ANTIQUES Department 119 – Superintendent – Don Kuchenbecker – 920-793-1991 Email - [email protected]

Total Page:16

File Type:pdf, Size:1020Kb

ANTIQUES Department 119 – Superintendent – Don Kuchenbecker – 920-793-1991 Email - Donaldkuchenbecker@Gmail.Com OPEN CLASS ANTIQUES Department 119 – Superintendent – Don Kuchenbecker – 920-793-1991 Email - [email protected] 1. Open Class Registration Deadline – July 15. 2. Entry Day – Tuesday, August 24, from 11am to 7pm, in the Exhibition building. 3. Judging Day – Wednesday, August 25, at 9am. 4. Release Day – Sunday, August 29, between 6pm and 7:30pm. Vehicle access begins at 6:30pm. Exhibits released prior to release date and time will not receive premiums. 5. Fee is $.10 per entry for each exhibitor, paid at the time of registration. 6. Exhibitor is limited to one (1) entry or exhibit per lot number. 7. Entries will be limited to eight (8) entries or exhibits per exhibitor. 8. Antiques must be more than fifty (50) years old unless specified. 9. Once a premium has been awarded, the antique item is no longer eligible to be exhibited. 10. All exhibits must be the bonafide property of the exhibitor. 11. All articles entered for exhibition must be delivered in person. 12. Articles of a collection cannot be entered separately for individual premiums. A collection shall be limited to three (3) pieces. 13. Each exhibitor is responsible for placing exhibitor’s tags securely to his or her own exhibit. 14. No premiums will be awarded for any article not properly entered. All articles must be entered in the proper class. 15. Exhibitors must present claim checks corresponding with entry tag when calling for exhibits, and must not remove exhibits without superintendent or assistant superintendent being present to check out entries. 16. The Expo Board and Superintendent reserve the right to determine whether an article is worthy of exhibition. In case an article is in poor condition, but is valuable because of its age or rarity, these factors will be taken into consideration when scoring. 17. Every precaution will be taken to ensure the safety of exhibits, but in no case will management be responsible for loss or injury. 18. In preparation of the exhibit, please clean or polish before entering only if it does not devaluate the item. Write on the Exhibitor’s card, “The item was not cleaned because this would devaluate the item” to inform the judge that through research you found that the item would be devaluated if cleaned. Example: Copper may be polished or unpolished and is the exhibitor’s choice. 19. Please tape covers securely to item. 20. Write the item name on the back of the entry tag. 21. Items over fifty (50) years old need to be handled with care. Picking up an item by the handle will be avoided whenever possible. 22. There will be no comments and/or appraisals from the judge on the value of any item entered for this has no bearing on the scoring. 23. All entries will be photographed when brought in. Two (2) pictures will be taken. 24. At the end of the fair when entries are being picked up by the exhibitor, the exhibitor will have the option of purchasing the extra photo for their records, if available, at the cost of $1 for each photo. 25. Exhibitor’s tags will be closed at the time of judging and opened thereafter. 