DOCSLIB.ORG

THE LAUZON GLASS STUDY GALLERY the Lauzon Glass Study Gallery

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
THE LAUZON GLASS STUDY GALLERY the Lauzon Glass Study Gallery THE LAUZON GLASS STUDY GALLERY The Lauzon Glass Study Gallery Albert and June Lauzon collected early American glass together for twenty-five years. They spent summers touring New England, searching out estate sales, antique shops, and auctions, where they acquired bottles, decanters, pitchers, and lamps, among other glass objects. Their collection is particularly rich with examples of early nineteenth-century glass blown in hinged molds—forms notable for their distinctly American patterns. The Lauzons came to know the Clark in 1975, when they lent some of their collection to the institute for display. After Albert’s death in 1978, June donated a portion of their collection to the Clark, and over the next three decades she continued to give objects and financial support for the acquisition of American glass. Her generous contributions also included funds used toward the construction of the Clark Center. The Lauzon Glass Study Gallery highlights glass from their collection, as well as glass from other sources, and tells the story of the production and social use of glass in early America. A note about attribution: Early American glasshouses rarely marked their wares, so attributing pieces of glass to specific factories can be challenging. When a color of glass, particular form, or mold pattern is known to hail from a specific factory, that factory is given credit for the production of the ware. We use “probably” and “possibly” to indicate levels of certainty in attribution. Glass molds were often made for use at one factory, but the popularity of a design encouraged other factories to produce similar molds. Sometimes, too, glass workers might leave a factory, take molds with them, and then use them elsewhere. These facts make attributing pieces to particular factories difficult: sometimes the closest attribution for a piece is the region in which the piece was likely made. The first successful glass factories were built on the East Coast of the United States, with a gradual spread west. New England includes Massachusetts, Connecticut, Vermont, and New Hampshire; Mid-Atlantic signals production in New Jersey, eastern Pennsylvania, and Maryland; and Midwest alludes to factories in western Pennsylvania and Ohio. 1 Early Imported Glass It took time to establish successful glass manufactories in America, so in the late eighteenth and early nineteenth centuries consumer demand was largely met by importing glass from Europe. Before the American Revolution, glass was imported from England; later from continental Europe, especially Germany and Bohemia. Imported glass was cheaper and of higher quality than early domestic products. Most early American households owned at least one glass bottle that was used to hold cordial, wine, gin, or brandy. Tumblers, also imported, were used to drink many beverages, including ale, beer, and cider. 1 Germany or Bohemia 3 England 6 Germany or Bohemia Two Tumblers Cream Pitcher Cordial Bottle c. 1780–1820 c. 1810–30 c. 1775–1810 Colorless nonlead glass Cobalt-blue glass Colorless glass, enamel, and pewter Skilled workers decorated these The Albert and June Lauzon Collection of tumblers by holding the finished Early American Blown Glass, 1981 Gift of Milton W. Alexander, 1973 glass against the sharp edge of a 1981.114 1973.20 spinning stone wheel in order to etch designs upon their surfaces. The engraver created the desired 4 United States or Europe 7 Germany or Bohemia pattern by shifting the position of Assembled Flagon and Stopper the glass as well as the pressure Cordial Bottle against the wheel. c. 1900–50 c. 1775–1810 Cobalt-blue glass, brass, and cork Sapphire-blue glass and enamel The Albert and June Lauzon Collection of Early American Blown Glass, 1981 