Spring/Summer 2006

“Glass of the Maharajahs” the opens May 19

Heineman Family Donates Contemporary Glass Collection Rare Colored Cut Glass in Gather “Splitting the Rainbow” C o r n i n g M u s e u m o f G l a s s DIRECTOR’S LETTER

Museum News One of the pleasures of working at The Corning Museum of Glass is the fact that the Museum never stands still. We are ambitious, and Corning Incorporated and our other supporters allow us— within reason—to turn many of our dreams into reality. Online Database Details Glass Exhibitions Worldwide New Museum Publication and Video Available Contemporary glass is a vital part of our collection and exhibitions. A new online database, compiled and maintained by the Rakow We were thrilled, therefore, at the beginning of the year, to receive Research Library, offers web users the ability to search for past, A new publication from The the largest gift of contemporary glass in the Museum’s history. present and upcoming temporary glass exhibitions around the Corning Museum of Glass

Photo by Frank J. Borkowski. world. The Worldwide Glass Exhibition Database can be found at explores the past 25 years of www.cmog.org/exhibitionsdatabase. contemporary glass, and a new Ben Heineman Sr. and his wife Natalie have spent more than 20 years building video produced by The Studio one of the most distinguished private collections of contemporary glass, and have “The Rakow’s mission is to collect, maintain and provide public introduces glass students to the collected with a consummate sense of what is best among the countless works access to all glass-related resources," says Diane Dolbashian, art of flameworking. Both items created by living artists. Imagine our delight, therefore, when the Heinemans chose head librarian at the Rakow Library. "And now we are very are available in the GlassMarket. the Museum to be the permanent home of their collection, which will come to us in pleased to offer worldwide exhibition information through an easy-to-access, searchable and interactive database." “25 Years of New Glass contribution to it,” Oldknow several installments between now and the end of 2007. You will find more Review” by Tina Oldknow, the writes in the introductory information on the Heineman Collection on pages 7 and 8. The database currently provides information about more than Museum’s curator of modern overview. 29,000 exhibitions in venues worldwide, based on information the glass, was published in Novem- ber 2005. Oldknow examined The second video in The We were thrilled, too, when a group of the Museum’s most generous supporters Rakow Library has received from other organizations since March Studio’s Foundations Series 1982. the 2,500 works in glass pub- (their names appear on page 14) enabled us to acquire a major installation by the lished during the first quar- also was recently released. Italian artist Lino Tagliapietra. By common consent, Tagliapietra is the world’s “An Introduction to Flamework- Users may conduct a general search of exhibitions using keywords ter-century of the Museum’s foremost glassblower, and the installation, Endeavor, is one of his masterpieces. publication New Glass Review ing with Emilio Santini” is a must or an advanced function that narrows choices by qualifiers such for all aspiring flameworkers. It is installed in the anteroom of the Sculpture Gallery. as institution name or show dates. Results are shown in an easy- (1980 to 2004), and chose 200 influential and memorable Santini, a native of Italy, is a to-read list, and each entry offers the details provided by the popular instructor of beginning Returning visitors are in for a surprise when they enter the Sculpture Gallery, where institutions hosting the exhibits. objects and installations to highlight in the book. and highly skilled students. In we display a selection from our permanent collection of contemporary glass this video, Santini demonstrates sculpture. In February, the exhibit was completely reinstalled. Pieces never A special feature allows users to add an exhibition to their The book is not about what the basics of both hollow ware Outlook calendar or create an online list of exhibitions that or who is best in glass. “It is and solid work, helping students previously displayed are now on view, and the gallery has never been more vibrant, interest them. In addition, the Library encourages organizations challenging, and full of remarkable works of art. about what I think has been to establish a firm foundation in to include their exhibitions by providing an online tool for significant in the field and who flameworking. submitting information. I think has made an important We not only collect and exhibit contemporary glass, but we encourage the appreciation of it in other ways. The Museum’s annual juried competition New Glass Review has just turned 25 and in the near future our teaching facility, The Audio Tours to Offer Self- “This fills some needs identi- day, providing visitors with Studio, will celebrate its 10th anniversary. Last year, we awarded the 20th Rakow Guided Exploration fied by the Museum such as a choice. Commission to Nicole Chesney (you can see the work she created in the Sculpture accommodating different Beginning this summer, Gallery) and soon we shall begin the selection process for the 21st commission. learning styles and allowing There will be two versions of Museum visitors will have the visitors to plan visits indepen- the audio tour offered this sum- option of touring the collection dent from scheduled in- mer: one for adults and one In addition to looking at glass, visitors to the Museum can watch demonstrations with the executive director person tour times,” notes for families with children 8–12 of how glass is made and they can try their hand at glassmaking in the Walk-in and curators. A new audio Amy Schwartz, deputy director years old. Both will be in Eng- Workshop. In fact, more than 20 percent of individual and family visitors made tour series launching in late of Education and The Studio. lish; the Museum plans to add something there in 2005. To meet an anticipated increase in demand next summer, May will feature curators de- “This provides an opportunity new languages in the future. A scribing 60 key objects in the we are expanding the facility. for the same quality experience nominal fee will be charged for Glass Collection and Sculpture all year round.” rental of the hand-held audio galleries. Audio tour users tour units. If you are fascinated by contemporary glass and glassmaking, our aim is to make also will be able to access During the busy summer and The Corning Museum of Glass indispensable! more in-depth information fall seasons, Museum Docents David Whitehouse highlights key about how some of these will still offer Hidden Treasures objects for the new audio tour. objects were made. tours at scheduled times each Photo by Maria Strinni Gill.

