manqué Macquenoise et Momignies, est publiées par Raymond Chambon. de dénoncer le caractère située dans le sud de la province Doué d’un sens remarquable de la invraisemblable des découvertes de Hainaut en Belgique, et publicité, ce dernier était parvenu, faites sur ce territoire. distante d’une vingtaine de Km au en se créant un réseau Sud-est de Sars-Poteries. international de correspondants, La verrerie de Momignies à faire reconnaître l’existence Depuis la Deuxième Guerre d’hypothétiques verreries des Il existe bien une verrerie à mondiale, ces trois villages ont époques romaine, mérovingienne, Momignies, spécialisée dans le bénéficié d’une notoriété médiévale et Renaissance flaconnage pour la parfumerie et particulière dans le domaine de prétendument établies en ces les cosmétiques. Fondée de l’archéologie et de l’histoire du lieux. Pourtant, depuis les années manière indépendante en 1898

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par Justin Gillet, elle a prospéré Genappe en Brabant ; Robert pour la première fois des de manière exponentielle pendant Colnet et Philippe Ferry documents originaux mettant en plus d’un siècle en se rattachant à demeurant près de ; lumière l’existence jusqu’alors de grands groupes industriels1. Robert de Liège, Jean Ferry et insoupçonnée, dans la région de François Colnet demeurant à , d’une fabrication de verre Depuis sa fondation en 1898, la Fontaine-l’évêque, tous maîtres à la façon de Venise, trente ans verrerie de Momignies compte verriers ». avant l’établissement des premiers dans son personnel plusieurs verriers italiens à Anvers. Ces collaborateurs répondant au nom Au XVIIIe siècle, cette appellation documents, ignorés de tous les de Chambon : Achille, chef potier, douteuse avait été décryptée historiens, auraient selon lui ensuite ses fils Robert et Roland, « Maumigne » et assimilée au appartenu à des archives privées et bientôt Raymond Chambon né XIXE siècle au village de ou seraient issus de ses propres en 1922, habitant la verrerie au Momignies, à l’Ouest de Chimay. fouilles. Il a ensuite publié une moins jusqu’en 1947 et devenu soixantaine d’articles relatifs à agent commercial des Verreries A partir de ces deux éléments : différents sujets touchant au mécaniques de Belgique. — l’existence d’une verrerie verre, de l’époque romaine au XXe fondée en 1898 et un texte siècle. Il est probable qu’Achille énonçant la probabilité d’une Chambon, déjà intéressé par verrerie de forêt au XVIe siècle —, Chambon fut également parmi les l’histoire locale, ait raconté à ses Raymond Chambon a bâti une initiateurs de l’exposition Trois fils une histoire romancée de cette véritable légende faisant de millénaires d’art verrier et des verrerie qui les nourrissait, en lui Momignies le centre du monde premières Journées internationales inventant des origines très verrier -occidental, sans du Verre, tenues à Liège en 1958, anciennes et quasi-mythiques que discontinuité depuis l’époque à l’origine de l’AIHV, et sera Raymond s’est ensuite employé romaine jusqu’au XXe siècle. encore dans les années 1970, le sans relâche à documenter. fondateur et premier conservateur Raymond Chambon de Musée du Verre de Charleroi, Il se basait pour cela sur des issu de sa propre collection, et le documents d’archives publiés dès Né en 1922 et mort en 1976 à conseiller de Louis Mairiaux 18822, concernant les verreries de 54 ans, Chambon a le mérite lorsque ce dernier s’engageait forêt de la famille Colnet ou d’avoir publié en 1955 le premier dans la fondation du musée du Colinet établies dans le Sud du ouvrage de synthèse intitulé verre de Sars-Poteries. Hainaut avant 1559 : « Nicolas et l’Histoire de la verrerie en Adrien Colnet, demeurant à Belgique du IIe siècle à nos jours, Il faut aussi citer son activité de Barbanson ; Paul Ferry et Jean un livre monumental qui a fait marchand : fournisseur attitré du Colnet demeurant à autorité pendant un demi-siècle, château-fort d’Ecaussinnes-Lalaing ; Enguerrand et tant à l’étranger qu’en Belgique. où sont réunies les anciennes François Colnet, demeurant à industries d’art du Hainaut, il y a Ma……..ge (ou Ma……..gne) en Dans cette excellente synthèse vendu une importante collection de Hainaut ; Nicolas Colnet et des écrits de ses prédécesseurs, verrerie s’échelonnant du XVIe au Guillaume Ferry demeurant à Chambon prétend aussi révéler XXe siècle.

1 Verreries réunies du Val-Saint-Lambert en 1953, Verlica (Empain-Schneider), Verlipack, Bouteilleries belges réunies vers 1960, Nouvelles verreries de Momignies (Heinz) en 1985 ; elle dépend depuis 1997 du groupe Gerresheimer. 2 A. Pinchart, Bulletin des Commissions Royales d’Art et d’Archéologie, 21, 1882, pp. 383-388, n. 3.

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Raymond Chambon a surtout Schuermans y écrit en 1883 gallo-romains et les verres anciens accumulé un impressionnant une phrase inspirante pour le à la façon de Venise, alors fonds de documentation relatif à futur faussaire3 : « un moyen partiellement exposés dans toute espèce de verre de Belgique, de reconnaître la fabrication quelques vitrines. fonds acheté à prix d’or à sa veuve des Pays-Bas serait la par le Corning Museum of Glass, découverte de quelque album La Monstrance de Beauwelz vers 1980. des profils ayant servi en nos anciennes verreries… on Toujours est-il qu’en 1943, en Raymond Chambon s’est intéressé pourra[it] s’édifier de plus près pleine guerre, alors qu’il n’a que très jeune à l’histoire locale ainsi sur les types qui ont servi de 21 ans, il publie Deux verres qu’à l’histoire de la verrerie et modèles à nos anciens offerts à Charles Quint et à possédait une connaissance verriers ». Philippe II en 1549 6. Il y dévoile approfondie des deux domaines ; pour la première fois un manuscrit on décèle dans ses écrits qu’il a • La verrerie et ses artistes au qu’il prétend avoir découvert par lu tous les grands classiques, Pays de Liège, de Florent hasard en 1941 : La Monstrance notamment : PHolien, 1899. des biaux verres qui se font aux verries des franches villes de • Histoire du Pays de Chimay de • Les deux articles d’Armand Mommiegnies et de Biaulwelz, Gustave Hagemans, publié en Baar : Evolution de la paroisse dudit Mommiegnies, terre 1866 ; un ouvrage fantaisiste fabrication du verre en de Chimay en Hainault, plus où l’auteur décrit de façon très Belgique, particulièrement à connue sous les appellations de lyrique une visite fictive de Anvers et à Liège du XVIe au Monstrance de Beauwelz ou de Charles-Quint à Chimay en XVIIIe siècle4 et Verrerie des Catalogue Colinet. 1549, et sa découverte des Flandres, Fabrication forges, un élément détourné anversoise5. Ces trois derniers Ce manuscrit est alors présenté par Chambon au profit de la ayant l’avantage d’être comme un catalogue de la visite de la verrerie de abondamment illustrés mais production des Colnet ou Colinet Beauwelz. faisant, comme ceux de dans leur fournaise de Beauwelz Schuermans, la part trop belle au XVIe s. Celui-ci multiplie les • Les 12 Lettres au Bulletin des aux verreries d’Anvers et de avantages d’illustrer un certain Commissions royales d’Art et Liège. nombre de modèles de verres de d’Archéologie publiées par luxe à la vénitienne, de verres Henri scHuermans, de 1879 à Il a aussi utilisé de vieux manuels ordinaires à l’allemande et de 1893 : un gros millier de comme ceux de Sauzay (1884) ou bouteilles ; d’indiquer leur pages qui constituent encore de Gerspach (1885). appellation et les techniques aujourd’hui la base de toute utilisées, de livrer une liste de recherche sur le verre à la Il a certainement visité, avant la clients, mais surtout d’entrer en façon de Venise de Belgique, guerre de 1940-1945, les Musées matière par l’illustration et la mais qui sont totalement Royaux d’Art et d’Histoire dont il description de deux pièces dépourvues d’illustrations. connaissait parfaitement les verres extraordinaires offertes

3 Bulletin des Commissions Royales d’Art et d’Archéologie, 22, 1883, p. 159. 4 Annales de la Fédération Historique de Belgique, 29, 1932, pp. 264-272. 5 Revue Belge d’Archéologie et d’Histoire de l’Art, 8, 1938, pp. 211-240. 6 Apollo Chronique des Arts, (Bruxelles), 21, pp. 14-16.

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personnellement à Charles-Quint de l’ancienneté de la Monstrance lors du 17e colloque de l’AIHV à et au futur Philippe II lors de leur est A.-E. tHeuerKauff-lieDerwalD, Anvers en 200611. prétendue visite au four de en 1968 : la Monstrance, censée Beauwelz en 1549. Relevons dater du XVIe siècle illustre un Chantal fontaine avait remarqué principalement une nef en verre roemer qui ne peut pas être que les dessins illustrant la longue de 1,25 m, remplie de antérieur à l’extrême fin du Monstrance de Beauwelz et la personnages et d’animaux, dont XVIIIe s.9. Copie (en 4e main) du Journal on trouve la source d’inspiration d’Amandt Colinet étaient si dans la Nef de Charles-Quint, une Il faut néanmoins attendre la fin ressemblants qu’ils ne pièce d’orfèvrerie automate d’un des années 1990 pour que le pouvaient avoir été exécutés mètre de long7. Musée de Corning, entame une que par une même main, donc recherche scientifique visant à que monstrance et copie du La plupart des historiens du verre déterminer la falsification du journal étaient contemporains. les plus réputés ont cru à manuscrit. C’est Jutta Page, alors J’ai ensuite pu démontrer que, l’authenticité de ce document et y conservatrice des verres bien que volontairement ont souvent eu recours pour européens, qui se charge de déformée, l’écriture de la Copie appuyer l’une ou l’autre thèse, l’étude ; ses résultats sont du Journal était exactement la argumenter une terminologie ou présentés en 1998 à Anvers et même que celle d’une lettre une chronologie8. Il semble publiés en 200210. J. Page autographe écrite par Chambon cependant qu’en Belgique, la conclut que le manuscrit est une en 1947. Raymond Chambon Monstrance ait assez tôt rencontré copie maladroite ou un montage était donc l’auteur et le des détracteurs puisque Chambon d’antiquaire du XIXe siècle car, réalisateur de la Monstrance, de s’est empressé de découvrir des selon les échos recueillis auprès la Copie du Journal d’Amand soi-disant preuves de son de ses correspondants américains, Colinet et de la Requête au authenticité dans la copie de deux Chambon serait un homme Prince de Chimay ! autres manuscrits : le Journal parfaitement intègre, charmant et d’Amandt Colinet et la Requête au totalement incapable de la L’Itinéraire de Momignies prince de Chimay, signalés dès moindre malhonnêteté ; il se 1955 dans son Histoire de la serait donc laissé abuser. En 1947, Chambon annonce la Verrerie en Belgique. Mais, afin de découverte d’une dalle de terre compliquer les choses, il les La perception qu’on en a en cuite reproduisant le tracé des présente comme des copies Belgique est cependant assez voies romaines de Marseille à en 4e main. différente puisqu’on le sait lié à la Bavay et de Boulogne à Trêves découverte d’un certain nombre avec les noms des principales La première personne qui émette d’autres documents des plus villes de Gaule connues par la publiquement des doutes à propos douteux que j’ai passés en revue Tabula Peutingeriana et l’Itinéraire

7 Musée National de la Renaissance à Ecouen, Inv. E.Cl. 2739. 8 Notamment : J. Barrelet, 1954 ; B. Klesse, 1963 ; D. HarDen, e.a., 1968 ; r. cHarleston, 1977 ; H. tait, 1979 ; O. DraHotová, 1983 ; l. engen, e.a., 1989, etc. 9 A.-E. Theuerkauff-Liederwald, Der Römer, Studien zu einer Glasform, Journal of Glass Studies, 10, 1968, pp. 121-123. 10 J.-A. Page, The ‘Catalogue Colinet’: a mid-16th century manuscript? dans J. Veeckmann, dir., Majolica and Glass from to and Beyond, Anvers, 2002, pp. 243-262. 11 J. Lefrancq, Apports et incidences de l’œuvre de Raymond Chambon sur l’histoire de la verrerie en Belgique, Annales du 17e congrès de l’Association Internationale d’Histoire du Verre, Anvers, 2009, pp. 339-343.

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raisin, considérées comme des chefs-d’œuvre de la verrerie antique15. Cet objet à la cavité trop réduite pour constituer un élément de moule bivalve, et pourvu de canaux semblables à ceux des moules de fonte oppose rapidement Chambon aux milieux de l’archéologie professionnelle.

Après sa mort, une analyse par thermoluminescence commandée Itinéraire de Momignies. Musée Royal de Mariemont. Détail des chaussées par le Musée de Charleroi à Bavay-Cologne et Bavay-Trêves. © IRPA-KIK. l’université de Bordeaux-Talence établit la modernité du prétendu d’Antonin. Il s’agirait, selon lui, de voire à une mystification pure et moule en situant sa fabrication la copie d’une pierre antique, simple et est suivi en cela par dans les années 1890-1930. Les destinée aux rouliers transportant plusieurs archéologues belges. nouvelles analyses menées à de Méditerranée jusqu’en l’Institut Royal du Patrimoine Thiérache la soude indispensable Une analyse par Artistique établissent aujourd’hui à la fabrication du verre. thermoluminescence effectuée à qu’il s’agit d’un faux absolu16. Oxford à la demande d’Albert Bien qu’ayant aussitôt exprimé Deman situe la cuisson entre Les verreries forestières du Pays ses doutes parce que l’Itinéraire 1500 et 1650, une date de Chimay respecte l’orientation et les difficilement crédible selon proportions géographiques, l’auteur14. Confronté aux critiques du monde ignorées dans l’Antiquité, archéologique, Chambon publie, Germaine Faider-Feytmans achète Le moule de grappe de en 1959, Les verreries forestières la pièce pour le Musée de Macquenoise du Pays de Chimay du XIIe au Mariemont12. XVIIIe siècle d’après les En 1950, Chambon déclare avoir documents d’archives17. Paul Lebel en fait ensuite une trouvé vers 1942-43, dans la forêt violente critique, basée sur la de Macquenoise, un objet en terre Il y présente une série de réalisation, la cuisson et cuite qu’il interprète comme un documents, textes et plans, l’épigraphie de la dalle13. Il moule ayant servi à souffler les attestant selon lui de l’existence conclut à une blague d’étudiants, fioles en forme de grappe de ininterrompue de fours de verriers

12 G. F[aider]-F[eytmans], Archéologie, l’Antiquité Classique, 18, 1949, pp. 135-136. 13 P. Lebel, La carte routière de Momignies (Belgique), un original antique ou un faux moderne ? Revue Archéologique de l’Est et du Centre-Est, 3, 1952, pp. 43-51. 14 a. Deman, m.-tH. raePsaet-cHarlier, Les Inscriptions Latines de Belgique (ILB) 1985. 15 Cf. les exemplaires trouvés en fouille dans des tumuli romains à Fresin/Vorsen (MRAH, Bruxelles) et à Heerlen (Musée de Leyde). 16 cH. fontaine-HoDiamont, r. margos, m. van Bos, l. fontaine, Du vrai au faux, Pour en finir avec le moule à grappe « gallo- romain » de Macquenoise, Bulletin de l’Association Française pour l’Archéologie du Verre, 2020 à paraître. 17 Publications de la Société d’Histoire régionale de Rance, 4, 1959-60, pp. 111-180.

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dans cette zone géographique. Il 1594 et gravé des armes et d’une prétend avoir vu ces documents devise des Croÿ, princes de aux Archives de l’Etat à Chimay et propriétaires du avant le bombardement qui a Château d’Ecaussinnes au XVIe s. anéanti une partie du bâtiment et Le but mercantile est ici évident : des fonds en mai 194018. verre façon de Venise à la potasse Ailleurs, il annonce qu’il de fougère, armoiries liées à argumentera sa démonstration Chimay et à Ecaussinnes ; on peut dans un second article … qui s’interroger sur le prix alors exigé n’est jamais paru ! pour un monument d’apparence tellement probante ! Maintenant que les Archives de Mons sont à nouveau accessibles, Chambon fait donc très tôt figure Benoît Painchart, a de cas d’école : amoureux de son systématiquement vérifié toute Pays de Chimay dont il cherche à l’histoire des Colnet. L’ensemble dorer l’image, selon les uns il de son étude fait apparaître passe pour un mythomane qui, qu’aucun des documents afin de servir sa cause, se Petit roemer en verre clair. Château présentés par Chambon n’a jamais d’Écaussinnes-Lalaing. Détail de la existé19 ! Toute l’histoire des devise « OV QVE SOIT CROŸ verreries anciennes de la région de 1594 ». © IRPA-KIK. Chimay est donc le fruit de son imagination !

Les gravures récentes sur verres anciens

Lorsque vers 2000, j’étudiais les verres anciens du Château d’Ecaussinnes, pour la plupart vendus par Chambon dans les années 1960, j’y avais dénombré 9 verres anciens, d’époques et d’origines différentes, médiocrement gravés au XXe siècle dans le but de faire croire à une fabrication de Beauwelz. Le Petit roemer en verre clair, fin XVIIe- Petit roemer en verre clair. Château plus significatif est un petit XVIIIe s. Château d’Écaussinnes- d’Écaussinnes-Lalaing. Détail des roemer en verre clair d’une forme Lalaing. © IRPA-KIK. armoiries Croÿ. © IRPA-KIK. tardive (fin XVIIe-XVIIIe s.), daté

18 Alors qu’il n’avait pas 18 ans ! 19 B. PaincHart, L’activité verrière des Colinet au Sart de Chimay, XIIIe-XVIIIe siècles, Eclats de Verre, 21, 2013, pp. 60-67 ; 22, 2013, pp. 34-46 ; 23, 2014, pp. 8-16 ; 24, 2014, pp. 19-31 ; 25, 2015, pp. 18-27 ; 26, 2015, pp. 8-18 ; particulièrement 22, 2013, pp. 34-46.