26. Merit Award will be awarded to the best of show. Scoring Antiques Quality Material 15 Beauty – Color 15 Technique 20 Design/General Appearance 15 Condition 20 Value of Point of Interest 15 TOTAL 100 Open Class Antiques Department 119 1 of 4 Premium for Lot Numbers 100-807 are as Follows: Blue Ribbon - $3.00 Red Ribbon - $2.50 White Ribbon - $2.00 Pink Ribbon - $1.50 CLASS A: CARNIVAL GLASS CLASS B: CLEAR GLASS (Cambridge, Heisey, Fostoria, etc) CLASS C: CUT GLASS CLASS D: DEPRESSION GLASS (Molded, Patterned, or Etched) CLASS E: EARLY AMERICAN PATTERN GLASS (Clear or Colored) CLASS F: PRESSED GLASS Lot Numbers: 100. Basket 113. Compote 126. Relish Dish or Celery Dish 101. Bowl, bridge 114. Creamer and/or Sugar 127. Salt Dip 102. Bowl, divided 115. Cruet 128. Salt and Pepper Set 103. Bowl, footed 116. Cup and Saucer 129. Slipper, shoe or boot 104. Bowl, etched 117. Eye Cup 130. Spooner 105. Bowl, oval 118. Goblets 131. Toothpick Holder 106. Bowl, ruffled or fluted 119. Perfume Bottle 132. Tumbler or Wine Glass 107. Bowl, round 120. Pitcher 133. Vase 108. Butter Dish 121. Plate, plain 134. Vase/Pitcher (miniature) 109. Cake Stand 122. Plate, divided 135. Water Pitcher 110. Candlestick(s) 123. Plate, etched 136. Any other item not listed 111. Candy Dish, covered 124. Plate, patterned 112. Child’s Dish 125. Powder Dish with Cover CLASS G: COLORED GLASS Lot Numbers: 200. Basket 207. Cranberry Glass Item 215. Ruby Glass Item 201. Bohemiam Glass 208. Cruet 216. Satin Glass Item, decorated 202. Black Amethyst Bowl 209. Custard Glass Item 217. Satin Glass Item, plain 203. Black Amethyst Plate 210. Green Glass 218. Splatter Glass Item 204. Black Amethyst Sugar and 211. Mercury Glass Item 219. Vaseline Glass Item Creamer 212. Milk Glass Item 220. Any other item not listed above 205. Cobalt Glass 213. Opalescent Glass Item 206. Crackle Glass 214. Ruby Flashed Glass Item CLASS H: MISCELLANEOUS GLASS ITEM (Cleared or Colored/Not previously listed above) Lot Numbers: 300. Animal or Bird Bottle Figurine 308. Candlestick(s) 316. Pickle Castor with Frame 301. Apothecary Jar 309. Candy Container 317. Pitcher 302. Blown Glass Item 310. Creamer and/or Sugar 318. Silver Overlay Item 303. Bottle or Jar Advertising 311. Kitchen Glassware 319. Souvenirs 304. Bottle or Jar Advertising 312. Milk Bottle, name dairy 320. Toothpick Holder Manitowoc County 313. Milk Bottle from Manitowoc 321. Vase 305. Bottle Medicine County 322. Any item not listed above 306. Bottle Nursing 314. Cream Bottle (any size) 307. Bowl 315. Pickle Dish CLASS I: CERAMICS AND CHINA Lot Numbers: 400. Advertising Item 405. Butter Crock 411. Creamer and Sugar 401. Advertising Item from 406. Butter Dish 412. Cup or Mug Manitowoc County 407. Calendar Plate 413. Chamber Pot 402. Bone Dish 408. Candlestick(s) 414. Cup and Saucer, Large 403. Bowl Hand Painted 409. Commemorative Plate 415. Cup and Saucer, regular 404. Brownware 410. Cookie Jar 416. Cup and Saucer, Demitasse Open Class Antiques Department 119 2 of 4 417. Cup and Saucer, Child’s Set 431. Mustache Cup 446. Stein 418. European China 432. Noritake Item 447. Stoneware (other than Red 419. Figurines 433. Occupied Japan Wing) 420. Flow Blue Item 434. Pitcher 448. Stoneware Red Wing 421. Hand Painted Nippon Item 435. Tea