The Albert and June Lauzon Collection of This bottle was embellished 1981.72, 1984.106 Early American Blown Glass, 1996 with enamel paint, a decorative 1996.14.9a–b technique popular in German and Bohemian glass production 2 Germany or Bohemia during this period. A woman in a 5 Probably England Mug and Cover brightly colored dress is painted on one side. On the other, German c. 1780–1820 Pitcher text proclaims: “It is painful to c. 1820–40 Colorless nonlead glass live without someone.” The bottle Cobalt-blue glass was broken and has been recently The Albert and June Lauzon Collection restored, with blue epoxy resin of Early American Blown Glass, 1981 The Albert and June Lauzon Collection of 1981.120a-b Early American Blown Glass, 1981 filling in for missing glass shards. 1981.135 The Albert and June Lauzon Collection of Early American Blown Glass, 1996 1996.14.11 8 Germany or Bohemia 12 England 14 Northern Europe Tumbler Wineglass Two Decanters and Stoppers probably 1920s c. 1750–75 c. 1825–50 Colorless nonlead glass Colorless lead glass with opaque Colorless glass The Albert and June Lauzon Collection white glass threads in stem The Albert and June Lauzon Collection of Early American Blown Glass, 1981 The Albert and June Lauzon Collection of Early American Blown Glass, 1996 1981.102 of Early American Blown Glass, 1996 1996.14.17a-b, 1996.14.1a-b 1996.14.31 9 Germany or Bohemia 15 Probably England 13 England Tumbler Two Salts c. 1780–1820 Two Wineglasses c. 1790–1820 Colorless nonlead glass 1750–75 Cobalt-blue glass The Albert and June Lauzon Collection of Colorless glass with opaque white Gift of Milton W. Alexander, 1973 Early American Blown Glass, 1985 glass threads in stem 1973.28, 1975.6 1985.73 Perhaps inspired by Venetian or Bohemian examples where opaque 16 England 10 Probably Germany threads of glass were used to embellish glass forms, eighteenth- Salt Tumbler century English glassblowers c. 1775–90 incorporated enamel canes into c. 1775–1825 Colorless glass Colorless glass and enamel hot, liquid glass, manipulating them to create complicated Gift of Milton W. Alexander, 1973 Gift of Milton W. Alexander, 1974 twisted patterns for wineglass 1973.18 1974.12 stems. This style of decoration was popular in Colonial America, and many wineglasses were imported 11 Bohemia from England as a result. Decanter and Stopper Collection of Bennington Museum, Bennington, Vermont. Gift of Mr. and c. 1790–1820 Mrs. Stephen Greene Colorless nonlead glass 1974.74.1, 1974.84 The Albert and June Lauzon Collection of Early American Blown Glass, 1981 1981.79a-b 17 Probably England 21 Germany or Bohemia 24 United States Salt Cordial Bottle Sugar Bowl c. 1770–1810 c. 1775–1810 1800–40 Colorless lead glass Colorless glass, enamel, and Cobalt-blue glass The Albert and June Lauzon Collection of pewter Gift of Milton W. Alexander, 1973 Early American Blown Glass, 1982 The Albert and June Lauzon Collection 1973.26 1982.57 of Early American Blown Glass, 1996 1996.14.14 25 Possibly Newcastle-on-Tyne, 18 Germany or Bohemia England 22 Probably Germany Tumbler Cream Pitcher c. 1780–1820 Tumbler c. 1790–1830 Colorless nonlead glass c. 1775–1825 Cobalt-blue glass Colorless glass and enamel Gift of Mrs. Devereux Butcher, 1980 Gift of Milton W. Alexander, 1973 1980.10 The Albert and June Lauzon Collection 1973.27 of Early American Blown Glass, 1986 1986.123 19 Germany or Bohemia Two Tumblers 23 Germany or Bohemia c. 1780–1820 Colorless nonlead glass Two Bottles Mid–late 19th century The Albert and June Lauzon Collection of Early American Blown Glass, 1981 Colorless glass, pewter; colorless 1981.67, 1981.127 glass, silver The Albert and June Lauzon Collection of Early American Blown Glass, 1996 20 Germany or Bohemia 1996.14.28; 1996.14.29 Tumbler c. 1780–1820 Colorless nonlead glass Gift of Milton W. Alexander, 1973 1973.16 36 Free-Blown Glass Free-blown glass is shaped without the use of molds. Once