1 The Gather | Spring / Summer 2006 2 Exploring Cut Glass Furnishings of Indian Royalty

The very idea that a chair could feature an original watercolor design glitter like a diamond, catch light like for the Crystal Palace by Joseph a colored gemstone, and still function Paxton (1850), drawn from the Rakow as seating must have astounded those Research Library of The Corning who first encountered glass furniture Museum of Glass. in the mid- to late-19th century. For much of the 19th century Osler Visitors to this year’s major summer even maintained a Calcutta showroom. exhibition will experience that same Baccarat followed that lead by open- sense of bedazzlement. “Glass of the ing a showroom in Bombay in 1896. Maharajahs: European Cut Glass Fur- nishings for Indian Royalty,” on Indian Tastes Not Shared view from May 19 to November 30, The maharajahs’ taste in glass furniture examines a little-known chapter of was not universally shared in Europe. design history, when European glass A reporter covering the 1878 Exposi- manufacturers tailored one-of-a-kind tion Universelle in Paris noted that and limited-production glass furniture one of Osler’s mammoth chandeliers, to the tastes of the wealthy Indian elite. while beautiful, was “… more fitted for the throne-room of some magnificent materials are drawn from the Corning Massive and Spectacular Glass Eastern despot than for anything else.” Museum and Rakow Library collec- Two European companies dominated And another commentator recounted tions; others are borrowed from Indian the Indian market during this period: that “considerable amusement is palaces, private homes and archival from France, the Cristalleries de experienced by French visitors and collections. Baccarat; and from the United foreigners at finding crystal used for Kingdom, F. & C. Osler of Birmingham. chairs and sofas—probably furniture One of the truly spectacular objects Design for a glass temple, Defries, 1864. intended for the proverbial glass in the “Glass of the Maharajahs,” Image provided by The National Archives, U.K. The opening of the 1851 Great Exhibi- house.” designed in 1889 by Baccarat, is a cut tion of the Works of Industry of All glass table of seeming perfection, its Book on Glass Furnishings Nations in the “Crystal Palace” in Exhibition Highlights clear crystal legs shaped to resemble A companion book to the exhibition, London prompted the development Among the highlights of “Glass of the the turnings of carved wood and its “European Glass Furnishings for of larger and larger glass furniture by Maharajahs” will be a unique 11-foot- top trimmed with classical detailing. Eastern Palaces,” by the curator of these companies, made possible by tall mirrored and intricately faceted Of the three of these tables that were this exhibition, Jane Shadel Spillman, new technologies that allowed the glass wall cabinet, on public view in the made, only two survive: one is in the details the production of glass furni- fashioning and annealing of large United States for the first time. There Corning Museum collection, and the ture and lighting in the 19th century. pieces of glass. will be a towering candelabrum, mas- other, once owned by Liberace, is now The 144-page illustrated book, avail- sive chandeliers, side tables, chairs, and in a private collection in the Middle able through the Museum’s Glass- Osler not only exhibited in the exposi- even a crystal and horsehair fly whisk. East. In the exhibition, atop this stun- Market, documents the development tion, but created what was probably its ning table will be a spectacular cut of the Eastern market in the context most spectacular display: the 27-foot Also on view will be detailed design glass and bronze sculpture of a boat, of, among other influences, the fast- tall Crystal Fountain, which stood at the drawings, printed catalogues, copies which Baccarat created for display in changing glass technology of the day, center of the Crystal Palace and is said of period advertisements, and histori- the 1900 world’s fair in Paris: another the world stage offered by the world’s to have required four tons of glass to cal photographs of palace interiors. just like it resides in the Lallgarh Palace fairs, and the changing tastes of the fabricate. The exhibition will Some of the furniture and printed in Bikaner. Maharajahs and other of India’s elite. Jai Vilas Palace at Gwalior boasts two of the largest chandeliers in existence, made by Osler. Both have 248 lamps, weigh three tons, and measure more than 40 feet high. According to palace records, elephants were hoisted onto the roof to make sure that it could support the weight of these colossal chandeliers.