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transforme en faussaire ; pour disculpent complètement de toute d’autres, type même de l’amateur malversation, avançant local, il se laisse naïvement uniquement sa naïveté. tromper par les plus grossières falsifications pour peu qu’elles Les verres falsifiés conservés au intéressent sa région. En raison de Musée de Charleroi sa gentillesse, de son travail acharné et de ses qualités Le plus aberrent est que même le d’historien local, le bénéfice du Musée du Verre de Charleroi, dont doute lui est accordé par d’aucuns il est l’initiateur, et qui recèle des et il finit par être considéré pièces tout à fait remarquables, comme un aimable benêt. conserve aussi des pièces dénaturées conçues pour Depuis les années 2000, de démontrer l’existence de verreries nouvelles études démontrent anciennes dans la région de Gobelet romain du Ier siècle. cependant que les nombreux faux Chimay, mais aussi de Charleroi. Musée du Verre de Charleroi. Fond présents dans sa collection ne se gravé d’un chrisme. © IRPA-KIK. rapportent pas uniquement à la Des verres antiques falsifiés y ont région de Chimay. notamment été repérés, comme ce gobelet découvert et publié par Le catalogue de la verrerie Zoude Chantal fontaine : un verre du Ier de Namur siècle, grossièrement gravé de scènes chrétiennes copiées de la Cet autre catalogue manuscrit Coupe d’Homblières, célèbre objet datant prétendument de 1762, paléochrétien du IVe siècle également arrivé à Corning avec découvert dans la région de l’ l’ensemble du fonds documentaire et conservé au Musée du Louvre21. de Chambon, présentait une origine assez obscure pour être Conclusion analysé. Publiées en 2007 par watts et tait, les conclusions sont Un esprit régionaliste poussé à sans appel : il s’agit d’un faux l’extrême, dit esprit de clocher, la grossièrement réalisé, en 2 recherche de satisfaction d’une exemplaires suivant le même vanité personnelle, un certain processus que la Monstrance de mercantilisme, ont poussé Beauwelz et le Journal d’Amandt Chambon à donner à ses rêves Colinet20. Mais en raison de la Gobelet romain du Ier siècle. une apparence de réalité ; malgré relation de confiance que Musée du Verre de Charleroi. son aspect matériel, celle-ci ne Gravure inspirée de la coupe Chambon avait anciennement d’Homblières. © IRPA-KIK. résiste plus aujourd’hui à une établie avec Tait, les auteurs le analyse sérieuse.

20 D. c. watts, H. Tait, Assessing the Authenticity of the Putative Sebastien Zoude Catalogue of 1762, Journal of Glass Studies, 49, 2007, pp. 153-178. 21 cH. fontaine-HoDiamont, H. wouters, Deux verres d’époque romaine, falsifiés par une gravure moderne. Un héritage de Raymond Chambon, Bulletin de l’Institut Royal du Patrimoine Artistique, 33, 2009-2012, pp. 29-50.

2323 LECTURES Glass in the Celje Region from the 18th Century to the Present

Jože Rataj. Celje Regional Research into the glassmaking but they were not writing Museum tradition in our part of the world specifically about glassmaking. did not begin until the Instead, they touched on glass in nineteenth century, with the connection with forestry, through development of the domestic accounts of their travels or glassmaking industry. Numerous geographical sketches of the authors addressed the subject, area. One example is the diary

Postcard Loka pri Žusmu, around 1900. © Archive Celje Regional Museum.

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kept by Archduke Johann of from 1810-1812, who got to know the glassworks in the surrounding forests during his visits to the spa at Rogaška Slatina.1 This was followed by a series of articles by Rudolf Gustav Puff, Johann Gabriel Seidl and Gustav Mally withthe first encyclopaedic editions that mention our lands. One of these was Topographical Lexicon of Styria by Carl Schmutz,2 the first work of its kind since the completion of the Josephinian Land Survey in the second half th of the eighteenth century.3 After Man cutters at work in the Rogaška glassworks, mid-20 century. © Archive Celje Regional Museum. this Georg Göth published an extensive questionnaire that collected data through a series of special forms.4 A number of contemporary newspapers also began publishing news on economic activity and local events, where information about glassworks and glassworkers is recorded. Some notable newspapers included the Steiermärkische Zeitschrift, Carinthia and Industrie- und Gewerbeblatt. These were joined in the second half of the nineteenth century by Slovene- language newspapers such as Slovenski gospodar, and Slovenec. Another important source are Children at work in the Hrastnik glassworks, 1920. © Archive Celje Regional reports on the provincial Museum. exhibitions that began to be held

1 Schlossar, Anton, Erzherzog Johanns Tagesbuchaufzeichnungen von seinem Aufenthalte im Kurorte Rohitsch Sauerbrunn und über seine Reisen in Untersteiermark aus den Jahren 1810, 1811 und 1812, Graz, Leykam, 1912. 2 Schmutz, Carl, Historisch-Topographisches Lexikon von Steiermark mit historischen Notizen und Anmerkungen, Graz, 1823. 3 Josephinische Landesaufnahme 1763-1787 für das Gebiet der Republik Slowenien, Landesbeschreibung, 5. zvezek, ZRC SAZU in Arhiv Republike Slovenije, Ljubljana, 1999. 4 Kuret, Niko, Slovensko Štajersko pred marčno revolucijo 1848. 2525 LECTURES

1. Macelj, 1660-1710 2. Stara Glažuta – Dobovec, 1700 – 1750 3. Č ača vas (Jelovec), 1750 – 1843 4. Log ob Sotli (Trlično), 1794 – 1864 5. Stara glažuta pod Vetrnikom, 1739 – 1784 6. Nova glažuta pod Vetrnikom, 1784 7. Polana pod Lisco, 1780 – 1800 8. J urklošter (Mišji dol), 1800 – 1860 9. Svetli dol pod Svetino, 1753 - 1780 10. Liboje (sv. Neža), 1794 – 1885 11. Ojstrica pri Taboru, 1792 – 1840 12. Hrastje , 1739 – 1750 STILL OPERATING GLASSWORKS 13. Dobrina , 1780 – 1820 14. Loka pri Žusmu, 1836 – 1886 22. Steklarna Hrastnik, 1860 - 15. Olimje pri Podčetrtku, 1873 – 1885 23. Steklarna sv. Križ Rogaška Slatina, 1927 – 16. Zagorje ob Savi, 1804 – 1928 17. Trbovlje, 1824 – 1873 18. Ži če, 1672 - ?; 1700 - 1764 19. Vitanje, 1697 – 1762? 20. Rakovec nad Vitanjem, 1781 – 1874 21. Steklarska šola Rogaška Slatina, 1947 – 2009

Map of glassworks in the Celje Region. in the 1830s and reports from is Johann Slokar’s history of the Minařik and his fundamental the Styrian Chamber of Trade Austrian industry,5 which work Pohorske steklarne [ and Commerce in Graz, which actually represents an Glassworks],7 which might represent one of the introduction to the study of almost be described as a fundamental sources for the industry in Styria. Slokar was “textbook of glassmaking”. study of the economic history of followed by numerous authors Minařik’s work covered a number Styria in the second half of the who also covered the economic of locations in the area around nineteenth century. aspects of a given region in the Celje, the glassworks belonging context of broader local history.6 to the former Žiče Charterhouse, Another important source for the For the Pohorje, a particular and two glassworks in the Vitanje history of glassmaking in Styria mention should go to Franc area. His work is being

5 Slokar, Johann, Geschichte der österreichischen Industrie und ihre Förderung unter Kaiser Franz I., Verlag von F. Tempsky, Wien, 1914. 6 Pogatschnigg, Valentin, Beiträge zur Geschichte der steirischen Glasindustrie, Graz, 1894. 7 Minařik, Franc, Pohorske steklarne, Založba Obzorja, Maribor, 1966. 2626 REVIEWS ON GLASS Nº 7 2019

Classification of products in the Hrastnik glassworks, around 1920. © Archive Celje Regional Museum.

the Celje area are Janko Orožen, glassware from the area under Hans Guß9 and Jože Šorn. consideration. These include Among those researchers of publications by Hanka Štular,10 economic history focused on Milena Moškon,11 Mateja Kos,12 Glass blowers at work in the Rogaška forestry and related sectors in Marjetica Simoniti, Djurdjica glassworks, mid-20th century. the Celje area and the Kozjansko Comisso and Sandra Kandučar. © Archive Celje Regional Museum. region, including the Sotla Valley, is the notable is Mitja The first known information continued by Valentina Bevc Cimperšek, who was one of the about the production of potash Varl.8 The present-day Zasavje first scholars to write about in dates from the region and the former Carniola forest glassworks in Kozjansko. fifteenth century (the urbarium region are reviewed in articles of the Kostel manor). In Styria written in the 1950s by Vlado In addition to these authors, it is potash is first mentioned as Valenčič. Also worth including worth highlighting a number of “glassmaker’s salt,” or “alkaline among the first authors to museum exhibitions and salt,” in the 1543 inventory of research the economic history of catalogues that also include Žiče Charterhouse, which lists

8 Varl, Valentina, Pohorsko steklo - steklo z dušo, Pokrajinski muzej Maribor, Maribor, 2006. 9 Guß, Hans, Die Glashütten der ehemaligen Untersteiermark bis zum Zerfall der Monarchie 1918, Zeitschrift des historischen Vereins für Steiermark, 69, pp. 125–156, Graz, 1978. 10 Štular, Hanka, Nekaj graviranih kozarcev iz muzejskih in zasebnih zbirk. Dela Hieronima Hackla? (Celje c. 1820–1844), Situla 14/15, Narodni muzej Slovenije, Ljubljana, 1974; idem: Pivsko posodje skozi stoletja, exhibition catalogue, Narodni muzej Slovenije, Ljubljana, 1975. 11 Moškon, Milena, Vivat Celje, vivat Bärnbach, katalog razstave Staro steklo in stara keramika s celjskega področja, Pokrajinski muzej Celje, Celje, 1992. 12 Kos, Mateja, Steklo, katalog razstave Gradovi minevajo, fabrike nastajajo, Narodni muzej Slovenije, pp. 43–49, Ljubljana, 1994.

2727 LECTURES

Rakovec nad Vitanjem, print, mid-19th century. © Archive Celje Regional Museum.

81 wagons of salt. This record proves that potash was supplied to the Žiče estates even before Hrastnik glassworks in 1909. © Archive Celje Regional Museum. the Charterhouse’s own glassworks operated. Wood was mainly cut in the monastery’s production and export of considers the only factory of own forests in the Konjiška Gora potash to a Ljubljana merchant its kind in our area. area. In the first quarter of the by the name of Mathias Franz eighteenth century records a Peer. The latter had a manor A similar situation existed in the mention of four ash-men working house, a mill, forests, and Celje area. An article by Hacquet in the forest of the glassworks of vineyards in Marija Gradec describing the route from Žiče Charterhouse and another near Laško, and his concession Jurklošter to Lisca mentions a record indicating that the was granted for 15 years. Peer potash hut located South of monastery supplied itself with also had a calcination furnace Lisca in as early as 1780.13 potash from the forests of the at his manor house and he During the same period an ash- Pohorje, while wood from the purchased ash from the man by the name of Mathias nearby forests was used as neighbouring farmers. He Ulrich, who supplied a forest firewood. produced around 100 glassworks below Boč, is hundredweight (or centals) of mentioned as being in Lemberg In the eighteenth century the potash each year. The 1764 pri Mestinju.14 The glassworks at demand for potash became Styrian commercial consensus Log, on the river Sotla, was even greater because glass also mentions an abandoned likewise still getting half of its production was increasing. In “Potaschen-fabrik” (potash potash needs from the forests of 1745 Empress Maria Theresa works) in nearby Gradiški Dol the Rogatec manor in the second granted a concession for the near Laško, which Šorn half of the nineteenth century.15

13 Hacquet, Balthasar, Orictographia carniolica, Breitkopf, Leipzig, 1783, p. 67. 14 StLA, Registerband zu den Gubernial-repertorien für 1789/IV A. 15 The glassworks produced between 180 and 200 hundredweight of potash each year from its own forests (the Rogatec estates). Cimperšek, 2016, p. 52.

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supplier from the Žusem manor. Surviving documents tell of numerous lawsuits regarding consignments of potash that were paid for in advance but not delivered from 1816 to 1818 during the period when the glassworks owner died. Azula apparently handed over 800 florins as a down payment, but the potash makers sold their potash to other glassworks. This issue seriously hindered production at the Jurklošter glassworks.16

Similar problems with potash and the use of forests were experienced by Johann Friedrich Glassworks and mine in Liboje. Allgemeiner historisch- statistisch- topographischer- Fabriksbilder Atlas, 1842. © Archive Celje Regional. and Joseph Gotscher, the owners Museum. of a glassworks in Loka pri Žusmu. Even before he began to build his glassworks, Friedrich Other glassworks in the heart of to 300 hundredweight. Potash signed a contract allowing him the forested Kozjansko region production was very intensive in to cut 900 yokes of forest for were also partially supplied by the area between the , , but the lord of their own potash works or others and Sotla rivers, as the manor, Count Harbuval- in the vicinity. A small potash demonstrated by records Chamaré, did not keep this hut existed in Vetrnik, a location regarding the supply of potash to agreement with Friedrich or with long believed to have been a glassworks in Trbovlje and his successor Joseph Gotscher. glass melting site. Interestingly, Hrastnik, which mention the The legal dispute in which even in the case of the localities of Kovk, Planina, Friedrich became embroiled glassworks in Dolž at the foot of Jurklošter and Loka pri Zidanem with, reaching as far as the the Gorjanci/Žumberak Mostu in connection with Court Chancellery in Vienna, only mountains, one Franz Schmidt potash. saw a conclusion with the arrival of Kozje is mentioned as a of Leopold Fieglmüller, the new supplier of potash. The state One interesting anecdote owner of the glassworks. As well glassworks in Zagorje ob Savi concerns the business as the wood he needed for obtained potash from the lands relationship between Karl von potash, Friedrich obtained of the Žusem manor during the Azula, the owner of the additional permission to cut Napoleonic Wars. Its annual glassworks in Mišji Dol wood in Vodole forest in Velika potash consumption amounted (Jurklošter) and a potash Rudnica.17 The practically

16 Jelovšek, Edo, Jurklošter nekoč in danes, Bodočnost, Maribor, 1983, p. 35. 17 The yoke (German: Joch) was used as the unit of area. One yoke is equivalent to 0.5755 hectares.

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and the facilities were later leased to others. The most important conditions were dense forests, from which the hardwood needed for potash production, fuel, wooden moulds, and transport crates could be obtained. Wood was not particularly a valuable commodity in this period, so glassmaking was seen as one of the most appropriate ways to use it. The situation would later change radically when glassworks started using coal as fuel. The cutting of deciduous Rogaška Slatina Glassmaking School in late 1950s. © Archive Celje Regional forests resulted in an increase in Museum. the area covered by conifers, which did not, however, provide suitable wood. Even today the inaccessible terrain made any Transporting potash and quartz areas where glassworks once other use of the forest sand was less difficult since operated still show evidence of impossible. horses could carry these changed vegetation, since the materials. As a result, raw trees felled in the areas were not Another operating condition, materials were frequently replaced. The abandoned slopes besides the source of water, was purchased from a considerable of inaccessible forests were the possibility of transporting the distance away, for example in overgrown by natural vegetation. essential raw materials for Upper Styria, the Valley production and, later, finished and even Hungary. Records of The invention of the steam products. Usually, in a contract forest glassworks in the Celje engine, and above all the permitting the establishment of area show that raw materials construction of railways, a forest glassworks the lord of were obtained from Ligist, significantly changed attitudes the manor defined specific area Dravograd, and Götweih towards wood. Prices rose and of forest available for the near Melk in Upper Austria.18 the increased demand began to glasshouse use where potash and drive out the glassworks. In 1870 fuel could be obtained. Wood Temporal lords or ecclesiastical Prince Weriand of Windisch- was cut in nearby forest areas, foundations, particularly Graetz built a glassworks in left to dry and then brought to monasteries, established the first Oplotnica in order to make good the glassworks, usually in the forest glassworks in Slovenia, use of the leftover wood that had winter months. In some locations creating glassware for their own remained in the forests. Waste water chutes were used, down use. Glassworks were built in wood, or the wood obtained when which the logs were sent. areas where access was difficult cleaning up the newly planted

18 Bericht der Grazer Handels- und Gewerbekammer an das hohe k. k. Ministerium für Handel, Gewerbe und öffentliche Bauten über den Zustand der Landeskunst, der Industrie, der Gewerbsverhältnisse und des Verkehrs im Jahre 1853.

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Medicine bottles, Pohorje, second Muster-Buch Schleif- und Hohlglas der Glasfabrik und Rafinerie Sagor der half of the 19th century. Photo Trifailer Kohlenwerks-Gesellschaft, 1903. © Archive Celje Regional Museum. © Tomaž Lauko. pine forests, was also used in the the “master’s house” reports, surviving glass vessels, forest areas used by the (Herrnhaus), which also and other fragments of glass glassworks in Rakovec. Gradually functioned as the glassworks’ prove that the region’s the vegetation began to change, administrative offices. A similar glassworks also made milky as coniferous forest became more layout is suggested by a site plan white (“opal”) glass and multi- promising in the economic sense. for the glassworks complex in coloured glass. In the Liboje. This glassworks started eighteenth and nineteenth In old depictions of the using coal as fuel in as early as centuries they produced, in glassworks in Rakovec above 1794. The glassworkers lived in addition to standard glassware, Vitanje it is possible to see the so-called workers’ colonies with more complex pieces that were complex layout of the settlement married workers living in their the equal to the contemporary in the valley of the own quarters and unmarried design achievements of other stream. The main building workers housing in communal European countries. In some contained the furnaces, while barracks.19 areas glassblowers limited the other structures included a themselves to simpler items for grindery, warehouse, and stables Glass products in the Celje practical use like drinkware in for the horses. Nearby there were region were made from green made from green glass. In also several living quarters and glass, although contemporary glassworks that expanded or

19 Frankenstein, Carl von, Allgemeiner historisch-statistisch-topographisches Fabriks-Bilder-Atlas der österreichischen Monarchie, Graz, 1842. 3131 LECTURES

Souvenir mug with inscription “Gruss aus Cilli”, Styria, Beer mug with inscription “Na zdar SOKOL”, Styria, second half of the 19th century. © Photo Tomaž Lauko. early 20th century. © Photo Tomaž Lauko.

grew into industrial operations, rest of Lombardy) and Sicily. some of its forms are still worthy these simple products were Glass was also exported overseas of admiration today. joined by more complex design via Trieste. techniques. For example, The rich glassmaking tradition of simpler forms were decorated by The glassworks in the Celje the region continues. Steklarna adding applied glass to the region, like others in Styria, also Hrastnik is continuing the work surface or applying glass made mineral water bottles, of the former forest glassworks cutting, engraving and glass glass and kitchenware, below Lisca and in the area painting techniques. drinkware, medicine bottles, around Jurklošter. Steklarna serving pieces, and chandeliers Rogaška, established in 1927, The glassworks of Styria had a (examples of which still adorn concentrated on the production well-developed network for the numerous churches in the area). of crystal glass, has become sale of their products. In the More valuable items were famous throughout the world. mid-nineteenth century the decorated using a range of Drinkware is also manufactured glassworks in Loka pri Žusmu cutting, grinding, engraving, and by the glassmaking school in had its own representative office enamelling techniques. Rogaška Slatina, which lead to in Trieste, through which it sold Glassware destined for domestic the formation of the company its products – along with those use was generally smooth, Steklarska Nova in 2002, of neighbouring glassworks to strictly functional, and although the firm ceased trading the Levant, Naples, (and aesthetically simple, although in 2009.