the ingredients for glass are melted together in a furnace, a glassblower gathers a small glob of the molten mixture on the end of a metal blowpipe. After removing the glass from the furnace opening (called the glory hole), he or she blows into the pipe, expanding the glass. With such tools as pincers, jacks, and shears, and by using gravity or swinging the blowpipe, the glass blower shapes the material into the desired form, often returning the glass to the furnace for reheating in order to make the glass malleable. Free-blown glass might be embellished by applying threads of glass to an object while it is still hot; once cool, free-blown glass might be engraved with designs or painted with enamel. 26 South Boston Flint Glass Works 27 South Boston Flint Glass Works 28 New England Boston, 1813–1827 Boston, 1813–1827 Bottle Thomas Cains, lessor, Thomas Cains, lessor, c. 1790–1830 1813–1819/20 1813–1819/20 Olive-green glass Or Or The Albert and June Lauzon Collection Phoenix Glass Works Phoenix Glass Works of Early American Blown Glass, 1996 East Cambridge, Massachusetts, East Cambridge, Massachusetts, 1996.14.27 1819/20–1870 1819/20–1870 Thomas Cains, proprietor until Thomas Cains, proprietor 29 Western Pennsylvania or Ohio 1865 until 1865 Bottle Sugar Bowl and Cover, Lamp 229 c. 1810–50 Decanter and Stopper c. 1813–30 Aquamarine glass c. 1813–35 Colorless lead glass The Albert and June Lauzon Collection Colorless lead glass The abundance of whale oil in of Early American Blown Glass, 1996 1996.14.3 The chain decoration on the belly the early nineteenth century and cover of this sugar bowl and stimulated the production of on the body of this decanter was glass lamps to light American 30 New England a signature design of Thomas homes. The “mercurial” rings Cains, an English glassblower who and “strawberry” chain on this Bottle became the proprietor of two glass lamp are typical of glass produced c.
Load more

Recommended publications
  • ORNAMENT 30.3.2007 30.3 TOC 2.FIN 3/18/07 12:39 PM Page 2
    30.3 COVERs 3/18/07 2:03 PM Page 1 992-994_30.3_ADS 3/18/07 1:16 PM Page 992 01-011_30.3_ADS 3/16/07 5:18 PM Page 1 JACQUES CARCANAGUES, INC. LEEKAN DESIGNS 21 Greene Street New York, NY 10013 BEADS AND ASIAN FOLKART Jewelry, Textiles, Clothing and Baskets Furniture, Religious and Domestic Artifacts from more than twenty countries. WHOLESALE Retail Gallery 11:30 AM-7:00 PM every day & RETAIL (212) 925-8110 (212) 925-8112 fax Wholesale Showroom by appointment only 93 MERCER STREET, NEW YORK, NY 10012 (212) 431-3116 (212) 274-8780 fax 212.226.7226 fax: 212.226.3419 [email protected] E-mail: [email protected] WHOLESALE CATALOG $5 & TAX I.D. Warehouse 1761 Walnut Street El Cerrito, CA 94530 Office 510.965.9956 Pema & Thupten Fax 510.965.9937 By appointment only Cell 510.812.4241 Call 510.812.4241 [email protected] www.tibetanbeads.com 1 ORNAMENT 30.3.2007 30.3 TOC 2.FIN 3/18/07 12:39 PM Page 2 volumecontents 30 no. 3 Ornament features 34 2007 smithsonian craft show by Carl Little 38 candiss cole. Reaching for the Exceptional by Leslie Clark 42 yazzie johnson and gail bird. Aesthetic Companions by Diana Pardue 48 Biba Schutz 48 biba schutz. Haunting Beauties by Robin Updike Candiss Cole 38 52 mariska karasz. Modern Threads by Ashley Callahan 56 tutankhamun’s beadwork by Jolanda Bos-Seldenthuis 60 carol sauvion’s craft in america by Carolyn L.E. Benesh 64 kristina logan. Master Class in Glass Beadmaking by Jill DeDominicis Cover: BUTTERFLY PINS by Yazzie Johnson and Gail Bir d, from top to bottom: Morenci tur quoise and tufa-cast eighteen karat gold, 7.0 centimeters wide, 2005; Morenci turquoise, lapis, azurite and fourteen karat gold, 5.1 centimeters wide, 1987; Morenci turquoise and tufa-cast eighteen karat gold, 5.7 centimeters wide, 2005; Tyrone turquoise, coral and tufa- cast eighteen karat gold, 7.6 centimeters wide, 2006; Laguna agates and silver, 7.6 centimeters wide, 1986.