Pot 449. Toby Jug 422. Hand Painted Plate or Cake 436. R.S. Prussia Item 450. Toothpick Holder Plate 437. Red Wing Crock 451. Van Briggle Pottery Item 423. Hatpin Holder 438. Red Wing Jug 452. Vase Miniature 424. Historical China Item 439. Roseville Pottery Item 453. Vase 425. Hull Pottery Item 440. Royal Haagar 454. Wall Pocket 426. Ironstone China Item 441. Salt and Pepper Shaker Set 455. Watts Pottery Item 427. Jasper Ware Item 442. Salt Dip 456. Weller Pottery 428. Jewel Item 443. Shaving Mug 457. Any item not listed above 429. McCoy Pottery Item (unusual) 444. Slipper, Shoe or Boot 430. Majolica Item 445. Shawnee Pottery Item CLASS J: MISCELLANEOUS (Small items should be mounted and wrapped or boxed) Lot Numbers: 500. Advertising Item, trays, signs, 528. Collection of any other item – no 562. Jewelry, ring – mounted dish, tin more than 3 563. Jewelry sets – mounted 501. Advertising Item from 529. Comb, mounted 564. Jewelry, watch – mounted Manitowoc County 530. Christmas Card (1) 565. Lamp, electric miniature 502. Apple Peeler 531. Christmas Decoration 566. Lamp, electric, any other 503. Bank 532. Christmas Tree Ornament 567. License Plate 504. Basket, Reed, or Wicker 533. Crumber 568. Lantern, kerosene miniature 505. Beer Bottles 534. Dated Fair Item 569. Lantern, kerosene regular 506. Beer Signs 535. Decanters 570. Magazine 507. Bells 536. Doll, china head 571. Military Insignia, mounted 508. Books, Religious 537. Doll, head 572. Musical Instrument, string, 509. Books, Cookbooks 538. Doll, celluloid percussion 510. Books, Historical 539. Doll, full body 573. Napkin Ring, China, Glass or 511. Books, Children 540. Figurine, plaster other 512. Books, Reference 541. Fishing, Rods and/or Reels 574. Nutcracker 513. Book, hand written record 542. Fishing, Tackle 575. Occupied Japan 514. Bullet Mold 543. Flat Iron 576. Opera Glass 515. Buttons, Collection of Fancy, 2 544. Games 577. Pewter Item or more mounted on poster 545. Glove Box 578. Photograph Equipment board 9”x11” 546. Granite, Enamel Ware – Kettles 579. Photographs 516. Cabbage Cutter 547. Granite, Enamel Ware – Pans 580. Pillow, decorative 517. Calendar 548. Granite Enamel Ware – other 581. Pocket Knife 518. Campaign Buttons – No more than the above 582. Pedal Cars/Tractors, over 50 than 3 mounted 549. Greeting Cards, any other not years 519. Candlestick, metal listed 583. Pocket Watch 520. Cast Iron Item 550. Hair Receiver 584. Postcards, no more than 3 521. Certificate (birth, marriage, 551. Hankie Box mounted in plastic confirmation, etc) – Must be 552. Hat – woman’s 585. Sewing Item framed 553. Hat – man’s 586. Silver Item, large 522. Cherry Pitter 554. Hat Pin, mounted 587. Silverware Item, silver plate 523. Clock, shelf or mantel – Must 555. Ink Well or Ink Bottle 588. Silverware Item, sterling work 556. Ink Stand 589. Silver Plate Souvenir Spoon 524. Coffee Grinder, lap 557. Jewelry Boxes 590. Soapstone Item 525. Coffee Grinder, wall – small 558. Jewelry, bracelet – mounted 591. Souvenirs 526. Cookie Cutter/Doughnut Cutter, 559. Jewelry, compacts & purses 592. Sterling Silver Souvenier Spoon mounted 560. Jewelry, neckwear – mounted 593. Tea Kettle, brass or copper 527. Copper Item 561. Jewelry, pin – mounted 594. Toy, iron Open Class Antiques Department 119 3 of 4 595.