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Georges Despret (1862-1952), l’aventure artistique d’un industriel verrier

Anne-Laure Carre. Musée des Arts et Métiers, CNAM

Parcours industriel

Georges Despret est né en 1852 à , en Belgique, dans une famille de maitres de forge, proche des milieux d’affaires. Il entreprend des études d’ingénieur à Liège, à l’école des Mines et très vite il est choisi par son oncle, Hector Despret comme successeur. Celui-ci est le directeur-fondateur de la glacerie de Jeumont, émanation de la glacerie belge de Floreffe, qui a été créée pour établir sur le sol français la concurrence belge à la toute puissante compagnie de Saint-Gobain. Portrait de Georges Despret à sa table de travail, 1909. Album de photographies des Compagnies Réunies des Glaces et Verres Spéciaux du Nord de la France, 1909. Don Mme André Delloye. Collection département Hector Despret meurt verre / Musée des arts décoratifs. © AL Carré. prématurèment le 3 juin 1884 et c’est à 22 ans que le jeune Georges est appelé à Jeumont. plusieurs mois. Il s’intéresse de postes. Il introduit en 1895, la Il relève le défi et mène à bien la près à l’usine, travaillant au feu production des verres spéciaux remise à flot de l’usine, dont son pendant ses deux premières puis celle du verre armé et des oncle malade s’était tenu éloigné années pour comprendre tous les procédés Sievert enfin celle du

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verre de couleur pour vitraux. Il engage la mécanisation du douci- poli de la glacerie, s’intéresse à la question de la recuison et soutiendra bientôt les essais de verre à vitre étiré mécanique de Fourcault, son ancien condisciple de l’école des Mines de Liège.

Dans le domaine très cartellisé de l’industrie de la glace, Georges Despret se fait remarquer par ses qualités d’habile négociateur, et lorsqu’en 1908 les trois sociétés à capitaux belges : Jeumont, Recquignies1, et la nouvelle usine de Boussois – troisième Vue générale de l’usine de Boussois, 1909. Album de photographies des Compagnies Réunies des Glaces et Verres Spéciaux du Nord de la France, entreprise créée sur ce territoire 1909. Don Mme André Delloye. Collection département verre / Musée des sambrien – fusionnent, il en arts décoratifs © AL Carré. devient le directeur gérant. Face à Saint-Gobain il a porté le quota des ventes à 42 % de la du XXe siècle et interrompue précisément une collaboration production nationale et emporté dès 1914 par le premier conflit entre artiste plasticien et verrier, le droit d’exporter. Un bel album mondial, sont les catalogues ce dernier se réservant la illustré commémore les 25 ans des salons, rapports des composition du verre coloré de la création de la glacerie de expositions internationales et broyé et les problèmes de fusion. Jeumont et permet de mesurer universelles, quelques mentions Ainsi faut-il imaginer un l’ampleur de cette réussite2. aux archives nationales et collaborateur modelant les quelques pièces dans les coupes, les pièces en forme ; Production artistique collections nationales. puis un ouvrier tirant des plâtres et mettant en forme le moule en Comment expliquer la démarche Si les goûts et les pratiques terre réfractaire dans lequel sera de ce chef d’entreprise de 38 artistiques de Georges Despret cuite la pièce. Cette technique ans qui présente à la fin de nous sont totalement inconnus, permet aussi la reproduction de l’exposition de 1900 ses il faut préciser que la technique modèles connus, par premières pâtes de verre ? En qu’il va mettre au point et surmoulage. l’absence d’archives privées, les utiliser est tout à fait propice seules sources disponibles pour aux collaborations artistiques. En On connaît deux autres retracer cette courte carrière effet, la pâte de verre impose le techniques utilisées par artistique, commencée au début recours à un modèle qui permet Despret : les émaux, dont on ne

1 La glacerie de Recquignies est créée en 1859 par l’établissement belge de Saint-Marie d’Oignies pour les mêmes raison. 2 Cet album est conservé au Centre du Verre, au Musée des arts décoratifs à Paris. Il a été donné par la fille de Georges Despret en 1983.

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L. Gérard. Notice sur les émaux de Jeumont, Maubeuge, 1896. Fonds Tirages en plâtre avant réalisation d´un moule de pâte de verre. Album de catalogues anciens du Centre de photographies des Compagnies Réunies des Glaces et Verres Spéciaux du Documentation du Musée des arts Nord de la France, 1909, Don Mme André Delloye. Collection départment et métiers. © Al Carré. Verre/Musée des Arts Decoratifs. © Al Carré. conserve à ce jour aucune trace les liens qui les unissent, éventails et des aquarelles. Elle et les « verreries artistiques ». Georges Despret ne manque pas ne figure dans aucun Ces dernières sont des pièces de citer ses principaux dictionnaire d’artistes et les soufflées sur lesquelles des collaborateurs : Charles Toché renseignements la concernant projections d’oxydes et de nitrate Marguerite de Glori, Georges sont extrêmement minces, d’argent forment des Nicolet, Yvonne Serruys. pourtant cette jeune femme est cristallisations imitant le grès ; sans doute la clé de là encore une collaboration est En 1899, Georges Despret qui l’engagement de Georges indispensable, avec recours à un se présente comme élève de Despret dans cette aventure souffleur et à des moules Charles Toché, envoie au salon artistique. Elle est appelée à métalliques selon la forme des artistes français un poisson jouer un grand rôle dans sa vie souhaitée. en émail qu’il faut sans doute car c’est elle qu’il épousera en rapprocher des émaux signés 1920 après s’être séparé de sa Premiers essais, premiers Marguerite de Glori ilustrés première femme. Quant à collaborateurs dans l’album de 1909. Cette Toché3, c’est un peintre dernière, élève de Charles Toché décoratif, auteur de fresques et Bien que le manque d’archives elle aussi, expose aux salons d’un tableau en émail « la nous réduise à conjecturer sur entre 1899 et 1904, des Coulée des Glaces à Jeumont ».

3 Charles Toché (1851-1916). Peintre orientalisant, auteur des fresques de la galerie de Chenonceaux, réalise une fresque sur l’histoire du travail à l’Exposition Universelle de 1889.

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A Gand en 1913, Georges Despret est qualifié d´exposant de pâtes de verre artistiques

Georges Despret expose aux salons de la Société nationale des Beaux-Arts de 1901 à 1906, avec le concours de Georges Nicolet, personnage mystérieux, contributeur de revues artistiques4. En faisant une lecture attentive des catalogues, on constate que les envois baissent d’année en année, passant de 51 pièces en 1901 à 7 bols et coupes en 1906. Ces envois sont assez semblables d’une année sur l’autre, des coupes, vases et bols en pâte de verre translucide. En Vase en verre soufflé, avec projection d’émaux, inv. 2017.2.3. Don Barlach 1902, la participation de Heuer. © Musée du verre, Conches / Paul Louis. Despret compte deux numéros au catalogue et distingue un masque égyptien en pâte de production de Georges Despret, qui marque vraisemblablement la verre polychrome, identifié dont au moins trois exemplaires fin de la collaboration avec aujourd’hui comme un portrait existent aujourd’hui. Georges Nicolet et les débuts de de Cléo de Mérode. Ce masque celle d’avec Yvonne Serruys. est sans doute une des pièces Les envois au salon du Champ de Celle-ci5 est née à Menin (à la les plus célèbres de la Mars cessent après 1906, année frontière franco-belge) en 1874,

4 Nicolet est membre du comité de rédaction de l’éphémère revue illustrée L’art dans les deux mondes où il tient, sur 22 des 34 numéros publiés, en 1891 une chronique historique sur l’art de la céramique, proposant de « donner aux collectionneurs des indications claires, précises et complètes pour former une collection » 5 Elle débute la peinture avec le peintre luministe Emile Claus, un ami de la famille puis se tourne vers la sculpture qu’elle étudie avec Egide Rombaux à Bruxelles. Dès 1897, elle expose ses premières toiles à Paris à la Société nationale des Beaux- Arts. Elle connait un certain succès et reçioit des commandes en Belgique et en France. Elle meurt en 1953 à Paris en léguant

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dans une famille d’industriels du Etats-Unis, à Liège, en 1905 ou ceci plaide donc pour une textile qui rappelle le milieu des à Milan en 1906 lors de production limitée. Toutefois le Despret. Installée à Paris avant l’exposition internationale. livre hommage de 1909, illustre 1906, elle fréquente grâce à son un véritable musée des pâtes de frère l’économiste Daniel Serruys, En 1910 lors de l’exposition verre et des verreries artistiques les milieux politiques et rencontre universelle et internationale de établit à la suite du musée sans doute ainsi Marguerite de Bruxelles, le rapport reproduit commercial de la glacerie de Glori6, nièce du sénateur deux photos de pâtes de verre: le Jeumont. François-Eugène Deloncle. masque de Cléo de Mérode (sous le nom de masque antique) et Les institutions publiques se C’est sans conteste la plus une série de petites rondes- sont très tôt intéressées aux douée des collaborateurs de bosses genre Tanagra ainsi qu’un pâtes de verre de Jeumont, le Despret. Elle signe les pièces buste de satyre et une coupe aux Musée des arts décoratifs achète d’un monogramme formé par grappes de raisins, dûes à Yvonne plusieurs pièces entre 19007 et deux lettres YS entrelacées. Leur Serruys. En 1911, à Turin, il est 1902. En 1907, le Conservatoire collaboration est matérialisée récompensé d’un grand prix à des arts et métiers achète pour dans un unique envoi au Salon titre personnel. A Gand en 1913, ses galeries de céramique et d’Automne de 1906 où Georges Georges Despret est qualifié verrerie auprès de la maison Despret expose « 10 coupes et d’exposant de pâtes de verre Rouard, sept pièces : quatre vases en verrerie ». Yvonne artistiques. vases d’art soufflé (les verreries Serruys expose en son nom, des artistiques signées Yvonne sculptures et des verreries Diffusion et réception des pâtes Serruys) et trois pâtes de verre8. artistiques, c’est-à-dire les verres de verre soufflés moulés avec projection de nitrate d’argent, pour lesquels Cependant il est bien difficile Georges Despret est cité comme d’évaluer l’ampleur de la collaborateur ! production artistique de Georges Despret. La pâte de verre est une Les Compagnies réunies des technique exigeante, toutes les glaces et verres spéciaux du pièces fabriquées sont loin d’être Nord participent aux différents réussies et leurs effets de matière expositions industrielles jusqu’en contrôlés. S’il est vraisemblable 1914. Georges Despret expose que l’entreprise mettait facilement souvent en son nom propre, une à sa portée des moyens matériels : petite vitrine contenant ses matières premières, broyeur, four, Baguier en pâte de verre, inv. réalisations en pâte de verre, personnels, il est probable qu’il 14037, 1906. © Musée des arts et en 1904 à l’exposition n’ait eu que peu de temps à métiers-CNAM/Pascal Faligot. internationale de Saint-Louis aux consacrer à cette recherche. Tout son fonds d’atelier à sa ville natale. Eugène De Seyn. Dictionnaire biographique des sciences, des lettres et des arts en Belgique. Bruxelles, éditions de l’avenir, 1936, tome 2, p. 912. 6 Au Salon d’Automne de 1906, elle expose un « buste de Melle de G » où il n’est pas difficile de reconnaître Marguerite de Glori. 7 IL s’agit du masque, portant le n° d’nventaire 9375 et des bols et baguiers, inv. 9649, 9650, 9651, 9652 et 9653. Il s’agit des n° d’inv. 10297 et 10298. Ces achats seront complétés en 1953 par un don de Mme Despret. 8 Entrés dans les collections sous les n° d’inv. : 14036 à 14042.

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Enfin en 1912, Georges Despret fait don au musée Galliéra de Bibliographie sommaire soixante pièces qui sont aujourd’hui inscrites à Articles monographiques publiés du l’inventaire du musée du Petit- vivant de Georges Despret : Palais. Raymond Escholier, « la pâte de verre : Georges Despret – La fortune critique de son œuvre François Décorchemont » L’Art est assez confidentielle, peu Décoratif, n°111, décembre d’articles lui ont été consacrés9. 1907, p. 211-216. Les commentaires des salons de Gustave Kahn, « Georges Despret et la 1901 et surtout de 190210 Coupe en pâte de verre, inv. pâte de verre » Le Goût Moderne, n°1, novembre 1926, p. 8-11. remarquent surtout le masque 14038, 1906. © Musée des arts et de Cléo de Mérode, « il semble méteriers-CNAM/Pascal Falligot. que le sang coule sous la peau, Bibliographie que la matière s’anime, que production industrielle, comme l’épiderme sous le doigt, va pour les émaux artistiques, en VÉRONIQUE AYROLES. FRANÇOIS provoquer de la chaleur : c’est effet, dès 1913, les compagnies DÉCORCHEMONT. Maître de la de l’art oublié, perdu, qui réunies des glaces et verres pâte de verre. Paris : Norma, ressuscite soudain, avec quelle spéciaux produisent des 2006. mystérieuse séduction tesselles de verre pour ANNE-LAURE CARRÉ « Georges Despret, pâte de verre 1900 » d’aspect ! »11. revêtement. L’Estampille - l’objet d’art, n°250, sept. 1991. p. 76-83. Une aventure inachevée ? Dès le début de la première NOEL . La pâte de verre. Paris : guerre mondiale, Jeumont est Denoël, 1984. Il est difficile de qualifier cette occupé et le front se stabilise, FRÉDÉRIC HAMAIDE (dir). De glace production, recherche Georges Despret choisit de et de verre, deux siècles de verre personnelle, aventure artistique s’installer à Paris. Privé de ses plat franco-belge (1828-2028). bien distincte de la production moyens d’expérimentation et de Catalogue de l’exposition de son usine ? La réponse est son usine, il va vivre une autre présentée à l’atelier musée du verre de Trélon du 8 juin au 21 assez ambiguë, même s’il est carrière, au service de la octobre 2007. Fourmies, bien avéré qu’il a distingué mobilisation de guerre, Ecomusée de l’Avesnois, 2007 cette production de celle de son s’intéresser à l’industrie des JEAN-LUC OLIVIÉ « Jalons pour une entreprise - il reçoit d’ailleurs colorants et aux affaires histoire des pâtes de verre » Revue des récompenses à titre coloniales avant de revenir à la de la céramique et du verre, personnel, il n’est pas exclu glace lorsque sera venu le temps 1982. p. 8-13. qu’il ait recherché une de la reconstruction.

9 Seuls deux articles monographiques sont publiés du vivant de Despret, l’un par Raymond Escholier, l’autre par Gustave Kahn. L’un et l’autre insistent sur la qualité de matière des picèes. Escholier écrit ainsi : « ces coupelles et ces patères qui semblent plutôt avoir été taillées au c’ur de l’onyx ou de la cornaline que moulées dans la pâte silicatique […] ». 10 Voir l’Architecture, n°19, 11 mai 1901, p.160 ; Gustave Kahn « les objets d’art aux salons » Art et Décoration, Juil. Déc. 1902, p.24-32 ; Emile Sedeyn « les arts décoratifs aux salons de 1902 » L’Art décoratif, juin 1902, p. 110. 11 Roger Miles s’exprimant sur le salon de la société nationale des Beaux-Arts de 1902, propos repris dans Jules Henrivaux, La verrerie au XXe siècle. Paris, 1903, p. 99.

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The history and highlights of the glass collection in the State Pushkin Museum of Fine Arts, Moscow, Russian Federation

Oxana Lopatina. State Pushkin Museum of fine arts, Moscow

In the very beginning of my article, I would like to thank the International Committee for Museums and Collections of Glass for the chance to give a report about the glass collection of the State Pushkin Museum of Fine Arts (Moscow, Russian Federation) during the annual meeting 2017 in Sars-Poterie/ Norther France and Belgium. A well-organized colloquium has given me the opportunity to look at the collection from a different angle and a better understanding of its value and The State Pushkin Museum of Fine Arts. Moscow, Russian Federation (photo originality. 2016 by Olga Melekeszeva), 1898 - 1912. Architect – Roman Klein (1858 - 1924). © The State Pushkin Museum of Fine Arts, Moscow. My article represents the glass collection of the State Pushkin Museum of Fine Arts (Moscow, The State Pushkin Museum of Saint-Petersburg. The collection Russian Federation). I will Fine Arts is considered the includes masterpieces of Old discuss its formation and some largest collection of west Dutch, French, and Italian highlights that make this European art in Russia after the paintings and sculptures. The collection unique in Russia. State Hermitage Museum in museum is world known due to

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The founders and Maecenas of the museum: Ivan Zvetaev (1847 - 1913), Jury Netchaev-Maltzov (1834 - 1913) before the Museum of Fine Arts in 1913. © The State The interior of the hall for the Renaissance and middle age art. The State Pushkin Museum of Fine Arts, Pushkin Museum of Fine Arts (2016). © The State Pushkin Museum of Fine Moscow. Arts, Moscow. its valuable collection of French Moscow University, a museum the museum as an art gallery, impressionism and post- that could educate people in without any thought for impressionism art, collected by archeology and antiques, decorative arts. They the Russian industrialists and including the art of ancient concentrated all their efforts on mecenas Sergei Shukin and Ivan world, as well as Middle Ages and preserving and acquiring pieces Morozov. Renaissance. of west European old paintings and sculptures. The museum was established Originally, the museum was during the reign of Alexander III conceived to be a special The acquisition of glass items and opened to the public in educational institution for the was unintentional and 1912 during the reign of the last Moscow University, but it grew accidentally happened without Russian Emperor Nicholas II. The into the largest museum of the an outline plan or in any context. idea and initiative of its west European art in Russia after Glass objects such as mosaics foundation belongs to the the October Revolution of 1917. and stained glass became a part prominent Russian scholar Iwan According to the orders from the of painting’s department; vessels Zwetaev – archaeologist, antique new government, all private art entered decorative arts philologist, art historian, and the collections were nationalized and department. father of famous Russian poet converted from private into the Marina Zwetaeva. state ownership. During the 20th century the museum glass collection hidden Alexander III goal in creating the From the beginning of the among the treasures of the institution was to create a special museum’s existence, the founder picture gallery and it was not education museum for the and its first directors considered exhibited and studied well in all

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Renaissance in the Louvre collection.