    [Show full text]
  • Glass Circle Publications
    INDEXOF GLASS CIRCLE PUBLICATIONS by Hazel Bell Incorporating and modifying the previous indexes by Peter Lole Indexed publications Key Glass Circle News Issues 1-140 (1977–2016) 1.1 (Issue no.page no(s);) The Glass Circle Journal 1-11 (1972-2009) JL The Centenary Supplement (2004) CS GCN (2004) Ex. ExFromcerpts Palace from to the Parlour first 99(2003) issues of PP The Glass Circle Diamond Jubilee 1937–1997 DJ Glass Collectors and their Collections (1999) Col. Strange and Rare: 50th Anniversary Exhibition 1937–1987 SR Major references to a topic are given in bold type Abbreviations used: c. GCN for Glass Circle News. Notesexh. for exhibition; for century; GC for Glass Circle; Short forms of article and book titles are used. Article titles, and titlesin ofitalics talks reported, are given ‘in quotes’ under the names of the speakers. Book titles are given under the names of the authors, except for multi-author books, listed under their titles. GlassReviewers Circle of books,News andreferences writers of are letters given and in obituaries, the form: are rarely included. Issue number.page number(s) with the Issue numbers followed by stops; page numbers in the same issue separated by commas; Issue numbers separated by semi-colons. Newsletters for April and July 1983 are both numbered 26; references to those issues are given in the index as 26A and 26Jy. The first page of Issue 115, 2 June 2008, shows Issue number as 114. Announcements of coming events, advertisements, auctions, fairs, and sales reports are not indexed; of exhibitions, only major ones are indexed.
    [Show full text]
  • Sandwich Redux San(D)-Wich Re-Duks N
    SANDWICH Redux san(d)-wich re-duks n. Glass artist invitational to re-interpret iconic Sandwich Glass with distinctive flair. Chris Belleau v Ricky Bernstein v Ed Branson v William Gudenrath v Eben Horton Sidney Hutter v Benton Jones v Jon Kuhn v Fritz Lauenstein v Michael Magyar Yukimi Matsumoto v Billy Mayer v David McDermott v Jim Poore v Chris Sherwin Josh Simpson v Debbie Tarsitano v Nancy Tobey v Beth Williams Gaffer Robert Matthews seated at the gaffer’s bench is shaping the foot of a goblet. Matthews worked at the Boston & Sandwich Glass Company from 1875 until its closing in 1888. The photograph was taken c. 1880. From the Collections of the Sandwich Glass Museum. SANDWICH REDUX he traditions of glassmaking have changed little over the centuries. During the 19th century, the Boston & Sandwich Glass Company was one of the largest producers of glassware Tin the world. The functional wares that the factory produced were innovative for their time. Today, new innovations in glassmaking are tested in small studios where hot glass is used as a medium for artists to produce new works of creative endeavor. This year, 2012, marks the 50th Anniversary of the Founding of the Contemporary Studio Glass Movement. In 1962 ceramics professor Harvey Littleton and chemist Dominick Labino began an experiment to produce hot glass in a studio setting as opposed to the traditional factory. Their success led the way for many of today’s glass artists, many of whom Littleton went on to teach and train. In honor of this event the Sandwich Glass Museum invited glassmakers of national and international fame to look to the past, to draw inspiration from the glassware produced in Sandwich during the 19th and early 20th centuries and to create a new work for the 21st century.