Recommended publications
  • New Glass Review 10.Pdf
    'New Glass Review 10J iGl eview 10 . The Corning Museum of Glass NewG lass Review 10 The Corning Museum of Glass Corning, New York 1989 Objects reproduced in this annual review Objekte, die in dieser jahrlich erscheinenden were chosen with the understanding Zeitschrift veroffentlicht werden, wurden unter that they were designed and made within der Voraussetzung ausgewahlt, dal3 sie the 1988 calendar year. innerhalb des Kalenderjahres 1988 entworfen und gefertigt wurden. For additional copies of New Glass Review, Zusatzliche Exemplare des New Glass Review please contact: konnen angefordert werden bei: The Corning Museum of Glass Sales Department One Museum Way Corning, New York 14830-2253 (607) 937-5371 All rights reserved, 1989 Alle Rechtevorbehalten, 1989 The Corning Museum of Glass The Corning Museum of Glass Corning, New York 14830-2253 Corning, New York 14830-2253 Printed in Dusseldorf FRG Gedruckt in Dusseldorf, Bundesrepublik Deutschland Standard Book Number 0-87290-119-X ISSN: 0275-469X Library of Congress Catalog Card Number Aufgefuhrt im Katalog der KongreB-Bucherei 81-641214 unter der Nummer 81-641214 Table of Contents/lnhalt Page/Seite Jury Statements/Statements der Jury 4 Artists and Objects/Kunstler und Objekte 10 Bibliography/Bibliographie 30 A Selective Index of Proper Names and Places/ Verzeichnis der Eigennamen und Orte 53 er Wunsch zu verallgemeinern scheint fast ebenso stark ausgepragt Jury Statements Dzu sein wie der Wunsch sich fortzupflanzen. Jeder mochte wissen, welchen Weg zeitgenossisches Glas geht, wie es in der Kunstwelt bewer- tet wird und welche Stile, Techniken und Lander maBgeblich oder im Ruckgang begriffen sind. Jedesmal, wenn ich mich hinsetze und einen Jurybericht fur New Glass Review schreibe (dies ist mein 13.), winden he desire to generalize must be almost as strong as the desire to und krummen sich meine Gedanken, um aus den tausend und mehr Dias, Tprocreate.
    [Show full text]
  • Glass in a Slump
    Rochester Institute of Technology RIT Scholar Works Theses 5-1-1984 Glass in a slump Peter Andres Follow this and additional works at: https://scholarworks.rit.edu/theses Recommended Citation Andres, Peter, "Glass in a slump" (1984). Thesis. Rochester Institute of Technology. Accessed from This Thesis is brought to you for free and open access by RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. ROCHESTER INSTITUTE OF TECHNOLOGY A Thesis Submitted to the Faculty of The College of Fine and Applied Arts in Candidacy for the Degree of MASTER OF FINE ARTS GLASS IN A SLUMP By PETER V. ANDRES May 198* APPROVALS Adviser: [Illegible] ~~ ~ Date: ~\~"-+-\~'------------------ Associate Advisor: Graham Marks Date: ~y3C3/2~Y Associate Advisor;. Lawrence M. Williams Date: ~At7 (~~r- _ Assistant to the Dean for Graduate Affairs: Fred Meyer Date: Dean, College of Fine & Applied Arts: I Robert H. Johnston Ph.D Date: I, Peter V. Andres , hereby (grant, ""'" permission to the Wallace Memorial Library of RIT, to reproduce my thesis in whole or in part. Any reproduction will not be for commercial use or profit. Date: TABLE OF CONTENTS PAGE NO. PREFACE SECTION ONE: PROCESS AND DESIRES SECTION TWO: AESTHETIC INCLINATIONS 10 PHOTOGRAPHIC SECTION 22 ENDNOTES 30 PREFACE This thesis has been formed in two major segments. The first portion deals with glass information including processes and techniques. The second addresses my work in terms of personal issues, manner of approach, symbolism, composition, visual eclecticism and internal source of imagery.
    [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]
  • 1880 Census: Volume 2. Report on the Manufactures of the United States
    REPORT ON '.!.'RE MANUFACTURE OF GLASS~ DY JOS. D. -WEEKS, SPECIAL AGENT. 1029 • TABLE OF CONTENTS. Page. LETTER OF TRANSMITTAL.................................................................................................... ix CnAPTER I. STATISTICS 1-18 Scope oftlrn report .................................................................................................... 1 Classificatiou of glass iu the tables .................................................................................... 1 Summary of statistics for 1880 ......................................................................................... 1 Comparison with previous censuses .................................................................................... 2 Works i(lle in tho ccustts year ......................................................................................... 2 Works building in tho census year .................................................................................... 3 Establishments in which glass was made in tho census year ............................................................ 3 Capital ............................................................................................................... 3 Furna.cos ........................................... -•... - ...... - · · ...... · .......... • -· · • · · · ... ···--· ... · ·· · · · · ·· · · ••· · 3 The plant of factories ................................................................................................. 4 Employes .....................................................