The museum’s first glass acquisition is connected to him. It is a monumental mosaics executed in the byzantine technique by the famous Venetian glass firm and Co. during the second-half of the nineteenth century. The mosaics is related to the imposing restoration process of Venetian Saint Mark Cathedral initiated by Italian architect Giovanni Batista Meduna (1800 - 1886). The original mosaics of Saint Mark Cathedral, located on the vault of the Cardinal Batista Zeno’s Three mosaic scenes from the life of St. Mark. Salviati and Co. Venice, Italy, 1870th (copied from the vault of San Zeno Capella, Saint Mark Cathedral in “capella” in St. Mark Cathedral Venice). © The State Pushkin Museum of Fine Arts, Moscow. in Venice, c.1260 - 1270, were identified as rapidly destroying and in need of replacement. its beauty and significance. The the middle of the eighteenth Copies were executed by Salviati, collection was scattered thought century and still in existence. in collaboration with Antonio the museum and not known to They were located in Gus Paoletti (1834 - 1887) who was the public as well to the scholars. Hrustalny near Vladimir town and responsible for the sketches, and in the village Dyatkovo, near “il pittore ornatista” Germano The museum’s glass collection Bryansk town. The factory Prosdocimi who was responsible includes glass from the sixteenth produced the glass for domestic for the decorative parts of the till the end of the twentieth use and the artistic objects in all compositions. After the mosaics centuries. It is primarily a styles. The products of Maltzov’s were finished they were collection of the historic glass. glass factories are considered exhibited, receiving negative Its development reflects all the some of the best Russian glass reviews from the public and art cultural and political collisions art and extremely desirable critics. British art historian and of 20th century Russia. collectible objects. Yury critic John Ruskin opposed Netchaev-Maltzov made a major Salviati copies and the mosaics The glass collection was started contribution to the museum to were never installed. by one of the most important enable it to open. He paid two- museum’s Maecenas – Yury thirds of the cost of the building Pietro Saccardo (1830 - 1903), Nechaev-Maltsov, who belonged and also sponsored a majority of Venetian architect, who was to a family of industrial magnates the plaster casts manufactured responsible for the conservation and was the owner of one of the after well-known masterpieces of of original mosaics in San Marco greatest glass factories in the west European sculptures dating Cathedral, c. 1887 - 1902, Russian Empire, dating back to to the Middle Ages and recommended selling the

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Accordianist player. Wassily Young woman with a pink belt. Nina The promenade. Nina Kandinsky Kandinsky (1866 - 1944), 1917 - Kandinsky (1899 - 1980), 1917 - (1899 - 1980), 1917 - 1920. 1920. Reverse painting on glass 1920. Reverse painting on glass Reverse painting on glass (glass, (glass, oil). © The State Pushkin (glass, oil). © The State Pushkin oil). © The State Pushkin Museum Museum of Fine Arts, Moscow. Museum of Fine Arts, Moscow of Fine Arts, Moscow. reproduction mosaics or adapts the hall exhibiting Medieval abstractionist, one of the them to another sacred building. and early renaissance copies. founders of “Blau Reiter” and On March 2, 1888 Italy’s theorist of art - Vassily Kandinsky Ministry of the Public Education For a long time, the Salviati (1866 - 1944) and his young started to search for a customer mosaics remained the only art wife Nina Kandinsky for the basilica’s expensive and associated with glass in the (1899 - 1980). high-quality copies. Only in 1898 museum. through mediation by Ferdinando Reverse paintings was a special Ongania (1842-1911), a During the first decade after the part of the artistic heritage of prominent Venetian publisher and October Revolution, the museum German expressionists and bookseller best known for the was enriched with a unique and abstractionists. Wassily published work on Saint Mark very valuable collection of reverse Kandinsky was introduced to this Cathedral, that the Puskin glass paintings technic first in Germany with Museum received the mosaics. (Hinterglasmalerei) and some of his students, painter and It was the museum’s first Renaissance glass panels, which beloved Gabriela Münter, Paul acquisition and an incredibly came from private collectors. Klee, Franz Marc, and some successful beginning. The Viewed as a type of painting, they others. Kandinsky had painted mosaics could educate the were taken into the museum about thirty reverse glass works, Russian public about the collection which had been which he called “bagatelles”. byzantine mosaic technique and developed as a picture gallery. This is very famous and high the style of early Renaissance esteemed part of his creative Christian images. Collection of eight very important activity. reverse glass paintings and The mosaics were installed on application on glass is connected Most reverse paintings belonging the first floor of the museum in with the name of famous artist, to the museum relate to a special

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Stained glass panel. The Last Judgment with Imhoff, Scheurl von Defersdorf and Kress zu Heraldic stained glass panel. Kressenstein coat of arms. Germany, Switzerland/Southern Germany, Nuremberg, workshop of Augustin Three idols. Nina Kandinsky (1899 - Bartholomaeus Holl, 1597 (glass, Hirschvogel (1503 - 1553), 1530th 1980), 1917 – 1920. Reverse enamel painting) Collection of Collection of Dmitry Shukin (1855 - painting on glass (glass, tempera, Dmitry Shukin (1855 - 1932). 1932). © The State Pushkin foil). © The State Pushkin Museum © The State Pushkin Museum Museum of Fine Arts, Moscow. of Fine Arts, Moscow. of Fine Arts, Moscow. occasion. They concern to the works are associated with the sixteenth and seventeenth Moscow period of the artist’s family, joint activity done by a centuries. This rare collection has oeuvre (1915 - 1921) and married couple, where young never been exhibited in the develop a lyrical theme in his Nina, who was not an artist at all, museum during the twentieth private life. The glass works were tried to be a painter under the century due to its poor condition created under the special supervision of the great master. and the museum’s inability to circumstances. Two of the eight This set of works is considered to restore it. Last year the museum reverse glass panels have a be a very special among initiated an important research monogram of Vassily Kandinsky Kandinsky reverse painting and conservation project in himself and the other six without oeuvres. They were exhibited for partnership with Corpus monograms are attributed to his a first time in 2017 during the Vitrearum (Freiburg) and young wife Nina Andreevskaya celebration of Kandinky’s Vitrocentre Museum (Romont). who was not a painter. anniversary. (http://www.museumconservation. ru/data/specprojects/stainedglass/ These small-scale, reverse-glass The museum collection of west index.html) paintings depict the Russian fairy European stained glass panels is tales, primitive motifs, portraits also a unique for the museums in We are proud to be able to find of Nina, and scenes of a newly Russia. It is the second largest several glass panels by famous married couple. It is executed stained glass collection in Russia Nuremberg stained glass artist using intricate lines, colors, and after the Hermitage Museum Augustin Hirschvogel, created in forms in an ironic and decorative (). There are the 1530th and commissioned by manner. These works were not German, Swiss, and Dutch representatives of famous intended for public display. These stained glass panels dating to the Nuremberg patrician families

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Wooden crates. Exhibition “The Conservators. War and peace in the museum. 1941 - 1945” which was held in the museum from 30th of April till 21 of June 2015. © The State Pushkin Museum of Fine Arts, Moscow.

– Imhoff, Kress zu Kressestein, will show the connections After the victory over the and Scheurl von Defensdorf. between German and Dutch fascism and the occupation of stained glass panels, graphic art Germany by Soviet Army, the The core of the stained glass of the sixteenth century, Swiss State Pushkin Museum of Fine collection Wappenscheibe, and heraldry art Arts became the main place on glass and paper. that according to order of the Augustin Hirschvogel’s works and Soviet Government had to artistic Dutch and Swiss panels - Many glass items and entire receive the trophy brigades, came from the collection of the glass collections that were which in the implementation of North Renaissance art included in the museum’s compensatory restitution (that assembled by a famous Moscow nationalized art collections were is, as compensation for cultural collector, Dmitry Shukin (1855 - often redirected to the specially property destroyed or plundered 1932). His collection of old west created museum of ceramics and on the Soviet territory by the European paintings belonged to glass in the Kuskovo estate that German occupiers) were one of the most significant art was organized in the 1930 in exported to the territory of the collections in Russia and was Moscow. Such a way the Soviet Union. The similar nationalized after the October museum had lost many excellent activity was held also by the Revolution of 1917. items. American trophy brigades. The outstanding masterpieces of Currently, the museum is Before the beginning of the west European art from the preparing series of exhibitions Second World War (1941 - German collections found their that will introduce the public 1945) the glass collection way to the State Pushkin and researches to the museum’s consisted almost exclusively Museum of Fine Arts in stained glass collection in a of paintings on glass and Moscow. There was a great deal different context. The approach mosaics. of glass and porcelain objects.

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The receipt of these items was However, there are missing documented by the museum glasses taken from German stuff immediately. Among museums and from private collaborators who described the collections. Throughout the 20th new items were the names of century access to the archives two outstanding Russian were restricted, even the specialists, experts in glass, museum researches could not porcelain, and especially access to these materials. During ceramics – Boris Shelkovnikov the last few years the situation (1897 - 1974) and Sergei has changed and now we are Troynizky (1882 - 1948). They able to utilize the archives, belonged to the Saint gaining a better understanding Petersburg school of art Fedor and Ekaterina Lemkul at about the glass history, what expertise and had extensive home interior with glass vessels objects were victims of war. You experience working with the from their collection in 1993. © can find more information about The State Pushkin Museum of Fine Hermitage collection of glass this on internet pages: Arts, Moscow. and porcelain. We have not any http://www.lostart.ru and http:// photos or other images of the www.lostart.de. “Beute” (German) glass items in the museum archives. These political system, and the The last important episode items have never been country’s desire to reduce ties reflecting the glass collection of exhibited, unlike the paintings with its Europe neighbors, the the State Pushkin Museum of from Gemäldegalerie Alte Soviet Government decided to Fine Arts in Moscow is the Meister (Dresden) that were return most of Germany’s art in acquisition of a unique private shown in an exhibition held in 1949. During the second half of collection of glass. It is May of 1955. The only the 1950s all the glass objects considered one of the best information that can help were return to the German collections assembled during the identify these glass items are museums. And the only trace 20th century in Russia by very brief but informative left of their presence in the Lemkul Family. They have descriptions made by museum, except archive showed incredible generosity by Shelkovnikov and Troynizky. materials, are the wooden boxes donating the collection in 1995 Based on their inscriptions we with black inscription in to the museum. The collection can identified a big number of Russian language “Glass” contains of some antique, but German enamel glass vessels of (“Стекло”), used to transport mostly west European and the seventeenth century and a the items from Germany to Russian vessels dating to the Polish table glass vessel from Moscow. For the first time, seventeenth through nineteenth the eighteenth to nineteenth these boxes were included in centuries. Numbering about centuries with engraved coat the exhibition “The 300 pieces, this is a very special of arms. This was very precisely Conservators. War and peace in phenomena in the history of defined by Sergei Troynizky, who the museum. 1941 - 1945,” collecting art. was a prominent heraldist. held in the museum from April 30th to June 21st 2015 to Fedor (1914 - 1995) and Even before Iosif Stalin’s death commemorate the 70th Ekaterina (1918 - 1996) Lemkul in 1953, brining great changes anniversary of the end of the belonged to the artistic circle and to the Soviet society and Second World War. came from the old families

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wonderful circle of glass items Fedor which admired the glass specialists and was a desired and Ekaterina contribution for the museum.

Lemkul After Iosif Stalin death the antique market in Russian collected a began to develop. During the wonderful Stalin period to collect or to have an art collection was circle of glass forbidden, the collector could be repressed easily. Antique ítems Green glass shtof with enamel glass, like other objects painted cranberries. Russian folk belonged earlier to the noble glass. Second half of the 18th families or representatives of century. Lemkul’s collection. © The State Pushkin Museum of Fine intelligentsia (which was Arts, Moscow. emigrated after the Revolution or repressed by Stalin in the 1930s) or their former servants, interested in art collecting. Fedor part of the collection for us of appeared on the market. Often Lemkul was a painter and book particular importance is the part these items did not have any illustrator, focusing on children’s representing the Russian art market value. They were simply books. He liked to depict glass glass. Among these glass objects exchanged for clothing or objects from his collection in his we can find first class glass household items. During all the illustrations. For example, he vessels of noble forms and twentieth century, the foreign- often depicted an opal glass superb Baroque – style engraving made art never came to Russia. vessel with a big cup and figured produced by important Russian The glass collection of Lemkuls stem produced by Salviati and Co factories – Saint Petersburg and was formed from the fragments in the end of the 19th century Yamburg glass factories. The of the former Russian Empire, from his collection. His wife so-called “folk glass,” with its specifically from destroyed Ekaterina Lemkul became a fine polychrome clumsy paintings, is private collections and interiors connoisseur of glass and also perceived in bright contrast of the rich and nobility. That is restored the items herself. against the background of these why Lemkul’s collection is so above-mentioned elegant much important for the museum English glass vessels of the glasses. and our society. last-quarter of the eighteenth century, wine glass service Remarkable is the fact that this The glass collection of the State related to the earliest Emil brilliant and very expensive Pushkin museum in Moscow is Galle’s oeuvre. It is made at the collection was gathered by two not as big and famous such as time when the great maestro art simple soviet people, who did glass collection of Historical nouveux worked in the traditions not have a lot of money. Fedor museum, Kremlin Museum, or of the old . and Ekaterina Lemkul were not the Glass and Ceramics rich, they lived they life Museum in Kuskovo estate in Considering all the value and according to standard Soviet Moscow, but it has unique beauty of the Western European earnings, but collected a history.

4646 REVIEWS ON GLASS Nº 7 2019 Le Musée du Verre de Charleroi: une histoire, un musée, une collection Catherine Thomas, Musée du Verre de Charleroi Le Musée du Verre de Charleroi présente une spécificité toute particulière en Wallonie. En effet, il est le lieu de rencontre entre le passé et l’avenir de la matière verre mais aussi la mémoire vivante de l’histoire de son industrie en Wallonie, qui est extrêmement riche et fait partie intégrante de la construction de l’identité de notre région. Préserver cette région mais aussi la valoriser participent à la mission essentielle de notre institution.

Brève histoire du verre à Charleroi

Dès le XVIème siècle, la présence de houille dans les environs immédiats de la future citadelle de Charleroi encourage les maîtres-verriers, en recherche Bâtiments de l’ancien Musée du Verre à Charleroi (Collection iconographique, Musée du Verre de Charleroi). constante de combustibles, à rejoindre cette région pour y

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installer et y développer leurs production du verre à vitres dans mondiale, l’industrie belge du activités. À cette époque, ces la région : elle n’est plus le fruit verre, confrontée à des difficultés artisans ne s’intéressent que d´un savoir-faire mais d’une économiques, se trouvait dans moyennement à la production du machine, rétrogradant le verrier à l’impossibilité financière verre à vitres. Il a fallu attendre l’état d’ouvrier. Avec le d’investir dans les indispensables le milieu du XVIIIème siècle et développement rapide de la travaux de recherches l’importation de la technique du mécanisation et la concurrence scientifiques, nécessaires pour le soufflage au canon par des de plus en plus rude de développement et l’innovation de verriers venus de la Sarre l’étranger, des verreries périclitent ce secteur industriel. (Allemagne) pour voir cette mais d’autres s’allient pour activité prendre une ampleur former deux grands groupes de L’Association belge « pour considérable et devenir fabricants de verre plat favoriser l’étude des verres et finalement une spécialité de la « UNIVERBEL » et « GLAVER ». composés siliceux » lance alors le région de Charleroi. Après la En 1961, ces deux sociétés projet de créer l’Institut national déclaration d’indépendance de la fusionnent pour donner naissance du Verre, qui se chargerait des Belgique en 1830, l’industrie du à Glaverbel. La mondialisation ne travaux de recherches et qui verre à vitres connait un s’arrête pas là et finalement, communiquerait ses résultats aux formidable développement et Glaverbel intègre AGC-Glass, industries qu’il compterait parmi emploie à la fin du XIXème siècle toujours présent sur le marché ses membres. À la même époque, plus de 9000 personnes. Et, mondial aujourd’hui. le maire de Charleroi, Joseph Tirou, jusqu’à la Première Guerre a l’idée d’ériger à Charleroi un mondiale, Charleroi inonde le Une mémoire à sauvegarder, un Musée du Verre. Mais les locaux marché international de verre matériau à valoriser ! et les moyens manquent et des plat. En 1902, Émile Fourcault pourparlers sont alors entamés et Émile Gobbe mettent au point De cette fabuleuse épopée avec l’État pour réaliser ce double l’étireuse mécanique de verre industrielle, il fallait conserver la projet. Ils aboutissent le 27 mars plat, qui va révolutionner la trace. Après la Seconde Guerre 1950 à la signature d’une convention concernant la construction à charge de l’État d’un bâtiment qui abriterait l’Institut national du Verre et le Musée du Verre, sur un terrain encore à déterminer de Charleroi. Ce n’est qu’en 1959 que le choix se portait définitivement sur la Plaine des manœuvres pour la construction du bâtiment. Le projet était confié aux architectes Simon de Brigode et Jacques Depelsenaire.

Le 11 décembre 1961, une convention entre la Ville de Souffleurs de canons, Verreries de Jumet, Belgique (Collection iconographique, Musée du Verre de Charleroi). Charleroi, Glaverbel et l’Institut national du verre décidait que la

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Verre se fait attendre. Pour palier ce manque, on organise en 1969 une exposition pour commémorer les 300 ans de la lettre d’octroi de Louis XIV à Jean de Condé pour l’installation de la première verrerie à Charleroi.