3 The Gather | Spring / Summer 2006 The Gather | Spring / Summer 2006 4 Plate, “Grecian” pattern. T. G. Hawkes & Co., 1887–1900. Purchased with funds from the Estelle Sinclaire Bequest.

“Splitting the Rainbow: Travels with the Museum Cut Glass in Color” Photo provided by Indianapolis Children’s Museum. by Jane Shadel Spillman, Curator of American Glass

Cut glass objects that include color American glass companies Hot Glass Roadshow Celebrates fi lling a fi ve-story central atrium. The duce people around the world to the are rare fi nds. “Splitting the Rainbow: started to produce it in “Fireworks of Glass” Tower rises above what appears to be beauty and magic of glassmaking,” Cut Glass in Color,” which opens on greater quantities. a fl oating glass ceiling consisting of says Steve Gibbs, Hot Glass Roadshow the Museum’s West Bridge April 11, On March 18, The Children’s Museum more than 500 brilliant, colorful glass and events marketing manager. “This showcases exceptional examples of In 19th- and 20th-century of Indianapolis opened “Fireworks of pieces in a myriad of shapes. From is an amazing opportunity to reach rare 19th and 20th century European America, glassblowers in large Glass,” an incredible 43-foot tower by the museum’s lower level, children and thousands of families, exposing many and American colored cut glass vases, factories such as Corning Glass Dale Chihuly—his largest sculpture of their families can sit or lie down on a of them to glassmaking for the fi rst drinking glasses, and other decorative Works and the Libbey Glass Company blown glass to date. large round revolving platform to view time.” and functional pieces. created the blanks of colored glass. the ceiling above them. Some companies, including Libbey It was only fi tting that the Hot Glass The Roadshow is located on the plaza Some of the pieces on display were and Dorfl inger, cut the blanks in- Roadshow, the world’s fi nest mobile The Tower is comprised of more than in front of The Children’s Museum. made of one layer of transparent house, but most were sold to cutting In the 1860s, the New England Glass glassmaking stage, was on hand to 2,500 individually blown glass pieces. Glassmakers from the Corning Museum colored glass, but most were created shops such as T.G. Hawkes & Com- Company in Cambridge and the celebrate and support the educational During the day, it is bathed in natural will continue to provide daily live using two or three layers of glass— pany or T.B. Clark & Company, which Boston & Sandwich Glass Company endeavors of The Children’s Museum light; it is spectacularly lit at night for narrated demonstrations through June 4. casing or layering colored glass over then merchandised the fi nal products in Sandwich both made this glass, by providing live glassmaking demon- evening events. high-quality clear glass to create a to exclusive retailers. mostly in gold-ruby overlaid on color- strations and You Design It; We Make "blank." Using revolving stone and/or less glass, but also in blue-green. It! programs, and by interacting with “Working with The Children’s Museum steel wheels, glass craftsmen then cut Many of these pieces were special An exceptional piece in the Museum’s the media and visitors. of Indianapolis and artist Dale Chihuly patterns in the colored top layer or orders, because the colored glass was collection is a four-layer vase (below, to support the