    [Show full text]
  • Glass Fabrication
    RESOURCE + PROCESS MANAGEMENT Glass fabrication Rima Ajlouni The University of Utah, Salt Lake City, UT ABSTRACT: In architecture, the prevalence of computational design and digital fabrication has led to an increase in exploration of casting modulated geometry using fabricated molds. However, the use of mold making strategies are often limited to casting materials that conform easily to mold geometry (i.e. concrete, plaster, resin, ceramics, etc.). It is rarely that fabrication strategies are used to explore materials with challenging behavioral properties such as glass. As a result, glass in its non-flat form has been underutilized in contemporary architecture. Because of its complicated physical behavior and the technical difficulties associated with the fabrication processes, architecture education often avoids exploring such medium. One key challenge with casting glass using fabricated refractory molds relates to understanding the behavior of glass under certain physical conditions and temperature profiles. If such parameters are not anticipated, the geometry of the final casted elements can be substantially different from the design intentions. This research argues that computation can be used to predict glass forming behavior under different temperature profiles, which can inform the design and fabrication processes. The goal is to highlight the importance of integrating the complexities of the physical reality into the design and fabrication processes, especially within the context of the educational experience. To contribute to this creative discourse this paper explores the limits of precision from computation to fabrication as it relates to casting glass. The objective is to design and test an algorithm for predicting edge/corner geometry of casted glass under different temperature profiles.
    [Show full text]
  • Glossary of Glass Terms
    Glossary of Glass Terms A Abrasion The technique of creating shallow decoration by grinding with a wheel or other device. The decorated areas remain unpolished. Acanthus In art, an ornament that resembles the leaves of the species Acanthus spinosus plant. Acid Etching The process of creating decoration on the surface of glass by applying hydrofluoric acid. A similar effect is weathering, obtained by exposing glass to fumes of hydrofluoric acid to create an all- over matte surface. Acid Polishing The technique of creating a glossy, polished surface by dipping (usually) cut glass into a mixture of hydrofluoric and sulfuric acids. Developed in the late 19th century. Acid Stamping The process of acid etching a trademark or signature onto annealed glass using a rubber stamp-like tool. Aeolipile (From Greek): Globular or pear-shaped object with a narrow neck and mouth. Its function is believed to be as containers. See Grenade Agate Glass See Calcedonio Air Trap, Air Lock An air-filled void of almost any shape. Air traps in glass stems are frequently tear- shaped or elongated and spirally twisted. See Diamond Air Trap, Pegging, Twist Air Twist See Twist Alabaster Glass A type of translucent white glass first produced in Bohemia in the 19th century. Similar to opal glass. Alabastron (From Greek): A small bottle or flask for perfume or oil, usually with a flattened rim, narrow neck, cylindrical body, and two handles. Ale Glass An English drinking glass for ale or beer first made in the 17th century, with a tall and conical cup, a stem, and a foot.
    [Show full text]
  • Newglass Review 4
    The Corning Museum of Glass NewGlass Review 4 The Corning Museum of Glass CORNING, NEW YORK 1983 Objccts represented in this annual review were chosen with the understanding that they were designed and made within the 1982 calendar year. For subscription information and additional copies of New Glass Review please contact: Sales Department The Corning Museum of Glass Corning, New York 14831 607/937-5371 Copyright © 1983 The Corning Museum of Glass Corning, New York 14831 Printed in U.S.A. Standard Book Number 0-87290-108-4 ISSN: 0275-469X Library of Congress Catalog Card Number 81-641214 Introduction i\Jew Glass Review, begun by The Corning Muse­ The editors and judges of the fourth Review wish um of Glass in 1976, surveys glassmaking around to thank all participants who submitted slides. Ap­ the world. A major purpose of this annual review is preciation is due as well to those who helped to to provide a forum for the presentation of new work make this publication possible, particularly Phyllis as well as to inform the general public of glassmaking Casterline, Charleen Edwards, Louise Bush, Donna activity. The Review consists of four parts: illustra­ Yeman, Charlene Holland, and Barbara Miller. tions of 100 objects chosen by a panel, an overview of the selection process, a bibliography of all publi­ • • • cations related to contemporary glass acquired by the Museum's library in the preceding year, and, The following brief comments on New Glass Review new this year, a list of galleries which exhibit con­ 4 are intended to offer some insight into the selec­ temporary glass.