Le Musée du Verre est finalement inauguré le 25 juin 1973, en présence du Prince Albert de Belgique et du Premier ministre de l’époque, Edmond Leburton. Dès le départ, ses missions sont clairement définies:

Site de Glaverbel, Houdeng, Belgique (Collection iconographique, Musée du 1/ faire connaître le verre en tant Verre de Charleroi). que matériau gestion du Musée du Verre autorités municipales et le 2/ rappeler les grandes étapes de relèverait d’une commission mixte collectionneur. En 1964, il l’histoire, de la technique et de la Ville/ Fédération des industries du propose sa collection de pièces et science du verre verre. Le gardiennage et de documents d’archives pour la l’entretien des futurs locaux de somme de 3.500.000 francs 3/ situer la part de la Belgique et l’Institut ainsi que l’équipement et belges. L’archéologue Waldemar de Charleroi dans l’expansion de l’exploitation du Musée, consacré Haberey, directeur du la verrerie dans le monde à la technologie du verre, sont Rheinischen Landesmuseum de confiés aux bons soins de la Ville Bonn est sollicité pour évaluer la La conception et la présentation de Charleroi. collection et c’est sur base de ses du Musée ont été saluées par la conclusions, favorables à critique, la scénographie se Celle-ci décide alors d’acquérir la l’acquisition, que les autorités voulant résolument pédagogique, collection de Raymond Chambon communales décident l’achat de afin de permettre au plus grand sur proposition de ce dernier. En la collection. Finalement, pour nombre de comprendre la matière effet, collectionneur passionné une raison qu’on ignore encore, verre, à travers la science, les par l’histoire du verre avait la Ville ne se décidera que pour techniques, l’histoire et les rassemblé une collection la collection de pièces, au courants artistiques. Le Musée du remarquable de pièces et nombre de 1082. Les archives et Verre participait alors à la d’archives, qui illustraient les la bibliothèque ont quant à elles promotion des nouveaux produits progrès réalisés au cours des été acquises par le Corning verriers par l’intermédiaire de la siècles dans l’élaboration de la Museum bien des années plus Fédération des industries du matière, des techniques de tard. verre. La proximité avec l’Institut façonnage et de décoration du national du Verre permettait, par verre et la mémoire de la verrerie L’Institut national du Verre ailleurs, de bénéficier de toutes en Belgique. Des tractations investit ses nouveaux locaux en les avancées techniques et débutent dès 1963 entre les 1966. L’ouverture du Musée du expérimentales. Il a poursuivi ses

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son inauguration en 2007 sur le site du Bois du Cazier à Marcinelle, complétant utilement la mise en valeur des racines et de la mémoire vivante du verre au pays de Charleroi.

Le Musée actuel s’étend sur une superficie de 400 m2 dans l’ancienne lampisterie du charbonnage du Bois du Cazier dont les architectes du maître d’ouvrage délégué ont su préserver les caractéristiques originelles. Une annexe en verre parachève la construction. Une mezzanine permet de dédoubler la surface afin d’optimaliser la scénographie. Au-delà de la problématique du rapport contenant/contenu, son architecture ouverte sur l’extérieur, associée à une volonté de respect de l’existant, se joue des transparences, de l’éclat du verre et participe à la cohérence d’intégration au site.

Le Musée du Verre, c’est une collection de près de 5200 pièces et l’enrichissement de son patrimoine est une action menée au quotidien, que ce soit au travers les dons, les dépôts, les acquisitions et parfois même des Vitrail Art déco, c. 1930, Binche, Belgique. © Vincent Vincke. sauvetages ! missions de valorisation de l’art, par le Musée, désirait mettre fin Depuis son inauguration en des techniques et de l’histoire du au bail emphytéotique pour y 1973, la politique d’acquisition verre pendant plus de trente ans installer les nouveaux locaux est restée constante. La dans le centre ville. du Palais de justice, celui-ci technique, l’histoire et l’art du étant devenu trop exigu. verre, sont toujours les trois axes Mais en 2002, le couperet majeurs qui ont présidé à la tombe. L’État fédéral, Pendant cinq ans, le Musée du création des collections du propriétaire du bâtiment occupé Verre est resté en boîte jusqu’à musée. Ainsi, l’équipe

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scientifique du Musée du verre incrustations pour le mobilier et met tout en œuvre pour continuer élabore les premières techniques à développer son patrimoine dans (façonnage sur mandrin) qui vont cette voie. lui permettre de réaliser des petits contenants pour le parfum L’accroissement des collections et les onguents sacrés. se focalise sur plusieurs points. Une nécessaire actualisation est Plus tard, il apprivoise le verre: la en cours via l’acquisition de technique du soufflage (Ier siècle créations contemporaines et de avant JC) et celle du soufflage au témoins de l’innovation moule (Ier siècle après JC) sont technologique du verre. Le circuit mises au point dans le bassin de l’exposition permanente est Tazza, Venise, fin 16ème siècle. méditerranéen à l’époque progressivement complété des © IRPA. romaine. Ces techniques jalons incontournables de permettant une fabrication rapide l’histoire du verre. Un travail de de toutes formes de récipients, le collecte de témoignages et public peut aborder cette épopée verre se démocratise et devient d’archives est mené au quotidien industrielle, au travers des accessible au plus grand nombre. pour la sauvegarde de la mémoire photographies, des documents De nombreux témoignages de verrière de Charleroi et plus iconographiques et de pièces cette production sont présentés largement du « Grand Hainaut », d’archéologie industrielle comme dans les vitrines. terre de tradition verrière, un creuset de glacerie, un four à notamment au travers du projet pot, la débiteuse Fourcault et des Les objets mérovingiens et sur le vitrail dans les espaces canons de verre produits dans le carolingiens, issus de chantiers privés, lancé en 2012. bassin de Charleroi. Fort de ses de fouilles, avoisinent les valeurs, le Musée donne productions des ateliers verriers Quand les collections racontent également sa place aux nouvelles du Proche-Orient qui montrent la l’histoire du verre technologies développées par les richesse et la qualité du savoir- grands groupes verriers, toujours faire de cette région, notamment Le Musée du Verre a la actifs aujourd’hui. dans la production de formes particularité de présenter ses typiques comme les aspersoirs, collections sous un angle original. La plupart des mouvements sont flacon à long col avec Une chronologie à rebours invite représentés dans la collection, au étranglement destiné à l’eau de le public à remonter le temps niveau international comme au rose ou la verrerie taillée, dont jusqu’aux premiers soubresauts niveau belge, et offrent une les petites fioles « molar flask » du verre dans l’histoire humaine. vision complète du verre, produites sur le sol de l'ancienne artistique, historique et Mésopotamie présentées dans Grâce aux outils interactifs mis à technique. l'exposition permanente en sont sa disposition, le visiteur un beau témoignage. découvre d’abord le verre, corps Au début de l’histoire du verre, solide, transparent et fragile, avec l’homme n’a que très peu Une activité verrière est déjà ses propriétés physico-chimiques d’emprise sur la matière, qu’il attestée à Venise dès le Xe siècle. et son histoire dans le pays de considère comme un matériau Elle s’est ensuite Charleroi. À côté d’objets précieux. Il façonne le verre, considérablement développée et insolites, comme les bousillés, le réalise des bijoux, des spécialisée dans la verrerie d’art.

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Calice sur pied, Utrecht, Pays-Bas, 1757. © Paul Louis. Flacon lenticulaire, Egypte, 15ème siècle ACN. © IRPA.

Sur l’île de Murano étaient dureté du verre de Bohême. De Namur qu’est attestée, pour la formés des verriers qui, malgré nombreux calices présentés première fois sur le continent, l’interdiction de divulguer le dans les vitrines prouvent à quel la fabrication de pièces en savoir-faire vénitien, n’hésitaient point la technique est maîtrisée. cristal. En France, les pas à quitter la lagune pour Cristalleries de et de répandre en Europe le secret du L’Angleterre de la fin du XVIIIe Saint-Louis voient verre qui ambitionnait d’être siècle s’illustre par la mise au successivement le jour en 1764 aussi clair que le cristal de point de la formule du cristal, et en 1767. Les Cristalleries de roche. Ils excellent dans la tandis que la Hollande des XVIIe Vonêche, dans l’actuelle technique du soufflage, du et XVIIIe siècles développe la province de Namur, sont fondées travail à la pince, du filigrane. gravure à la pointe de diamant, à la fin du XVIIIème siècle. Ces Les pièces produites sont comme le montre ce très beau établissements ont connu un raffinées et d’une légèreté sans verre sur pied dont la gravure développement important suite pareil, celles présentées dans le « en pointillé » représente un au blocus continental imposé à Musée l’attestent, comme les couple de gallinacés. Et à la fin l’Angleterre à l’Empire français. verres à jambe de serpent ou les du « Siècle des Lumières », la De nombreux exemples de la « tazza ». taille du verre n’est plus production sont présents dans accessoire, elle se suffit à elle- la collection du Musée, dont La Bohême du XVIIe siècle même en tant qu’élément de une coupe en cristal clair côtoie Venise sans rougir. Les décor. taillée avec sa monture en verriers sont passés experts bronze ou encore un vase de la dans la gravure à la roue, C’est en 1760, au sein de la Cristallerie Baccarat, plus rendue possible grâce à la verrerie de Sébastien Zoude à tardive, représentant une sirène.

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l’intérêt des pièces produites à l’époque et dont le Musée présente de très beaux exemples. René Lalique (1860-1945) occupait alors le devant de la scène et il présentait sa célèbre fontaine lumineuse à Paris à l’Exposition internationale de 1925. Le souffle novateur de l’Art déco est également bien présent aux Cristalleries du Val- Saint-Lambert, avec les créations de Joseph Simon (1869-1940) et les gravures de Charles Graffart (1893-1967). Les Verreries du Centre démontrent leur savoir- faire. Des départements artistiques sont créés dans les Perles rectangulaires mycéniennes , Mycène, 14ème-12ème siècle ACN. verreries et voient exceller des © IRPA. artistes comme Henri Heemskerk (1886-1953) aux Verreries de Scailmont à Manage, Paul Le XIXe siècle s’attache aussi à durablement l’histoire du verre. Bernard (1910-1972) aux l’imitation des anciens et, comme Émile Gallé (1846-1904), Verreries de Familleureux et Léon dans d’autres formes d’art, nous figure de proue de l’École de Mairesse (1903-1985) à laisse des productions Nancy, met au point la Vercentre à Houdeng. néogothiques, néoclassiques, technique de la gravure à orientalistes… Le verre imite alors l’acide fluorhydrique qui va On note également un retour en le marbre, les pierres semi- permettre la création de décors grâce de l’art du vitrail, qui va de précieuses... comme le montre un sublimes, qui met en exergue la pair avec l’apparition de l’Art vase hyalite noir de la collection au beauté de la nature. Maître nouveau, et pour lequel décor imitant une laque de Chine. incontesté de l’Art nouveau, l’engouement perdure à l’époque Le répertoire décoratif et les Emile Gallé contribue largement Art déco. En effet, le vitrail se techniques du verre de Venise de au renouvellement des Arts marie parfaitement à d’autres façonnage et du travail à la pince décoratifs. À sa suite, les frères matériaux très prisés par les reviennent également au goût du Müller à Lunéville, les frères architectes de l’époque : pierre, jour. Ce siècle marque également Daum à Nancy (1878) et Léon faïence, marbre, céramique, le début de la production Ledru (1855-1926) au Val- béton... On le retrouve dans de mécanique et en série, dont un Saint-Lambert ont été fortement nombreux projets d’architecture ensemble tasse et soucoupe, influencés par le style « Gallé ». civile : imposte de porte d’entrée, attribué à la verrerie Zoude de imposte de fenêtre, brise-vue, Namur, en est un bel exemple. L’Art déco succède à l’Art fenêtre de porte intérieure, nouveau et avec lui, un décor cloison intérieure, baie vitrée, L’éclosion de l’Art nouveau à la plus dépouillé et des lignes plus lanterneau. Le vitrail contribue au fin du XIXème siècle marque strictes qui n’ont rien enlevé à prestige du lieu qu’il intègre. La

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comme Maurice Marinot (1880- 1960), André Thuret (1898- 1965) ou Henri Navarre (1898- 1983) sont de ceux qui font le choix d’un travail traditionnel de mise en forme du matériau, de soufflage, de modelage, au service d’une production artistique de pièces uniques et de recherches incessantes sur la matière. En Suède, la Cristallerie de Orrefors fait sentation dans les années 20. Deux artistes de renom, Simon Gate (1883-1945) et Edward Hald (1883-1980) vont faire la renommée de cette manufacture et fonder le design verrier scandinave. Ensemble, ils mettent au point la technique du « verre graal », verre ou cristal multicouche, ornementé à chaud en sous-couche d’un motif décoratif en poudre d’émaux.

Dans la tradition de la production industrielle, on assiste dans l’entre-deux-guerres, à l’exploitation du talent des Harvey K. Littleton, Sculpture, 1968. © Paul Louis. concepteurs au sein même de l’industrie verrière, via les studios et départements créatifs des commande de vitraux émane de en compte plusieurs beaux cristalleries et des verreries de plus en plus souvent de exemples dans sa collection, luxe. Les étroites collaborations commanditaires individuels, issus dont une magnifique verrière Art qui s’instaurent aboutissent au de classes sociales aisées, déco représentant une triomphe du design dans les exerçant une profession libérale demoiselle nourrissant des années 1950. Parallèlement au (notaire, médecin, pharmacien…) oiseaux. développement du design, une ou un mandat public autre voie se dessine qui va (bourgmestre, échevin…). On le Au début du XXe siècle, il est déboucher sur une rupture entre retrouve aussi chez des artisans devenu courant que des artistes le « medium » verre et l’étiquette et des commerçants (cabaretiers, créateurs, issus d’autres de matériau industriel qui lui ganterie, épicerie,…) chez qui il disciplines aux antipodes de l’art colle à la peau. Ce nouveau joue alors le rôle d’enseigne verrier, découvrent et exploitent positionnement se cristallise dans publicitaire ou décore utilement les possibilités artistiques du le Studio Glass, initié par le commerce. Le Musée du Verre verre. Des artistes français l’Américain Harvey Littleton

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(Slovaquie, 1944-), Mattei Negreanu (Roumanie, 1941), Richard Meitner (États-Unis, 1949) et Louis Leloup (Belgique, 1929), orienté vers la sculpture monumentale en cristal. Ils sont toujours aujourd’hui les figures de proue du verre contemporain.

Encore aujourd’hui, la liberté dans la démarche artistique est toujours bien ancrée chez les verriers: Barbara Nanning (Pays-Bas, 1957) et Chantal Delporte (Belgique, 1967), trouvent chacune leur inspiration dans la Musée du Verre de Charleroi. © Ville de Charleroi. nature, Xavier Le Normand (France 1978), lauréat en 2009 du prix Liliane Bettencourt pour l’intelligence de la main, saisit l’émotion de l’instant dans la pièce qu’il crée, et Olivier Devos (Belgique, 1973 -) trouve dans le verre un ancrage avec le textile, le démontrent dans les œuvres présentées dans la mezzanine du Musée. La création contemporaine a encore de beaux jours devant lui et le Musée du Verre en attestent dans ses collections.

À côté de ces pièces prestigieuses, emblématiques de l'art verrier à travers le temps, une place est également donnée au verre utilitaire: bouteilles, Yan Zoritchak, Naissance d’un espoir, 1978. © Paul Louis. verres, carafes, matériel de pharmacie... Autant d’objets qui (1922-2013). Les artistes- promoteur du mouvement Studio nous rappellent à quel point la verriers prennent alors leur Glass en Allemagne et fondateur matière verre est présente dans indépendance. Des artistes du groupement d’artistes notre quotidien. Sans oublier une contemporains ou récents, Radama, Ian Zoritchak, artiste magnifique collection d’outils internationalement connus en prolifique et chercheur (cannes, pontils, creusets, four à témoignent dans la collection: talentueux, qui enferme dans le pots,...) témoins du travail Erwin Eisch (Allemagne, 1927), cristal des portions d’espace laborieux des souffleurs de verre.

5555 LECTURES The Conches Glass Museum: its creation, collections and future Eric Louet, Conches Glass Museum

Founded in 1996 by the city of Conches to conserve a set of François Décorchemont’s pâte de verre stained glass windows, the Conches Glass Museum has since expanded. Collecting glass from the late 19th century to the beginning of the 21st century, the museum’s glass collection is divided into three themes: Art Nouveau until the 1950s, stained glass in the twentieth century, and contemporary works. After being around for over twenty years, a new museum is being built and its doors will open in 2021.

Conches in Normandy

Conches is a small town with approximately 5,000 inhabitants, located about a hundred kilometres west of Paris. Before Portrait of François Décorchemont (1880-1971), French master glassmaker, the end of the twentieth century, 1937, photo by Roger Schall. there was nothing that

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predisposed the city to open a pâte de verre artworks glass museum. progressing to adapting the Décorchemont technique of melting bronze in Conches does have a church that lost wax casting to pâte de verre began producing has magnificent stained-glass and producing thicker and more windows from the sixteenth transparent objects. After the stained glass century, but except for a few 1929 Crash, Décorchemont fragments of one of its windows began producing stained glass windows made which was damaged in 1842 windows made from pâte de from pâte de and now conserved at the verre with cement joints, museum, all its windows are still alongside of his other work. To verre with in place. this day, his technique and aesthetic results have still not cement joints, There also was a glassworks in been equalled. Most of his his results have the forest surrounding Conches, stained-glass windows were called the Beaubray glassworks, commissioned by churches in still not been where flat glass and household Normandy. glassware was produced between equalled the sixteenth and eighteenth Aware of the interest in this centuries. Unfortunately, except glass artist, born in Conches, the for a few glazed fragments from City consequently decided to the melting pots and a few create a glass museum at the bottles, the archaeological beginning of the 1990s. material found was insufficient to warrant opening a glass museum.