    [Show full text]
  • A NEW TECHNIQUE in GLASS ART JOANNE MITCHELL a Thesis Su
    PRECISION AIR ENTRAPMENT THROUGH APPLIED DIGITAL AND KILN TECHNOLOGIES: A NEW TECHNIQUE IN GLASS ART JOANNE MITCHELL A thesis submitted in partial fulfilment of the requirements of the University of Sunderland for the degree of Doctor of Philosophy August 2015 Precision Air Entrapment through Applied Digital and Kiln Technologies: A New Technique in Glass Art Joanne Mitchell PhD 2015 1 Precision Air Entrapment through Applied Digital and Kiln Technologies: A New Technique in Glass Art Joanne Mitchell 2015 Abstract The motivation for the research was to expand on the creative possibilities of air bubbles in glass, through the application of digital and kiln technologies to formulate and control complex air entrapment, for new configurations in glass art. In comparison to glassblowing, air entrapment in kiln forming glass practice is under-developed and undocumented. This investigation has devised new, replicable techniques to position and manipulate air in kiln-formed glass, termed collectively as Kiln-controlled Precision Air Entrapment. As a result of the inquiry, complex assemblages of text and figurative imagery have been produced that allow the articulation of expressive ideas using air voids, which were not previously possible. The research establishes several new innovations for air-entrapment in glass, as well as forming a technical hypotheses and a practice-based methodology. The research focuses primarily on float glass and the application of CNC abrasive waterjet cutting technology; incorporating computer aided design and fabrication alongside more conventional glass-forming methods. The 3-axis CNC abrasive waterjet cutting process offers accuracy of cut and complexity of form and scale, across a flat plane of sheet glass.
    [Show full text]
  • 2014 Stained Glass Master Catalog
    2014 Stained Glass Master Catalog Global Reach Regional Access Africa Atlanta Fusing/Art Glass Supplies/Education Asia Chicago Europe Specialty Glass Fabrication Houston Premium Glass Entryways Specialty Glass Tempering North America New York South America Phoenix Restoration Window Glass HOUSTON CHICAGO PHOENIX Hollander Glass Texas, Inc. Hollander Glass Central Hollander Southwest 5455 Guhn Road 626 Thomas Drive 3201 W Virginia Ave, Suite #3 Houston, TX 77040 Bensenville, IL 60106 Phoenix, AZ 85009 Phone:713-460-0045 Phone:630-350-2063 Phone: 602-278-9833 Fax: 713-462-3646 Fax: 630-350-2366 Fax: 602-278-9843 Email: [email protected] ATLANTA Email: [email protected] NEW YORK/NEW JERSEY Email: [email protected] Bevel King Doors/Hollander Glass Hollander Glass East, Inc. 6098-B Boatrock Blvd. 1810 Underwood Blvd. Unit #2 Atlanta, GA 30336 Delran, NJ 08075 Phone: 678-904-1136 Phone: 732-346-1211 Fax: 678-904-3360 Fax: 732-346-1711 E-mail: [email protected] E-mail: [email protected] Hollander Glass Texas, Inc 5455 Guhn Road Houston, Texas 77040 713-460-0045 Phone [email protected] 713-462-3646 Fax www.hollanderglass.com 800-421-0449 Toll Free With over 400,000 square feet of warehouse space in 5 locations, the Hollander Group oers the largest selection of specialty glass in the world. Pictured above is our 130,000 square feet Houston Texas facility again raising the bar in our industry for what a glass supplier should be! We invite you to visit any of our ve facilities and experience for yourself, the pleasure and convenience of partnering with the industry leader for our mutual success.