opening of this instal- layers of the blank to reveal the color- diffi cult to produce and therefore ex- left) which was blown by William The Chihuly installation is located in lation fi ts the mission of what the less glass beneath. pensive. The blowers had to make the Leighton of the New England Glass the core of The Children’s Museum, Roadshow was created for: to intro- colored layer or layers even in thick- Company. Because the vase is elabo- These two- and three-color pieces, ness, without any air bubbles which rately decorated, it was probably fi rst made by Bohemian glassmakers would show up during the cutting made for display, possibly at the Annual Members Tour: In Firozabad, home of India’s rural in 1820, were very popular in Europe in and spoil the design. 1853 New York world’s fair, where “Palaces and Collection of glass industry, you will watch crafts- the 1830s. Because of this, colored cut the New England company had an the Maharajahs” people create white and brilliant col- glass is often referred to as "Bohemian Since the blanks were costly and extensive display. ored glass chandeliers, cosmetic and style.” By the late 1840s a few English complex to create, and the cutting Join in the 2006 Annual Members perfume bottles, bangles, glass bowls and American glass companies were and polishing was technically Most of the more than 75 objects in Tour to India, “Palaces and Collection and jars, and art glass. Some objects copying them, and a decade later, demanding, the fi nished products the exhibition will be drawn from the of the Maharajahs,” and explore the are painted, etched, or decorated with after the Bohemian glass companies were expensive at the time, and are permanent collection, but pieces from temples, castles, citadels and galleries applied materials. There are about featured this colored ware at the rare today because they were not three private collections also will be of this exotic land. From October 20 400 small-scale glass manufacturers Crystal Palace Exhibition of 1851, made in large quantities. shown. The show closes November 1. to November 4, you’ll be guided from in Firozabad; you’ll visit two or three New Delhi to Patiala, Orchha, Gwalior, factories and have an opportunity to Agra, Firozabad, Jaipur, Udaipur, and meet with glassmakers. back to Delhi. You’ll also tour a marble craft center Along the way, you’ll tour many 16th- to see the deft art of inlaid marble and 17th-century structures frozen work with semi-precious stones; visit in time. Tiered palaces crowned with an open-air royal observatory; take graceful towers overlook soaring an elephant ride to explore a maze of temple spires and cenotaphs. Inside pavilions, courtyards, corridors, and these elegant and opulent buildings, beautiful palaces inside the walls of you’ll see massive chandeliers (some the Amber Fort in Jaipur; and view the weighing several tons!), vibrant murals, Taj Mahal in all its splendor at sunset. mirror-patterned walls, inlaid marble, and other echoes of a royal and aristo- For more information, or to make a cratic past. reservation, contact Violet Wilson at 607.974.8451 or [email protected].

Vase, William Leighton, about 1848–1858. Claret jug, “Venetian” pattern. T.G. Hawkes Four wineglasses, “Star and Hobnail” pattern. & Co., about 1889–1899. Gift of Cliff and T. G. Hawkes & Co., about 1880–1900. Ruth Jordan. Gift of the Hamblen Trust.