So, it was more recent history, the artistic personality of François Décorchemont, a master glass artist from the twentieth century, that caused the city to open a glass museum

François Décorchemont (1880- 1971), a pâte de verre artist

François Décorchemont was born in Conches, where he lived and worked for his entire life. He was one of the artists who contributed to reviving pâte de verre at the beginning of the François Décorchemont, Pâte de verre bowl, jar and cup, approximately twentieth century. He started by 1920-1930. Coll. Glass Museum, Conches. © Paul Louis. producing thin and embossed

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Our first acquisitions

The history of the museum actually began in 1992, when the City decided to acquire one of Décorchemont’s stained glass windows from the private grade school Saint-Foy de Conches, dating back to 1934 called Christ Teaching Children. The artist had donated this work of art to the school for its catechism room. In the following years, the City also acquired other stained-glass windows produced by the artist.

In the same year, 1992, the City of Conches also decided to help two contemporary glassmakers from Conches, Etienne and Antoine Leperlier, who are François Décorchemont’s grandsons. In 1981 these two glassmakers had restarted their grandfather’s kiln and began production of Pâte de Verre objects. They quickly realised there was not enough room in Décorchemont’s old studio and that it was poorly adapted to modern production techniques. They decided to relocate and to help them open their personal studios in pâte de verre production, the City of Conches decided to purchase contemporary works of art from each of them. Thirteen pâte de verre sculptures were thus acquired in four years.

François Décorchemont, pâte de verre stained glass window Monuments de la In 1996, the City of Conches ville de Conches, (Monuments in Conches) 1962. Coll. Glass Museum, Conches. © Siloé. opened a museum with François Décorchemont’s stained glass

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In 1996, the City of Conches was able to open a museum with François Décorchemont´s stained glass windows and the Leperlier brothers’s pâte de verre objects

All these exhibitions resulted in many acquisitions, allowing the museum to establish a Antoine Leperlier, pâte de verre sculpture Evidence de la pierre, (Stone evidence) 1992. Coll. Glass Museum, Conches. © Paul Louis. collection representing contemporary French glass creations. These acquisitions do not only include French windows and the Leperlier This series of exhibitions began works of art, but there were also brothers’s pâte de verre objects with contemporary French artists several donations and to exhibit these recently or those who were working in acquisitions outside of these acquired works of art. France, such as Jean-Claude temporary exhibitions. This Novaro in 2001, Etienne afforded the museum the ability Contemporary glass Leperlier in 2004, Erich to purchase works of art by Schamschula in 2003, Alain contemporary artists working in Beginning in 2000 and for Bégou in 2004, Yan Zoritchak in other countries such as Lubomir nearly ten years, the museum 2005, Jean-Pierre Umbdenstock Arzt and Eva Fiserova in only organised temporary in 2006, Mateï Négréanu in Slovakia, Diana Hobson and exhibits of contemporary glass 2007, Bernard Dejonghe David Reekie in Great-Britain, artists and acquired some of in 2008, Raymond Martinez in Joel Philippe Meyers in the their works, purchasing them 2009, Isabelle Monod in 2011, United States and Bertil Vallien directly from these artists. and Vladimir Zbynovsky in 2013. in Sweden.

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The development of the museum, however, could not be limited to contemporary glass creations, as our collections of François Décorchemont’s pâte de verre, dating back to the first half of the twentieth century, would become too isolated. As of 2010, it was proposes to open the museum’s collection to other domains in the history of glass arts, also linked to the personality of François Décorchemont.

Twentieth century stained glass

We decided to focus on twentieth century stained glass windows as François Décorchemont’s work spanned the 1932 to 1970 period. In addition, since most of his stained-glass windows was made from pâte de verre with cement joints, we started to investigate modern and contemporary stained glass windows, where cement joints replaced lead ones. That led us Yan Zoritchak, optical crystal sculpture Fleur céleste (Unearthly flower), to exhibit works of Henri Guérin 1992. Coll. Glass Museum, Conches. © Michel Wirth. (1929-2009) in 2010, followed by works of Gabriel Loire (1904-1996) in 2014. The extension of our museum´s Lastly, we focused on stained glass windows from the scientific target area to include these twentieth century more generally speaking, with new domains was made possible religious windows by the thanks to help from the collector Hébert-Stevens studio dating from the 1930s and civil Art Barlach Heuer Déco windows from the Manufacture Schneider.

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Manufacture Schneider, Vase and bowl, approximately 1925. Coll. Glass Museum, Conches. © Paul Louis.

From Art Nouveau to 1950s period by this collector and his design friends, Laurence and Jean-Pierre Serre. After this event, the François Décorchemont led us to collectors donated three focus on the domain of stained Schneider glass objects to the glass, and the career of this museum. Since that time, artist born in Conches also led Barlach Heuer has donated nearly us to look at other artists using a hundred and fifty glass objects pâte de verre (Henry Cros, dating from the end of the Gabriel Argy-Rousseau, Amalric nineteenth century to the 1950s. Walter, etc.) as well as, more generally speaking, all types of Amongst these are Art Nouveau glass arts from the Art Nouveau glass objects from French and era to the 1950s designs. Bohemian studios: Gallé, Muller, Reyen, Loetz, Palme- Gabriel Loire, glass panel stained glass Le Christ en The expansion of our museum’s Koningetc. Others come from Majesté, (Christ in Majesty) collection, to include these new the inter-war period: Aristide 1950. Coll. Glass Museum, domains, was made possible Colotte, Jean Sala, Henri Conches. © Siloé. thanks to help from the collector, Navare, André Thuret, etc. And Barlach Heuer. In 2012, the finally, others include the museum hosted a collection of production of French Schneider glass, including crystalworks from the 1950s, approximately two hundred and in particular Daum and his objects collected over a forty-year famous stretched crystals.

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basement of a modern building right across from it). This building also has a chapel across from the main entrance, which is very interesting as it is decorated with stained glass windows from the painter and glassmaker Duhamel-Marette and François Décorchemont. Lastly, the Neo-Gothic furniture in this chapel was produced, when it was created, by Jean-Edmond Laumônier, François Décorchemont’s grandfather.

Former hospital in Conches that will house the new glass museum in 2021. Documentation, Glass Museum, Conches. The museographical path of the permanent collections in this new museum will be shown on a A new glass museum for 2021 museum in an old but well- 600 m² area. It will present our located building, which is a collections in a chronological Though our collections are still former hospital created in manner, without however quite modest, about five 1860 on the site of the former forgetting a few thematic hundred works of art, the space Benedictine abbey in Conches. approaches, which will begin on we have in our current museum By locating to this historic site, the first floor by a gallery does not allow us to exhibit all we could to bring the museum opening onto four rooms: the of our collections and present a back to a place filled with Art Nouveau glassware room; coherent and balanced exhibition memories, in a venue where the the Art Déco glassware room, of the three themes that intellectual and artistic life of the François Décorchemont influence our museum’s our town grew during the room, and the Schneider room. development. previous centuries, and last but After that, in the continuation not least, in a venue near the of the first floor gallery, the For a while, we thought about historic city centre and the museographical path will have a enlarging the current museum other museum in Conches, collection of stained glass onto a vacant lot next to the which conserves our town’s windows from the twentieth building. That would have historic collections. century in one wing of the allowed us to have a modern building, before continuing on building. But we finally This building has a main body, the ground floor with glass arts decided that the current facing south, and two after the Second World War, the museum was too far from our symmetrical wings. It has a revival of glass in the 1980s, city centre, and that expanding floor area of 1,200 m², on two and contemporary glass the museum would not floors, which will cater to sculptures. contribute to the attractiveness visitors and house our of our municipality. That is why exhibitions (there are also The new museum is expected to we decided to install the future 600 m² of storage areas in the open in the spring of 2021.

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Le musée Lalique Musée Lalique - aile sud © D. Desaleux. Bientôt 10 ans

Véronique Brumm, Créé en 2011, le musée Lalique La création du musée Lalique Musée Lalique rassemble aujourd’hui des collections exceptionnelles mais Artiste d’exception, René Lalique est également devenu un acteur a incontestablement marqué majeur du tourisme en Alsace. A l’Art nouveau et l’Art Déco par l’approche de son dixième ses bijoux puis ses créations anniversaire, il s’interroge sur la verrières. Au lendemain de la façon de se renouveler afin de Première Guerre mondiale, il conserver son attractivité et de construit une manufacture à continuer à renvoyer une image Wingen-sur-Moder, profitant de moderne et dynamique. la tradition verrière locale

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Espace consacré aux arts de la table. © D. Desaleux-Musée Entrée Musée Lalique. © Musée Lalique. Lalique. remontant à la fin du Moyen Région, le Département, la Une collection riche Age. Celle-ci emploie aujourd’hui Communauté de Communes et et accessible encore près de 250 personnes et la Commune se sont associées est l’unique lieu de fabrication pour constituer un syndicat Le musée a par ailleurs ceci de de cristal Lalique dans le mixte qui assure désormais la particulier qu’il n’est pas né monde. gestion de cet établissement. d’une collection. La première pièce a été acquise en 2002. Si des œuvres Lalique étaient Le site retenu pour la Aujourd’hui, il compte plus de mises en valeur à travers le construction du musée est un 650 œuvres lui appartenant en monde, aucun musée ne lui ancien site verrier, celui du propre, mais bénéficie également était jusque-là spécifiquement Hochberg, en activité aux XVIIIe de nombreux prêts et dépôts, dédié en France. Aussi, les et XIXe siècles. Ayant subi les que ce soit d’autres musées ou collectivités territoriales ont- outrages du temps, il a été de collectionneurs privés. Ce elles initié le projet de musée restauré puis aménagé par fonds riche permet de présenter dès les années 1990, non l’architecte de renommée la création Lalique de façon à la seulement afin de conserver et internationale, Jean-Michel fois chronologique et mettre en valeur les créations Wilmotte. Son projet avait été thématique, des bijoux de René de René Lalique, mais sélectionné au moment du Lalique au cristal actuel, en également celles de ses concours pour sa bonne passant par les flacons de successeurs. Le soutien de intégration paysagère : une parfums, les arts de la table et l’Etat et de l’Europe ont permis toiture végétalisée mais les objets décoratifs. En le financement de la également l’utilisation de pierre complément de ces espaces construction, tandis que la verte et de verre. muséographiques dévolus à la

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Entrée de l’exposition permanente. © D. Desaleux - Musée Lalique. valorisation des œuvres, et aux femmes qui perpétuent proposant différents niveaux de aujourd’hui encore les savoir- lecture, l’objectif est également faire et une table tactile permet Le site retenu de proposer aux visiteurs des de découvrir les différentes pour la clés d’interprétation pour étapes de fabrication du vase comprendre le contexte Bacchantes, création construction artistique, technique, artistique, emblématique de la Maison. social… qui les a vues naître. du musée est Ainsi photographies grand Une programmation diversifiée format, films et multimédias un ancien site permettent-ils de se plonger Si tous les textes sont trilingues, verrier, celui dans des univers spécifiques, le musée s’attache aussi à faire telles les expositions de 1900 découvrir ses collections grâce à du Hochberg ou 1925. La manufacture ne se un visioguide en français, visitant pas, des audiovisuels allemand, anglais et LSF avec rendent hommages aux hommes également une version enfants.

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est également développée, avec quatre grands rendez-vous annuels : Un amour de Lalique en début d’année autour de la Saint-Valentin, L’art de la main, exposition sur les savoir-faire au printemps, à la période des Journées des Métiers d’Art ; Happy Cristal à l’approche de Noël afin de mettre en valeur les créations actuelles. L’exposition d’été, qui dure généralement 6 mois, s’attache à aborder une facette particulière de la création Lalique. Ainsi Retour aux sources. Quand Lalique s’inspire du monde mettait en valeur les sources d’inspiration de René et Les savoir-faire à l´honneur. © D. Desaleux-Musée Lalique. Suzanne Lalique ; Lalique et l’art du voyage soulignait sa créativité pour les automobiles, les trains et les paquebots ; L’invention du parfum moderne remet en contexte et en perspective le rôle de Lalique dans l’histoire de la parfumerie.

Parallèlement, le musée joue sur l’événementiel, en particulier en participant à des événements nationaux, tels que les Journées européennes des Métiers d’Art, les Rendez-vous aux Jardins ou les Journées européennes du Patrimoine, ou à des festivals d´écrans. © Musée Lalique. locaux, comme un festival de jazz ou un festival jeune public. Des visites guidées sont développées tout spécialement Il a également développé une proposées à heures fixes pour les pour les enfants, à la fois à programmation propre : pour la individuels et sur réservation destination des classes mais réouverture du musée, le premier pour les groupes et des également des individuels week-end de février, C’est tout conférences sont programmées pendant les vacances scolaires. verre permet de découvrir les régulièrement. Des visites collections à travers des guidées, visites contées et Une programmation animations familiales et festives; visites-ateliers ont été d’expositions temporaires riche Vive les vacances début juillet est

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Le musée est implanté sur un ancien site verrier et les fonctionnalités des différents bâtiments

Espace 1900 avec Femme ailée. © Musée Lalique.

l’accessibilité a fait des émules, si bien qu’aujourd’hui une vingtaine de sites culturels des Vosges du Nord développent également à la même période des animations spécifiques à destination des personnes en situation de handicap.

En complément, de la découverte de ses collections permanentes et temporaires, le musée accorde une grande importance aux jardins. Un parcours d’interprétation mis en Visite guidée au musée Lalique. © R. Letscher. place à l’ouverture permet de comprendre que le musée est implanté sur un ancien site axé sur une offre décalée, moment de rencontre entre verrier et les fonctionnalités des permettant, entre autres, de personnes valides et personnes différents bâtiments. Un second, découvrir les techniques en situation de handicap, où développé quelques années plus verrières au moyen des objets sont déclinées visites tard, fait le lien entre les plantes que l’on trouve habituellement interprétées en LSF, visites et les créations Lalique, la flore sur la plage ainsi qu’un rallye sensorielles… Cette étant une source d’inspiration des verriers ; Eveil des Sens, programmation autour de majeure des créateurs de la

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Le musée Lalique accueille près de 50.000 visiteurs par an dans un village de 1.500 habitants

Flacons de parfum. © Musée Lalique.

Maison, à côté de la faune et de la femme.

Communiquer et se renouveler

Le musée dispose également de la plupart des services développés dans les musées créés à l’aube du XXIème siècle : un auditorium – où est projeté en boucle un film sur les savoir- faire, mais où ont également lieu Cachets Poissons. © Musée Lalique. des conférences ou des spectacles ; une boutique, où sont vendus à la fois des œuvres Lalique mais également des musée est également présent sur établissements, tant au niveau livres, de la papeterie et des les réseaux sociaux – facebook, des œuvres exposées que des produits pour les enfants ; un instagram, twitter… Il scénographies. Site internet café-restaurant, situé dans communique aussi avec des commun, affiches et flyers l’enceinte du musée et ouvert partenaires, parmi lesquels les déclinés à certains moments de aux mêmes horaires. sites touristiques d’Alsace, mais l’année, le réseau propose aussi également les sites verriers de des renvois de visiteurs avec des Concernant la communication, Meisenthal et de Saint-Louis. bons de réduction. Parmi les outre les canaux de Rassemblés au sein des Etoiles projets communs, citons communication classiques – terrestres, les trois sites jouent également une exposition prévue affiches, flyers, médias – le sur la complémentarité des à la période de Noël 2019.

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Femme libellule ailes ouvertes. © Studio Y. Langlois - Coll. Musée Table tactile. © Musée Lalique. Lalique.

Aujourd’hui, le musée Lalique accueille près de 50 000 visiteurs par an dans un village de 1 500 habitants, situé à une heure environ de Strasbourg ou Metz. Afin de conserver cette dynamique, qui lui permet d’être une tête de pont pour le territoire, il est important pour le musée de se renouveler. La programmation d’expositions temporaires est un élément fondamental de ce renouveau car elle permet d’explorer des thématiques diversifiées et de toucher d’autres profils de visiteurs ; celle d’événements incite plus particulièrement les locaux à revenir. A la veille de son dixième anniversaire, le musée réfléchit également à des projets de fond, en particulier au renouvellement de ses audiovisuels et multimédias qui sont aujourd’hui des éléments qui contribuent à l’attractivité Les mascottes. © Musée Lalique. des sites.

6969 LECTURES Museum/Center of Glass art, Carmaux, South of France A living museum: reactivate heritage

Laurent Subra, Musée/ In France, several regions are established in the 18th century in Centre d´art du Verre strongly influenced by the Carmaux (Tarn), a site that has production of glass at different produced bottles for over 100 times. This is the case of years and where is installed the Occitanie, a large region in the Museum / Center of Glass art. South of France bordering Spain. It is in the heart of this region that Today in Carmaux, a museum, an remains an old glass factory art center and a center for conservation and archaeological studies dedicated to glass combine heritage and glass uses in contemporary art. The scientific and cultural vocation of the Museum is to associate conservation of glass heritage of the South of France since Antiquity, and to contribute to the dynamism of contemporary creation in the field of glass in France and abroad.

A place of history: the « domaine de la verrerie »

Place of life and work of the de Solages family, the domaine de la The Museum today. © MCDAV, photo Alain Baschenis. verrerie is the heart of industrial

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Map of France.

until today. The exhibition The « Château » of De Solages family in « Domaine de la Verrerie » at the end of 19th century (destroyed in 1895). © Private archives. reflects the diversity of plastic, aesthetic and technical expressions at the beginning of activities and power stakes at The museum the 21st century in France: work in the Carmausin in the objects, sculptures, installations, second half of the 18th to the Created in 1985 by an and performances. 20th century. association and managed since 2005 by the Community of The Museum has, in the chapel of Atypical, this vast domain shelters Communes Carmausin-Ségala, the domain, a workshop welcoming from its construction in 1754 by the Museum is installed from the artists in residence: some 40 the Knight de Solages a Glass very beginning in the former young glass masters or designers factory, a castle, a chapel, a Royal Glassfactory, transformed were welcomed to realize their stable, mine shafts, a cooler, in the 19th century in Orangery. project. After 18 years of activity, administrative buildings, a hunting the workshop closed for work. lodge (19th c.) ... testifying of the Some numbers: corporate will of this aristocratic The Young French Glass Creation family whose motto was «Sol • 10,000 visitors / year over 6 Award: launched in 2018, this is a agens» (acting sun). months 5,000 € scholarship to a young • 800 m² of exposure designer / designer with a glass The 18th century manor house • 1 to 3 temporary exhibitions / technical education who works in built by Gabriel de Solages was year: contemporary and old France for less than 10 years. The transformed into an imposing glass, but also exhibitions endowment is used for the castle under the Restauration by outside the walls realization of a project of creation Achille de Solages. Unfortunately of a work in progress. A jury of the building was destroyed during Exhibition 2018: professionals is constituted on this a fire in 1895 while Carmausin is occasion. the theater of bitter social and « TODAY & TOMORROW » workers struggles whose leader is Young french glass creators A biennale of glass: 1st exhibition none other than Jean Jaurès, A selection of 70 creators, who of contemporary glass in France, Carmaux deputy. work glass in France since 2000 this glass fair brings together

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about fifty glass designers representing all techniques. Around the show, conferences, demonstrations, workshops all public…

Editions: exhibition catalogs, notebooks of artist residencies, scientific publications

Collections between regional heritage and contemporary art

The collections cover 2000 years of glass history in the South-West of France until the international contemporary creation. They have « Gourde réniforme », Montagne Glass, Sud-Ouest Languedocien, been actively enriching since Noire forest, mid 17th century. 2nd half of 17th century. © MCDAV, 2011 and to date include: © MCDAV, photo Vincent Boutin. photo Vincent Boutin.