    [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]
  • Let There Be Light Catalogue
    LET THERE BE LIGHT Stained Glass and Drawings from the Collection of Oakbrook Esser Studios 1 LET THERE BE LIGHT Stained Glass and Drawings from the Collection of The exhibition Let There be Light Stained Glass and Drawings Oakbrook Esser Studios from the Collection of Oakbrook Esser Studios and related programs have been made possible through funding by the Marquette University Andrew W. Mellon Fund, the Kathleen and Frank Thometz Charitable Foundation, the Eleanor H. Boheim Endowment Fund and the John P. Raynor, S.J. Endowment Fund. This exhibition came to fruition through the dedication and work of many people. First and foremost, we would like to extend our sincere thanks to Paul Phelps, owner of Oakbrook Esser Studios in Oconomowoc, Wisconsin. Paul treated us with great kindness and generously gave his time and knowledge throughout the two year process of putting this exhibition together. The incredibly talented staff of Oakbrook Esser welcomed us to the studio time and again and graciously worked around our many intrusions. Warm thanks in particular go to Dondi Griffin and Johann Minten. Davida Fernandez-Barkan, Haggerty intern and art history major at Harvard University, was integral in laying the groundwork for the exhibition. Her thorough research paved the way for the show to come to life. We also want to thank essayists Dr. Deirdre Dempsey (associate professor, Marquette University, Department of Theology) and James Walker (glass artist, New Zealand) for their contributions Cover image to this catalogue. Unknown Artist and Studio St. Agnus, (detail), c. 1900 Antique glass, flashed glass, pigment, enamels, silver staining 57 x 22” checklist #7 Attributed to Tiffany Studios New York, New York Ross Taylor (1916-2001) Setting fabricated by Oakbrook Esser Studios Enterprise Art Glass Works Oconomowoc, Wisconsin Milwaukee, Wisconsin Head of Christ, c.
    [Show full text]
  • Alan J. Poole British & Irish Contemporary Glass Newsletter
    Alan J. Poole Promoting British & Irish Contemporary Glass. 43 Hugh Street, London SW1V 1QJ. ENGLAND. Tel: (00 44) Ø20 7821 6040. Email: [email protected] British & Irish Contemporary Glass Newsletter. A monthly newsletter listing information relating to British & Irish Contemporary Glass events and activities, within the UK and Ireland and internationally. Covering British and Irish based Artists, those now living elsewhere and, any foreign nationals that have ever resided or studied for any period of time in the UK or Ireland. DECEMBER (Christmas) EDITION 2019. * - indicates new and amended entries since the last edition. EXHIBITIONS, FAIRS, MARKETS & OPEN STUDIO EVENTS. 2019. 27/03/19→May 2020. "(A)Dressing Our Hidden Truths". Alison Lowry Solo Exhibition. National Museum Of Ireland. Dublin. IRL. Tel: 00 353 1 648 6466. Email: [email protected] Website: https://www.museum.ie/Home 12/05/19→05/01/20. "New Glass Now". inc: Flavie Audi, Kate Baker, George William Bell, Juliana 'Juli' Bolaños-Durman, Tord Boontje, Kee-Ryong Choi, Matthew Curtis, Judi Elliott, Jahday Ford, Jochen Holz, Peadar Lamb, Danny Lane, Geoffrey Mann, Štěpán Pala, Zora Palová, Suzanne Peck & Karen Donnellan, Ayako Tani, Angela Thwaites, Sylvie Vandenhoucke & Ida Wieth-Knudsen. Corning Museum Of Glass. Corning (NY). US. Tel: 00 1 607 438 5219. Email: [email protected] 06/07/19→31/12/19. “Verriales 2019: Frontiers”. inc: Richard 'Ricky' Bernstein, Mark Bokesch- Parsons, Clifford Rainey, David Reekie & Colin Reid. Galerie International Du Verre À La Verrerie De Biot. Biot. F. Tel: 00 33 4 93 65 03 00. Email: [email protected] Website: https://www.galerieduverre.com/expositions/les-verriales_18.html 02/08/19→02/12/19.