    [Show full text]
  • A Cut Above – a Tribute to Edward Poore
    A Cut Above: A Tribute to Edward Poore Sandwich Glass Museum July 1 - October 27, 2019 “Seeing contemporary glass in 1980 prompted me to go forward beyond earlier glass designs and more and more to dismiss the idea that cold glass is a finite shape. You can change glass, you can mold it, you can sculpt it, you can melt it, you can cut it away, you can polish it, you can give it different surface treatments; there is so much you can do with glass, you are just limited by your imagination and sometimes by your equipment. By choosing cold glass as a material an artist can create beautiful, beautiful things.” Ed Poore A Cut Above: A Tribute to Edward Poore Ed Poore at the Cutting Wheel. Museum Collection. he Sandwich Glass Museum is very fortunate In 1980 Ed Poore took his technical expertise to Tto work with many talented glass artists, the next level. He left Pairpoint to open his own among them, Edward D. Poore. Ed was a quiet studio, "The Crystal Workshop", also located in and humble man, who was passionate about his Sagamore. He wanted the autonomy to create his family and his hobbies, which included riding own designs and sculptural work. Ed's small glass his Harley, as well as collecting salt water lures, sculptures defied the trend of large scale work. His an obsession shared with his son, Jim. He was intimate creations were meticulously crafted from also very passionate about his profession. He was lead crystal and explored the optics of cut glass.
    [Show full text]
  • The Corning Museum of Glass Annual Report 2007
    The Corning Museum of Glass Annual Report 2007 Cover: Officers The Fellows of The Corning The Fellows of The Corning Museum of Glass Museum of Glass are among Red /Amber Sliced James B. Flaws the world’s leading glass col- Descending Form , Chairman of the Board Carole Allaire lectors, scholars, dealers, and hot-worked, cased, cut, glassmakers. The objectives E. Marie McKee Gary E. Baker assembled. U.S., Spruce Renée E. Belfer of this organization are (1) President to disseminate knowledge Pine, NC, Harvey K. Robert A. Belfer Littleton (American, Amory Houghton Jr. about the history and art of Mike Belkin glassmaking and (2) to sup- b. 1922), 1984. H. 37.2 Vice President William W. Boeschenstein* cm (2007.4.168). Gift of port the acquisitions program James R. Houghton Alan L. Cameros of the Museum’s Rakow the Ben W. Heineman Sr. Vice President Lt. Gen. Christian Clausen, retired Research Library. Admission Family. Kenneth C. Depew to the fellowship is intended Denise A. Hauselt Thomas P. Dimitroff to recognize accomplishment, Secretary Jay R. Doros and is by invitation. Mark Rogus David Dowler Treasurer Max Erlacher Robert J. Grassi Christopher T. G. Fish Assistant Treasurer Barbara U. Giesicke William Gudenrath David B. Whitehouse Jirˇí Harcuba+ Executive Director Douglas Heller A. C. Hubbard Jr. Trustees Lawrence Jessen Kenneth L. Jobe + Roger G. Ackerman* Dorothy-Lee Jones Peter S. Aldridge Olive Jones + Thomas S. Buechner Leo Kaplan Van C. Campbell* Helena Koenigsmarková + Dale Chihuly Michael Kovacek Patricia T. Dann Dwight P. Lanmon + Robert Duke Harvey K. Littleton James B. Flaws Louise Luther John P.