• 4000 works, objects, works of art, fragments of objects, tools, In addition to the Museum’s own presence of glass in the Carmausin archives, objects and study collections, a CCE (Center for from the 1st century AD. documents. Conservation and Archaeological • Long-term deposits (Antiques, Studies) was created in Carmaux. Another important collection is the Medieval, Contemporary). This system was set up in France «Verreries forestières» (glassworks • New donations and new by the Ministry of Culture to in forests) (15th-19th century), annual acquisitions. preserve and enhance made up of archaeological archaeological collections owned furniture from excavations carried by the State from excavations out on twenty production sites in conducted in the region. In the the region, but also a collection of Occitanie, any object or objects dated from the 16th archaeological fragment testifying century to the 19th century (about to a glass production is 250 pieces) acquired by the inventoried and preserved in the Museum: an usual glassware, Museum of Carmaux. These typical of the region, known under collections are available to the name «Grésigne» (often researchers. wrongly), very popular with collectors and a few pieces of Among the collections of the prestige glassware, typical of the Museum, an archaeological fund 17th generation in the Montagne testifies to the occupation of the Noire forest. territory around Carmaux by men Médaillon , 1st century AD. © MCDAV. from the Neolithic until the The Museum also owns artefacts medieval period and attests to the produced in the 18th century at

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this type created in France. It A glass for the French mainly produced bottles for the proletariat ». The Museum has a transport and preservation of wine. large collection of objects for this period (600 pieces). About 400 pieces (archives, bottles, tools and objects) illustrate While the different historical the entry of the Carmaux periods of the region’s glass glassworks into the large-scale production are well represented in industrial era: in the middle of the the collections, the Museum also Carmaux glass corporation, the 19th century, the corporation was honors contemporary creation, glassfactory in Arlac-Mérignac. © rented to Eugène Rességuier, a with a collection of works covering Archives départementales du Tarn. rich bottle merchant in Toulouse, the period from Studio Glass to who left it to build the Verrerie the present day, constituted Sainte Clotilde near the station at around crafts, visual arts and the Royal Glassfactory: created in Carmaux. The glassmakers of design, thanks to a dynamic 1754 by the Knight of Solages, it Carmaux were then the best paid acquisition policy conducted since was working with coal, at a time in France, recognized for their 2010. when any initiative to save wood expertise in the field of glassware (reserved for the industry naval (bottles). Development prospects: studies and household heating) and to in progress exploit coal was then encouraged. The Verrerie Sainte Clotilde will be This is the second glassfactory of the scene of the great strike of The Museum / Center of Glass Art 1895 which will lead Jean Jaurès is going to be deeply transformed. to impulse the creation of the The Carmausin-Ségala Community Verrerie Ouvrière d’Albi (VOA), of Communes, which manages the «where will find a shelter those establishment, has launched a who the boss wants to starve… series of pre-investment studies. The buildings of the Domaine de la Verrerie (2500 m²) should be renovated, the museum’s itinerary redesigned and articulated around three major axes: the history of the places and the production of glass on the territory; the discovery of the glass material (Shapes, Techniques and Tools…); creation (the great stages of artistic creation in the field of glass from the 20th century to the present day). Finally, a new glass workshop (350 m²) should be entirely built: Dafna Kaffmann, Persian work tool, space of exchanges, and Richard Meitner, Ample Cyclamen, Carthamus tenuis perhaps future place of training, considération, 2010. © MCDAV, Bornmueller, 2006, courtesy Lorch photo Vincent Boutin. + Seidel gallery. the first phase of work should be devoted to it.

7373 Converging Connections I, 30 x 40 cm. © Paul Louis. INTERVIEW

Artist in residence in Sars-Poteries: Vice VERsa Sally Fawkes

In 2017, MusVerre invited the particular sensibility, as an artist, English artist Sally Fawkes to for the simple things that come and explore the Avesnois surround us, which she then region, before translating her interprets in her own individual impressions into glass, during an way. She successfully captures the artist’s residency in the Glass extraordinary within the ordinary. Studio. A few weeks after this initial Upon her arrival, in July, she observation phase, Sally Fawkes began cycling around the returned to Sars-Poteries for a countryside, camera in hand and longer residency period, during sketchbook in her pocket, to which she materialised her record each and every image, perception of the local area and detail and trick of the light. While expressed her feeling that the wandering hedge-lined meadows present is infused with the and leafy forests, skirted by memory of the past. She explores winding rivers, exploring the the interactions between people streets and paths of neighbouring and their environment. villages and seeking out the local people, Sally Fawkes examined The artist’s eye also detected the the unique details of this varied omnipresence of the number two: and contrasting region. Leaving no two sides of the border, just a Interviewed by stone unturned, she continued her stone’s throw away, two Anne Vanlatum research in the MusVerre roundabouts at the boundaries of documentation centre, keen to Sars-Poteries and Beugnies, two Artistic Director learn about local history and the sides of the road leading straight MusVerre residents’ way of life. She has a from the previous museum

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building to the new one, two former glassworks, etc.

Using this personal reflection on duality as a starting point, Sally Fawkes invites visitors to experiment with and explore her works.

The exhibition opens with two large-scale works, Converging Connections I and II, which combine the transparency of glass, with the opaqueness of Jesmonite, a composite material made with acrylic resin, and the reflections of the mirror. The mirror encourages the eye to lose its bearings within the depths of the space; as is often the case in the artist’s oeuvre, it invites us to become part of the work itself.

These works consist of a shape and an inverted equivalent, Vice Versa. The form is inspired by the onion-domed churches in the Avesnois region, by the blue-stone wayside shrines and the chimneys dotted across the landscape that remind us of the area’s industrial past. Opaque, the lower part features motifs that the artist happened upon while exploring the region: tracks left in the earth by a tractor, fragments of pottery, reminding us of the craftsmanship Between Rhythms (230 x 110 x 153 cm). © R. Jackson. of yesteryear, imprints that encourage the onlooker to set out on their own journey and discover environment, they encourage attracted to the architectural or rediscover their environment. connections which are open to elements typical of the region, Both works appeal to our sense of anyone, irrespective of their which never failed to catch her touch, attracting the gaze and culture or origins. eye. This is how she came to spot creating a feeling of wellbeing. the anchor plates with a floral For the artist, they symbolize links As soon as she began exploring design. With the owner’s that can be created with our the village, Sally Fawkes was permission, she took an imprint of

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As soon as she began exploring the village, Sally Fawkes was attracted to the architectural elements typical of the region

memories, and thus establish a symbolic link to the past, with history and the traces it has left on the landscape: piles of pottery, evoking industrial heritage, piles Echo Stones-Eternal Echos, (120 x 103 x 78 cm). © P. Robin. of tires, etc. Revisiting forms, she reinvents the hopscotch board, using a mirrored surface to add a the plates, the mould would then French word ‘galette’) used by fourth dimension. Marks left by provide the basis for a motif that glassworkers’ children to play children’s shoes show the traces recurs within many of the works hopscotch in the 19th century. of a game and contrast with the produced during her residency. Intrinsically linked to the history mirror, which reflects our world, This flower element has been of Sars-Poteries, many of these encouraging the visitor’s transposed into pate de verre, glettes are featured in the involvement and reflection. The whether actual size or expanded museum’s collection of ‘bousillés’ glette provides a link between the to giant proportions (in Converging or ‘whimsies’. Sally Fawkes was various works, opening up a Connections). From a functional interested in this historical aspect, dialogue between the past, architectural element, designed to in the pleasure of creating once present and future. This support and reinforce, the motif is the work is done, as well as in unassuming everyday object transformed into a memory- children’s games. becomes something extraordinary charged keepsake that can be that we want to pick up and keep. picked up, held and felt. Sally She decided to create a pile of Touching and holding it creates a Fawkes also transforms it into a three-hundred glettes, collected strange mix of feelings, part glass pebble or ‘glette’ (from the together like accumulated nostalgia, part enchantment.

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Further on, these little glettes have metamorphosed into spinning tops, the imprints on their lower ring evoking the four local municipalities with characteristic finials (Sars- Poteries, Beugnies, Dimont and Lez-Fontaine) and Solre-le- Château, with its distinctive bell- tower. The five objects are placed on a mirrored map, depicting their geographical position and reflecting details of traces from the past, which dialogue with the View of permanent collection MusVerre. forms (Revealing Traces). All Sally Fawkes’ works are concerned with the perception of details and wanderings, she stumbled across gaze to travel through real or interaction with places and a large grating, abandoned near a virtual spaces in search of spaces. How the present reflects house that was undergoing meaning. The surface textures history or, vice versa, how history restoration. Seeing a link between obtained by applying paint informs the present. the wayside shrines and this encourage the spectator to grating, she decided to use it as contemplate the artwork, seek its Sally Fawkes was struck by the the central element of a large meaning and interact further. The characteristic features of the installation. work comes to life with layers of Avesnois region and went beyond shifting imagery that blur the the famous bocage landscapes, This work, Between Rhythms, boundaries and capture the with their alternating linear articulates the visible and invisible imagination in a journey of intense hedges, grassy fields and possibilities. The artist toys with visual exploration. Rather than meadows, to explore the carefully chosen surface static, the entire environment vernacular heritage. Elements of combinations, whether coloured, appears and reappears in different this local cultural heritage – such translucent or mirrored. The ways, from the front or the rear, as the numerous bandstands, grating is at the centre of the with new perspectives, creating an dance pavilions and over 800 work, like the road running image within the image. wayside shrines and chapels, through the centre of a village. usually in blue-stone – contribute The artist dwells on notions of Without wishing to go too far into to the region’s identity and have place and boundary, the past and etymology, it is worth taking a come to symbolize the local area. the future, as well as duality: the brief look at the roots of the word Erected periodically along roads two sides of a long straight road. “reflect”. “Reflect” comes from and pathways, they serve as Tall and narrower, two mirrors the Latin reflectere: to bend back landmarks for the locals. placed on either side of the work in another direction, and therefore reflect everything around it. Each has a purely optical meaning. In The niches in wayside shrines are mirror is engraved on one side and French, the verb ‘réfléchir’ covers often closed by an iron grating: painted on the other. Sally Fawkes both cerebral reflection and the Sally Fawkes views its role as a seeks the interaction between the reflections of a mirror. Mirrors protective one. During her two: Vice Versa; she allows the ‘reflect’ in English and the

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expression, on reflection involves reconsidering something carefully. Both approaches are present in the work of Sally Fawkes: the thought process and the reflection of light. There is the reflection of reality, one’s double, inverted images (Vice Versa) … as if to mirror our own complexity. Mirrors boast a unique capacity to create duplicates, multiply subjects, broaden our perception by offering various points of view, sometimes even causing confusion and loss of bearings. Here, spectators discover what is behind them. The mirror is an invitation to question what we see or what we think we see, to contemplate the way in which we interpret the world.

In a series of smaller works, Motion I, II and III, Sally Fawkes allows the brushstrokes to express their sensuality and focuses on translating movement observed in nature, marks on the ground, architectural lines. During her travels, she took photographs, sketched and engraved small plates of glass “in situ”, surrounded by nature. This enabled her to transfer a sensorial experience directly onto the glass. Motion III, 26x 18 x 10 cm. © P. Robin. The artist then reworked the surfaces to explain and express the rhythm of the local area: paint versus, which means “the position and mirror, she captures the (several layers), mirror, engraving. having been reversed”, i.e. the visible and suggests the invisible. She thus recreates the resonance other way around. The title works She creates a space, infused with found in nature and invites the equally well in English and French multiple narratives, in which the spectator to contemplate what is (“inversement”). mirror’s impact and natural revealed and concealed. reflections on our perception of Sally Fawkes explores the architecture and landscapes invite The exhibition title, Vice VERsa, relationships between humans and us to take a closer look at the comes from the Latin vicis and their environment. Using glass world.

79 NEWS Congresses & Exhibitions

GLASS Exhibitions Digital catalogue available at objects relating to the https://issuu.com/verarte10/docs/ collaboration between the artist 2019 glassworks_katalog and the Venini glassware https://www.verarte.ch/ production, please notify The GlazenHuis, Lommel (B) [email protected], “SE GLASS” Museum of Glass, Tacoma (WA, +39 041 5236748 From 6 April to 13 October 2019 USA) https://lestanzedelvetro.org/en/ Through the works of twenty-two “Translations: An Exploration of category/exhibitions/ Swedish artists and designers, Glass by Northwest Native Carvers SE GLASS tries to identify the and Weavers” European Museum of Modern characteristics techniques, form From 30 March to 10 November Glass, Rödental (D) language, use of colour, and 2019 Fulvio Bianconi – Die Sammlung expression of Swedish glass. [email protected] Ursula und Rainer Losch / Fulvio Included in the exhibition is https://www.museumofglass.org/ Bianconi – The Ursula and Rainer artworks by Ann Wåhlström, Ann Losch Collection Wärff, Åsa Jungnelius, Bertil The Corning Museum of Glass, From 13. September 2019 to Vallien, Birgitta Ahlin & Sirkka Corning (NY, USA) 19. April 2020 Lehtonen, Carin Ellberg. “New Glass Now” The Venice-based artist Fulvio http://www.hetglazenhuis.be/ From May 12, 2019 to January 5, Bianconi (1915-1996) designed 2020 vessels, objects, and figures for Ital Reding-Hofstatt, Schwyz (CH) “Journey to the Moon: How Glass a variety of glass manufacturers GLASSWORKS - Höhepunkte Got Us There” over several decades. They were zeitgenössischer Glaskunst / From 29 June 2019 to 31 shipped all over the world in Highlights of contemporary glass art January 31 2020 differing quantities. His From 11 May to 27 October 2019 www.cmog.org collaboration with Paolo Venini An exhibition by verarte - Forum was noteworthy, resulting in Swiss Glass Art. Verarte is the Le Stanze del Vetro, Venezia, (I) several hundred designs. Over a Swiss platform for people “Thomas Stearns at Venini” period of thirty years, the specializing in glass and art. The From 9 September 2019 to 5 collectors Ursula and Rainer association has been active since January 2020 Losch compiled the world’s most 1990; its founding objective is to The aim of the exhibition is to extensive and most important offer a place for its members to emphasize the importance of the collection of around three- network, enabling the exchange association of Thomas Stearns hundred works by Fulvio of ideas to further expand their with the Venini glassworks in the Bianconi. This is now knowledge base. It also early 1960s. In preparation for permanently housed in Coburg, communicates to the public the the exhibition and the catalogue where a representative cross- potential that glass can offer raisonné, thorough research of section of the entire collection is within the sphere of design and documents and glass works has now on display for the first time. art. With regular exhibitions, been carried out. If you know of glasmuseum@kunstsammlungen- verarte presents itself and its any historical photos, drawings, coburg.de members to the general public. original documents, and glass www.kunstsammlungen-coburg.de

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by Dr. Teresa Medici. VICARTE

Suomen Lasimuseo (The Building Of The Finnish Glass Nyman - A Pioneer In Finnish Glass Finnish Glass Museum), Museum”, Design”, Riihimäki (FI) from 8.9 to 27.10.2019 from May 15 to August 30, “From The Glass Factory To The “The Finnish Glass Museum’s 2020 Museum - Wirkkala And The Summer Exhibition Of 2020: Gunnel https://www.suomenlasimuseo.fi/ Book review

Vetri da Laboratorio e Farmacia instruments was developed by the notes about the production and nella Produzione della S.A.V. di S.A.V., (Artistic Glassmaking documentary sources. Altare /Laboratory and Cooperative Society), active from Pharmaceutical Glassware Made by 1856 to 1978. A good example of the S.A.V. of Altare, ed. Mariateresa multidisciplinary collaboration! Chirico e Alberto Saroldi, Italian and An in-depth survey was carried http://www.museodelvetro.org/ English texts, Genova, SAGEP, 2019, out by a team of scholars from pp. 152, ill. different disciplines on a Vidrio español en la Habana, collection of about seven-hundred S.XVI-XIX, por Jaime Barrachina, Altare, a small village in the objects preserved at the M.A.V, con prólogo de Lidis Nuvia hinterland of Savona, Liguria, the Museum of Glass and Rodríguez Díaz y editado Northern Italy, has been for Glassmaking of Altare, with the por el Museo del Castillo de centuries a glass production center, aim of understanding the use of Peralada en Junio de 2019, with many furnaces operating the instruments and how they pp. 111, ill. locally. Glassblowers from Altare were made. The Italian migrated throughout Europe and are Committee of the AIHV took also Libro que presenta la colección at the origin of the establishment of part in the project, facilitating de vidrios españoles del Museo renowned glass atelier, for example the museum’s contacts with the Nacional de Artes Decorativas in Orleans and Nevers in France. Department of Chemistry at the de La Habana. Se trata de un University of Pavia and assuring total de 82 piezas de vidrio The production of glassware at in this way a scientific prácticamente inéditas que Altare is characterized by a supervision of the project. fueron donadas al museo por el specialization in glass for general coleccionista Raúl de Zárraga. use, designed to meet daily As a result, a new display of the La colección ha sido estudiada needs, including objects for arts collection opened last spring and por Jaime Barrachina Navarro, and professions. a publication presents the director del Museo del Castillo complete inventory, the detailed de Peralada y uno de los Above all, the production of glass description, and photographs of máximos especialistas sobre for pharmacies and laboratory these instruments, with technical vidrio catalán en España.