    [Show full text]
  • The Art of Making Glass
    THE ART OF DIE KUNST GLAS MAKING ZU MACGLHENASS Glashütte Lamberts LambertsGlas® COLOURED GLASS REFINES LIGHT. When first catching sight of Lamberts mouth-blown coloured glasses you realize – apart from their apparent elegance and brilliance – that they have an additional quality, that is to say, a “soul”. Page I. Production Steeped in Tradition 04 An Obligation to the Future 05 The Transparent Sand 06 The Secret of Colour 07 From Starter to Cutter 08 - 09 From Cylinder to Sheet 10 - 11 The Difference 12 - 13 II. Products Overview 14 - 15 Mouth-blown Sheet Glasses Clear and Coloured Glasses 16 - 17 Restoration-Glasses 18 - 19 Crackled-Glasses 20 - 21 Reamy-Glasses 22 - 23 Flashed-Glasses 24 - 27 Streaky-Glasses 28 - 31 New-Antique-Glasses 32 - 33 Genuine Rondels 34 - 35 Moon Discs 36 - 37 Dalle-Glasses 38 - 39 Table-Cathedral-Glasses 40 - 41 III. Glass working techniques 42 - 45 IV. References & Projects 46 - 47 STEEPED IN TRADITION.. The result of unsurpassed craftsmanship, mouth-blown LambertsGlas® has a trademark of its own. In short: The body of the glass, the special texture and transparency as well as the glowing colours are of an individuality which gives them an unmistakable identity. LambertsGlas® can only be produced through the art of glassblowing. Glashütte Lamberts continues to adhere to these very old and deep-rooted traditions. Tools and methods of production have remained basically the same through the centuries. The quality of our products, however, has evolved into the high standards we hold today for our entire range of colours and textures. Many of our products have changed through the ages.
    [Show full text]
  • Most Cranberry Is a Con! the Great Period of Manufacture Was from C1870 to C1930 but Reproductions Over the Last Ten Years and New Cranberry Has Done Us No Favours
    Glass 1 6 Most cranberry is a con! The great period of manufacture was from c1870 to c1930 but reproductions over the last ten years and new cranberry has done us no favours. Cranberry was also Webb, Stourbridge, cranberry & opaque glass scent bottle, made in France, Belgium, Bavaria, Bohemia and the as a swan’s head, silver gilt Late 19thC Webb’s cameo 11 USA. Its manufacture across the Atlantic took place cap with marks for Mordan glass biscuit barrel, white over mainly in New England where cranberries are grown and & Co, London, dated 1884, deep cranberry, cut back with it is perhaps here that the name was first coined. In 14.5cm. Locke & England, flowering apple blossom Victorian cranberry glass Europe it is called gold ruby. Cranberry is made by Leamington Spa. Feb 06. boughs, white metal cover, epergne, central trumpet, two adding a gold chlorine which has been dissolved in a 6in high. Fieldings, West HP: £2,700. ABP: £3,175. outer trumpets and 2 twisted solution of nitric and hydrochloric acids. It was certainly Hagley, Worcs. Jun 05. HP: canes supporting hanging £920. ABP: £1,082. made in Roman times. We have the famous Lycurgus cup baskets, frilled edge bowl from the fourth century. Its origins were rediscovered in 7 base, 21.5in high. Diamond Mills & Co, Felixstowe. Mar the seventeenth century by either Johann Kanckel in 06. HP: £425. ABP: £499. Bohemia or Antonio Neri in Florence. All the nineteenth century manufacturers produced cranberry but there was 12 also a cottage industry carried on in backyard factories.
    [Show full text]
  • CHAPTER 1 Introduction
    27 CHAPTER 1 Introduction The aim of this study is to investigate the well-known and widespread problem of severe paint loss from stained glass windows made by many firms in the mid- to late-nineteenth century. This problem results in the fading of painted detail from the surface of the glass, in the worst cases leaving pieces completely blank, as well as ‘ghosting’ of areas where the paint has been lost (Figures 1 and 2). It has become known as the ‘borax problem’,1 most likely due to a letter sent by William Morris to George Howard, around 1880, in which he writes: We (and I believe all other glass painters) were beguiled by an untrustworthy colour, having borax in it, some years ago, and the windows painted with this are going all over the country. Of course we have taken warning and our work will now be all right. We have given instructions to our man to take out the faulty glass, which we will – restore! – at once, and pay for that same ourselves – worst luck! Borax is the name of the culprit: the colour makers, finding that the glass- painters wanted a colour that would burn well at a lowish temperature, mixed borax with it to that end; but unluckily glass of borax is soluble in water, and hence the tears wept by our windows – and our purses. We use harder colour now, so that if any window of ours goes now it must be from other causes; bad burning or the like; I don’t think as things go that this is like to happen to us.2 As Morris suggests, many (although not all) stained glass firms of the period experienced the problem of paint loss.
    [Show full text]