    [Show full text]
  • DEPT. 119 – ANTIQUES Superintendent: Harvey Boeder OPEN DIVISION (920) 544-0146
    DEPT. 119 – ANTIQUES Superintendent: Harvey Boeder OPEN DIVISION (920) 544-0146 ALL ITEMS MUST BE 50 YEARS OR OLDER th Entries Due: July 15 Entry Arrival: Monday, 6 – 8 p.m. & Tuesday, 8:30 – 10 a.m. Judging (Straight Style): Tuesday, 10:30 a.m. Release: Sunday, 6:00 p.m. IN ADDITION TO THE RULES LISTED BELOW, PLEASE REFER TO ALL THE RULES AND REGULATIONS LISTED IN THE FRONT SECTION OF THIS BOOK. GENERAL RULES: 1. Entry Tags: Entry Tags must be Securely Attached to Each Item PRIOR to Checking Item in Department. 2. History of item: On a 3” x 5” Index Card, Describe & Give a Brief History of Item. Staple to Entry Tag. Judge will read Entry’s Card and the Card may be Used to Break a Tie. 3. Judging: Items will be Judged on Quality. (I.e. if Item was Cleaned, Polished, has Cracks, etc...) 4. Repeat Items: Items Once Exhibited Cannot Return Another Year to be Exhibited Again. 5. Safety: Every Precaution will be taken to Insure the Safety of Exhibits, but the Brown County Fair Association and its Volunteers will Not be held Responsible for Loss or Injury. PREMIUMS FOR DIVISIONS 380 - 401: 1st 2nd 3rd 4th $3.00 $2.50 $2.00 $1.50 DIVISION 380 – Art Glass DIVISION 392 – Any Other Glass DIVISION 381 – Carnival Glass DIVISION 393 – Flow Blue Pottery DIVISION 382 – Cranberry Glass DIVISION 394 – Hull Pottery DIVISION 383 – Crystal Glass DIVISION 395 – Roseville Pottery DIVISION 384 – Custard Glass DIVISION 396 – Royal Bayreuth DIVISION 385 – Depression Glass DIVISION 397 – Royal Doulton DIVISION 386 – Fenton Glass DIVISION 398 – Ribbon Glass DIVISION 387 – Nippon Glass DIVISION 399 – Overlay Glass DIVISION 388 – Pressed Glass DIVISION 400 – Millefiori Glass DIVISION 389 – Ruby Glass DIVISION 390 – Satin Glass DIVISION 391 – Wavecrest Glass CLASS NO.
    [Show full text]
  • Issue No. 35 / Winter 2020 2 Issue No
    Issue No. 35 / Winter 2020 2 Issue No. 35 / Winter 2020 Contents Dear Members, 3 President’s Letter 4 Specialty Glass Residency We think quite a bit about our impact 6 In Sparkling Company at The Corning Museum of Glass, as 10 Blown Away Residency we welcome nearly 450,000 people 12 Museum News from all over the world each year 13 My Favorite Thing and share our world-class collections 14 Rakow Commission with new and growing communities. 16 CMoG Goes Global 18 Objects in Focus Loans of our objects and exhibitions are 21 Donor Profile increasingly visible at institutions across 22 Explainers Program the United States and internationally. 24 Member Moments Our residencies and commissions help 26 Ennion Listing artists and scholars to find their voice, develop their practice, and expand Writing and Editing their own impact. Our youth programs Ann Campbell cultivate the next generation’s appreciation of arts and curatorial Ellen Corradini practices. And of course, the Museum was front and center this year as Mickey Dann Carole Ann Fabian glassmaking went global with Netflix’sBlown Away competition series. Jon Heath Kacey Scheib Throughout 2019, we celebrated the Museum’s pivotal role in Kimberly Thompson shaping the field of contemporary glass over the past 60 years, with Art Director the exhibition New Glass Now—an award-winning exhibition in the Stephanie Carr Contemporary Art + Design Galleries. Don’t miss the opportunity to see the show before it closes on January 5. Photography Mickey Dann Jeffrey Foote As we usher in a new decade, we’re making plans for our next major Amanda Sterling exhibition, In Sparkling Company: Glass and Social Life in Britain During Christopher Walters the 1700s, which explores the exuberant social life of the 1700s through Matt Wittmeyer Additional imagery by Museum a lens of glass.