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Manual Glass Production – soon Finland, Spain, the Czech heritage and the still existing to become a Global Intangible Republic and Turkey quickly glass factories was discussed in Cultural Heritage? reached a consent regarding the work groups. There is a often difficult situation of the consensus on the objective Craftsmen, Vocational Training factories and glassmakers in regarding the expansion of the Facilities and Museums discuss Europe. They identified network and, accordingly, the Strategies regarding the measures to pass on the trade application to secure the future Application for the Inclusion in focusing on vocational training, of the trade. In addition to a the UNESCO List. networking or documentation of more attractive configuration of craft techniques. This meeting vocational training, potential Berlin/Zwiesel ended with a joint statement to measures were subject to initiate an application for the discussion of how to promote an The “manual production of inclusion into one of the international cooperation and mouth-blown hollow and flat UNESCO lists of intangible exchange of glassmakers. This is glass“ was included in the cultural heritage. deemed to be urgent in view of Federal List of Intangible that generational changes and Cultural Heritage in 2015. In May 2019, a now extended the lack of future craftsmen to Thereby, an expert committee of group of glassmakers, factory pass on the trade. For this the German UNESCO owners, designers and reason, in general, projects Commission supported by the representatives from museums should be initiated focusing on Conference of Culture Ministers gathered in Zwiesel to plan the manual production of hollow and the state minster Monika further strategies. The present and flat glass production for a Grütters acknowledged the major situation of the bearers of the long-term support. cultural significance of the difficult-to-learn trade in design, technical applications and art. Encouraged by this recognition, experts from glass factories, museums and governmental authorities organized a conference in December.

Encouraged by the recognition of the expert committee, experts from glass factories, museums and governmental institutions initiated a meeting in December 2018 to map out a strategy for an application on an international level. The © Beatriz García. Fundación Centro Nacional del Vidrio. participants from Germany,

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by Dr. Katrin Holthaus

In the meantime the manual craft or on an individual basis. individual glassmakers in glass production has been This craft is still exercised with industrial glass factories included in the respective epoch-transcending instruments producing small series or unique national list of intangible (blowpipe, jacks and tongs, objects. Over the past year, an cultural heritage in Finland, glassmaker scissors, wood molds increasing number of France, Spain and Turkey. These and smoothing spoon). international small hollow-glass countries pursue an intensive Compared with the industrial factories produced applying the cooperation as part of a application, which only plays a mouth-blowing technology. In multinational application, while minor role now, the work addition, art crafts and representative of further nations distribution is not as strict any artistically oriented glass studios support this initiative (status as more but is still visible are founded primarily dedicated of June 2019. The expert depending on the pressure of to the ambitious creation of committee of the German production figures (starter, unique objects and small series. UNESCO Commission is pre-blower, finisher/master, expected to issue its decision on inserter): Difficult or elaborate Point of contact: Dr. Katrin the UNESCO nomination. objects still require the Holthaus, LWL Industrial cooperation of several Museum, Gernheim Glassworks, Background glassmakers. Internationally, Ph. +49 (0) 5707 9311-21 there are still three glass Headline: International meeting The manual glass production has factories manufacturing flat on the intangible cultural existed for thousands of years as glass with the mouth-blowing heritage at the glass college a form of cultural expression technology. There are also Zwiesel. operated in certain regions and “selective industrial places” exerting quite an impact on the local culture. Since the technical skills of a glassmaker requires several years of ongoing practice and tryouts (at best, perfection can be reached after 10 years), it is indispensable to constantly apply a maximum spectrum of techniques of hot glass processing to maintain a professional craft level and to trade these techniques.

At present, there are just about 500 craftsmen left with this implicit expertise keeping this © Sven Bauer - Zwiesel May 2019. heritage alive as an industrial

83 MEMORIES ICOM Glass annual meeting in Sars-Poteries, 2017

84 85 MEMBERS

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

86 BRAZIL Mag. Jan KOCK Mme. Isabelle DUTTER-GEORGES Dra. Regina LARA SILVEIRA MELLO Højbjerg, DENMARK Dunkerque, FRANCE MACKENZIE PRESBITERIAN UNIVERSITY, São Paulo, Brazil Mrs. Birte POULSEN Aurélien FRATACCI VICARTE, , Odense C, DENMARK MUSÉE DU VERRE ET DE SES MÉTIERS www.vicarte.org Dordives FRANCE Mrs. Berit RASK Elvira SCHUARTZ Holte, DENMARK Cédric HAMON-BOUCHERAT ESPAÇO ZERO, INSTITUTO DO VIDRO Musée Promenade - Marly-le-Roi - São Paulo, BRAZIL Mr. Jørgen SCHOU-CHRISTENSEN Louveciennes FRANCE www.espacozero.com.br Vanløse, DENMARK Mme Sophie LAGABRIELLE CHINA Mr. Torben SODE MUSÉE DE CLUNY - MUSÉE NATIONAL Lin ZHANG Bronshoj, DENMARK DU MOYEN-AGE SHANGHAI MUSEUM OF GLASS Paris, FRANCE (SHANGHAI UNIVERSITY, GLASS STUDIO) EGYPT Shanghai, CHINA Nagwa Sayed ABDEL-RAHIM MOHAMMAD Julie MONIQUE http://www.shmog.org FAYOUM UNIVERSITY, FACULTY OF Paris FRANCE ARCHAEOLOGY, CONSERVATION Xiaowei ZHUANG DEPARTMENT Natacha FRENKEL SHANGHAI MUSEUM OF GLASS (SHMOG) Al-Fayoum, Egypt ATELIER ART’S DU FEU Shanghai (CHINA) http://www.fayoum.edu.eg Elven, FRANCE

CZECH REPUBLIC ESTONIA Hamide Kubra GURKAN Dr. Milan HLAVES Eve KOHA UNIVERSITÉ PARIS 3 SORBONNE- Dr. Jan MERGL ESTONIAN ACADEMY OF ARTS (EESTI NOUVELLE, UFR ARTS ET MÉDIAS, UMELECKOPRUMYSLOVÉ MUSEUM V KUNSTIAKADEEMIA) DÉPARTEMENT MÉDIATION CULTURELLE PRAZE (MUSEUM OF DECORATIVE ARTS Tallin ESTONIA Paris, FRANCE PRAGUE) Praha, CZECH REPUBLIC FINLAND Mr. Jean-Luc OLIVIÉ LES ARTS DÉCORATIFS http://www.upm.cz Ms. Kaisa Marjatta KOIVISTO Paris, FRANCE SUOMEN LASIMUSEO (FINNISH GLASS http://www.lesartsdecoratifs.fr Jitka LNENICKOVÁ MUSEUM) Praha, CZECH REPUBLIC Riihimäki, FINLAND Aurélie PADOVAN www.suomenlasimuseo.fi Raisa PAVELOVÁ FDD LUMA - ARLES Arles, FRANCE MUZEUM REZNICTVÍ (BUTCHER Ms. Marjut KUMELA www.luma-arles.org MUSEUM) , FINLAND Valašské Mezirící CZECH REPUBLIC Mélanie PARMENTIER Hanna MAMIA-WALTHER Paris FRANCE Mrs. Markéta VEJROSTOVA SUOMEN LASIMUSEO (FINNISH GLASS Brno, CZECH REPUBLIC MUSEUM) Agathe PETIT Riihimäki, FINLAND INSTITUT NATIONAL DU PATRIMOINE, DENMARK www.suomenlasimuseo.fi DÉPARTEMENT DES RESTAURATEURS Mette BIELEFELDT BRUUN La Plaine Saint-Denis, FRANCE MUSEUM SYDØSTDANMARK Mr. Heikki Olavi MATISKAINEN www.inp.fr (MUSEUM SOUTHEAST DENMARK) Riihimaki, FINLAND Vordingborg DENMARK Marie PETIT http://www.museerne.dk FRANCE Paris, FRANCE Mlle. Verónique AYROLES Mrs. Dagmar BRENDSTRUP Paris, FRANCE Mme. Liliana SCOTEE GLASMUSEET. Paris, FRANCE Ebeltoft, DENMARK Mme. Anne-Laure CARRÉ [email protected] MUSÉE DES ARTS ET MÉTIERS, Mme. Anne VANLATUM CONSERVATOIRE NATIONAL DES ARTS ET MUSVERRE Mr. Jørgen HEIN MÉTIERS Sars Poteries, FRANCE THE ROYAL DANISH COLLECTIONS Paris, FRANCE http://www.musverre.lenord.fr København K, DENMARK http://www.arts-et-metiers.net http://dkks.dk/English Mme. Catherine VAUDOUR Mme. Nathalie DERRA Mantes la Jolie, FRANCE Susanne JOHNSEN Mouans-Sartoux KUNSTAKADEMIETS DESIGNSKOLE BORNHOLM Mme. Annie Claire DUCREUX Bornholm, DENMARK Paris, FRANCE www.dkds.dk/Bornholm

87 GERMANY GUATEMALA LATVIA Mrs. Ruth FABRITIUS Sra. Susana CAMPINS Ms. Ilze MARTINSONE GLASMUSEUM RHEINBACH MUSEO VICAL DE ARTE PRECOLOMBINO MUSEUM OF ARCHITECTURE Rheinbach, GERMANY Y VIDRIO MODERNO Riga, LATVIA La Antigua, GUATEMALA www.archmuseum.lv Dr. Anna-Barbara FOLLMANN-SCHULZ http://[email protected] Bonn, GERMANY LUXEMBOURG ISRAEL Véronique BIVER Dr. Sven HAUSCHKE Mrs. Yael ISRAELI CENTRE NATIONAL DE RECHERCHE EUROPÄISCHES MUSEUM FÜR Jerusalem, ISRAEL ARCHEOLOGIQUE MODERNES GLAS Bertrange LUXEMBOURG Coburg, GERMANY Mrs. Ayala LESTER ANTIQUITIES AUTHORITY NETHERLANDS Dr. Katrin HOLTHAUS Jerusalem, ISRAEL Maartje BRATTINGA Petershagen, GERMANY NATIONAAL GLASMUSEUM - DE ITALY GLASBLAZERIJ Dr. Margret HONROTH Yasuko FUJII Leerdam, NETHERLANDS Bonn, GERMANY ITALY www.nationaalglasmuseum.nl Dr. Rüdiger JOPPIEN Luciana MANDRUZZATO MUSEUM FÜR KUNST UND GEWERBE Trieste, ITALY Astrid HERTOG HAMBURG NATIONAAL GLASMUSEUM Hamburg, GERMANY Teresa MEDICI Leerdam, NETHERLANDS www.mkg-hamburg.de REGIONE LOMBARDIA - DIREZIONE www.nationaalglasmuseum.nl GENERALE AUTONOMIA E CULTURA Dr. Dedo von KERSSENBROCK-KROSIGK Milan, ITALY Dr. Pieter Cornelis RITSEMA VAN ECK STIFTUNG MUSEUM KUNSTPALAST www.regione.lombardia.it ’s-Gravenhage, NETHERLANDS Düsseldorf, GERMANY www.smkp.de Giulia MUSSO NORWAY MUSEO DELL’ARTE VETRARIA ALTARESE Mrs. Randi GAUSTAD Dr. Käthe KLAPPENBACH Altare, SV, ITALY Oslo, NORWAY Potsdam, GERMANY www.museodelvetro.org PERU Dr. Jens KRÖGER Giuseppe PERICU Berlin, GERMANY Silvia Monica PANAIFO TEIXEIRA Genova, ITALY CENTRO MALLQUI Lima, PERU Dr. Ingeborg KRUEGER JAPAN Bonn, GERMANY Ms Takako FUJIKAWA PORTUGAL SUNTORY MUSEUM OF ART Dr. Hannelore E. MARSCHNER Teresa ALMEIDA Tokyo, JAPAN München, GERMANY UNIVERSIDADE DO , FACULDADE ttp://www.suntory.com/sma/ DE BELAS ARTES Dr. Susanne NETZER Porto, PORTUGAL Mr Tetsuji KATSUTA KUNSTGEWERBEMUSEUM BERLIN http://www.fba.up.pt Tokyo JAPAN Berlin, GERMANY http://www.smb.museum/museen-und- Maria João BURNAY Hidetoshi NAMIKI einrichtungen/kunstgewerbemuseum/home. PALÁCIO NACIONAL DA AJUDA TOKYO UNIVERSITY OF THE ARTS, html Lisbon, PORTUGAL FACULTY OF FINE ARTS, DEPARTMENT www.palacioajuda.pt OF AESTHETICS AND ART HISTORY Dr. Helmut RICKE Tokyo, JAPAN Dusseldorf, GERMANY Prof. Dr. António PIRES DE MATOS https://www.geidai.ac.jp UNIVERSIDADE NOVA DE LISBOA, Ms. Bettina K. SCHNEIDER FACULDADE DE CIÊNCIAS E TECNOLOGIA Ms Yuki SASAKI Berlin, GERMANY Lisbon, PORTUGAL SUNTORY MUSEUM OF ART www.vicarte.org Tokyo, JAPAN Mrs. Siegmut SEEGER ttp://www.suntory.com/sma/ Bonn, GERMANY ROMANIA Mrs. Simona Violeta GHEORGHE Ms. Ruriko TSUCHIDA Prof. Dr. Sebastian STROBL MUZEUL OLTENIEI CRAIOVA (THE SUNTORY MUSEUM OF ART FACHHOCHSCHULE ERFURT (UNIVERSITY REGIONAL MUSEUM OF OLTENIA) Tokyo, JAPAN OF APPLIED SCIENCES ERFURT), Erfurt, Craiova, ROMANIA ttp://www.suntory.com/sma/ GERMANY www.muzeulolteniei.ro

Dr.-Ing. Manfred TORGE Hoppegarten, GERMANY

88 Ingrid Diana POLL Mr. Anders REIHNÉR Dr. Oliver WATSON MUZEUL DE ISTORIE SI ARTA AL Hägersten, SUEDE London, UNITED KINGDOM MUNICIPIULUI BUCURESTI (Bucharest Municipality Museum) SWITZERLAND USA Bucuresti, ROMANIA Amélie BANNWART Paul DOROS http://muzeulbucurestiului.ro MUDAC - MUSÉE DE DESIGN ET D’ARTS THE NEUSTADT MUSEUM OF TIFFANY APPLIQUÉS CONTEMPORAINS GLASS RUSSIAN FEDERATION Lausanne SWITZERLAND Queens NY USA Angelina BUGROVSKAYA http://www.mudac.ch https://theneustadt.org/ Moscow State Stroganov Academy of Industrial and Applied Arts Christine AZCONEGUI SUTER Dr. Amy GOLAHNY Moskva, RUSSIAN FEDERATION MUSÉE ARIANA (MUSÉE SUISSE State College, PA, USA http://www.mghpu.ru DE LA CÉRAMIQUE ET DU VERRE) Genève, SWITZERLAND Mr. Sidney M. GOLDSTEIN Oxana LOPATINA http://www.ville-geneve.ch/ariana Saint Louis, USA THE PUSHKIN STATE MUSEUM OF FINE ARTS Erwin BAUMGARTNER Katherine LARSON Moskva, RUSSIAN FEDERATION Basel, SWITZERLAND THE CORNING MUSEUM OF GLASS www.pushkinmuseum.ru Corning, NY, USA Mrs. Susanne BRENNER KIPFER www.cmog.org Olga IVLIEVA Gümligen, SWITZERLAND Museum-Estate “Kuskovo” Dr. Christopher MAXWELL Moskva, RUSSIAN FEDERATION Mlle. Sylvia FÜNFSCHILLING THE CORNING MUSEUM OF GLASS http://kuskovo.ru Augst, SWITZERLAND Corning, NY, USA http://www.augusta-raurica.ch www.cmog.org SLOVAKIA Katarína BENOVÁ Dr. Christine KELLER LÜTHI Ms. Amy MCHUGH SLOVENSKÁ NÁRODNÁ GALÉRIA SCHWEIZERISCHES LANDESMUSEUM Parsippany, NJ, USA (Slovak National Gallery) (MUSÉE NATIONAL DE LA SUISSE) Bratislava, SLOVAKIA Zürich, SWITZERLAND Carolyn NEEDELL http://www.sng.sk http://www.musee-suisse.ch CHRYSLER MUSEUM OF ART Norfolk VA USA SLOVENIA Sarah KELLER http://www.chrysler.org Mr. Joze RATAJ VITROCENTRE/VITROMUSÉE POKRAJINSKI MUZEJ CELJE (REGIONAL Romont FR, SWITZERLAND Christina ORR-CAHALL MUSEUM CELJE) www.vitrocentre.ch USA Celje, SLOVENIA www.pokmuz-ce.si Mr. Otto-Jolias STEINER Katie PHELPS STEINER SARNEN AG FÜR MUSEUM OF GLASS SPAIN KOMMUNIKATION Tacoma USA Sarnen, SWITZERLAND https://www.museumofglass.org/ Sra. Teresa CARRERAS ROSSELL Barcelona, SPAIN UNITED KINGDOM Prof. William E. RAY REED COLLEGE, FRENCH DEPARTMENT Sra. María Cristina GIMÉNEZ RAURELL Wendy EVANS Pórtland, USA MUSEO CERRALBO London, UNITED KINGDOM Madrid, SPAIN http://museocerralbo.mcu.es Mr. Peter HARDIE Bristol, UNITED KINGDOM Sra. María Luisa MARTÍNEZ GARCÍA MUSEO DE ARTE EN VIDRIO DE Suzanne HIGGOTT ALCORCÓN (MAVA) THE WALLACE COLLECTION Alcorcón (Madrid), SPAIN London, UNITED KINGDOM www.mava.es www.wallacecollection.org

Dra. Paloma PASTOR REY DE VIÑAS Mr. Reino LIEFKES MUSEO TECNOLÓGICO DEL VIDRIO VICTORIA AND ALBERT MUSEUM San Ildefonso, Segovia, SPAIN London, UNITED KINGDOM www.realfabricadecristales.es www.vam.ac.uk

SWEDEN Ms. Janet Hume NOTMAN Edinburgh, UNITED KINGDOM Dr. Karl Johan KRANTZ SMÅLANDS MUSEUM (THE SWEDISH Mrs. Jennifer OPIE GLASS MUSEUM) Teddington, UNITED KINGDOM Växjö, SUEDE www.kulturparkensmaland.se

89 ICOM international committee GLASS for museums and collections of glass