    [Show full text]
  • Guide to the Description and Classification of Glass Beads Oundf in the Americas
    BEADS: Journal of the Society of Bead Researchers Volume 24 Volume 24 (2012) Article 8 1-1-2012 Guide to the Description and Classification of Glass Beads oundF in the Americas Karlis Karklins Follow this and additional works at: https://surface.syr.edu/beads Part of the Archaeological Anthropology Commons, History of Art, Architecture, and Archaeology Commons, Science and Technology Studies Commons, and the Social and Cultural Anthropology Commons Repository Citation Karklins, Karlis (2012). "Guide to the Description and Classification of Glass Beads oundF in the Americas." BEADS: Journal of the Society of Bead Researchers 24: 62-90. Available at: https://surface.syr.edu/beads/vol24/iss1/8 This Article is brought to you for free and open access by SURFACE. It has been accepted for inclusion in BEADS: Journal of the Society of Bead Researchers by an authorized editor of SURFACE. For more information, please contact [email protected]. GUIDE TO THE DESCRIPTION AND CLASSIFICATION OF GLASS BEADS FOUND IN THE AMERICAS1 Karlis Karklins This guide provides information relevant to the description and and wound-on-drawn, mold-pressed, blown, and Prosser- classification of glass beads recovered from archaeological sites molded beads are not dealt with at all. Furthermore, many in North and South America and the Caribbean. It is partly based of the bead classes and some of the terms are not adequately on and intended to be used with “A Classification System for Glass defined, making the system difficult to use at times. Another Beads for the Use of Field Archaeologists,” by Kenneth and Martha drawback centers on the fact that the system, developed Kidd.
    [Show full text]
  • P.G.P.P. Or Pressed Glass Presidential Paperweights
    President Vice President STANLEY B. KRUGER 5 Johnson Lane Voorhees, NJ 08043 OPEN (856) 751-7720 [email protected] Secretary Treasurer SUSAN SUTTON DON FORMIGLI 708 Old Westtown Road 455 Stonybrook Drive West Chester, PA 19382 Levittown, PA 19055 (610) 692-7204 (215) 945-5253 Volume 13 Number 2 www.dvpaperweights.org March, 2006 P.G.P.P. or Pressed Glass All examples of Pressed Glass Presidential Paperweights, hereafter P.G.P.P., in this article date Presidential Paperweights from the final quarter of the 19th Century and are thus true antiques, being well over 100 years old. by Stanley B. Kruger Even though most (if not all) were made in very large numbers, they seldom appear in the marketplace, and when they do, they usually sell for low figures, One of the late, great William Drew Gaskill’s favorite because so many of them were made and perhaps topics was Patriotic Paperweights, the subject of his because of the stigma attached to pressed glass items fascinating PowerPoint presentation during Wheaton as opposed to encased weights. Exceptions to this Village’s Paperweight Weekend 2002. A sub-set of rule do occur, though infrequently. (A further cause Patriotic Paperweights would be Presidential may be that more than a hundred years after the fact, Paperweights and an even further sub-set, and the some of these P.G.P.P. may not be recognizable as subject of this paper, could be termed Pressed Glass important historical figures.) Presidential Paperweights. For purposes of this article, we will also include in this sub-category molded pieces Two volumes, one short, one lengthy, not usually not necessarily pressed into shape.
    [Show full text]