205 TheThe GatherGather | | SpringSpring // SummerSummer 20062006 The Gather | Spring / Summer 2006 2164 A Legacy of Glass: Ben W. Heineman Sr. Family Donates CFDBLUEHGD 1987, Joel Philip Myers, 1987. Spiral Form R 187, Colin Reid, 1986. Red/Amber Sliced Descending Form, Contemporary Collection Harvey K. Littleton, 1981–1984.

guished by its quality, breadth and Collecting Comprehensively United States and Japan from 1979 drawn from the Museum’s permanent Artists with Numerous and/or Major depth. Some of the artists are repre- Heineman Collection rarities include to 1982. collection. Pieces in the Heineman Collection sented in the collection by multiple a stunning group of thermal-formed works, constituting individual collec- sculptures by Thomas Patti, an Exploring Artists In-Depth Because an artist is not usually repre- Howard Ben Tré tions within the larger collection. important compilation of Dale For some artists, such as Dale Chihuly, sented by more than one piece in the Chihuly’s peachblow Blanket Cylinders, Michael Glancy, Harvey Littleton, Richard main contemporary gallery, the focus Dale Chihuly “Mr. and Mrs. Heineman have significant mold-melted sculptures Marquis, Tom Patti, and Lino Tagliapietra, gallery will enable the Museum to Dan Dailey collected in depth, following important by Stanislav Libenský and Jaroslava the Museum will gain a considerable display all of the works by an individual Michael Glancy artists over the course of their careers Brychtová, and poetic assemblages of number of objects. Oldknow stresses artist in its collection, and to develop from the 1960s to today,” notes David early vessels by David Huchthausen the importance of this benefit. educational programming about the Eric Hilton Whitehouse, the Museum’s executive and Mark Peiser that have been artist. Pavel Hlava director. “This collection of contem- passionately brought together over “A significant representation of the Photo David Huchthausen by Over the course of 20 years, Ben porary glass, which is of extraordinarily several years. Eric Hilton’s monumental artists who are groundbreaking pio- 2009 Exhibition Chris W. Heineman Sr., an American art high quality, will significantly augment Life Sanctuary is the “partner” of the neers of the Studio Glass movement A presentation of the entire Ben W. Kreg Kallenberger Lake. collector and the former chairman the Museum’s holdings. It includes Museum’s Steuben masterwork Inner- is of vital importance in building the Heineman Sr. Family Collection will be Stanislav Libenský and and chief executive officer of what will be some of the finest pieces land, while Cargo Seed, a huge sand- permanent collection at the Museum,” the Museum’s special summer exhibi- Jaroslava Brychtová in the permanent collection.” cast boat by Bertil Vallien, is one of the she states. “The Heineman Collection tion in 2009, and a fully illustrated cata- Northwest Industries, and his wife, Harvey Littleton Natalie G. Heineman, have thought- largest boats the artist has created. fills major gaps in our current contem- log of the complete collection will be fully assembled one of the largest Contributing to Museum Education porary collection. It will allow us to ex- published at that time. The book will Richard Marquis and finest private collections of The Heinemans chose to donate their “The Corning Museum collects pand our representation of important document the collection and explore Klaus Moje collection to Corning because of the comprehensively, and because it works in glass and to mount unprec- the Heinemans’ abiding passion for contemporary studio glass in the Joel Philip Myers United States. Museum’s exceptional reputation, the focuses its collecting on a specific edented solo shows. It also allows the art and artists. high quality of its special exhibitions medium, it has the unique opportunity Museum to effectively continue its role Thomas Patti In January 2006, the Heinemans and permanent collections, its innova- to explore that medium in a range that as the leading caretaker of the evolv- “The Heineman Collection will make Michael Pavlík tive educational programs, and the would not be possible in a general art, ing history of glass used as a medium the Corning Museum the world’s lead- announced that their collection will Mark Peiser be donated in its entirety to The international audience that it attracts. history, or science museum,” says Tina for art.” ing repository of contemporary art in Corning Museum of Glass. The gift Oldknow, curator of modern glass at glass,” states Whitehouse. “In its doc- Mary Shaffer is the largest and highest valued in “After several years of investigation the Corning Museum. In honor of the Heinemans’ extraor- umentation of the careers of key artists, Lino Tagliapietra and thought, there is no disposition dinary contribution, the Museum will the Heineman Collection is a magnifi- the Museum’s history. Bertil Vallien that we would rather have made,” The Museum has collected, exhibited designate its large contemporary glass cent legacy both to the Museum and Ben Heineman, a trustee emeritus of Ben Heineman states. “Natalie and and documented contemporary art, gallery “The Ben W. Heineman Sr. to the field of contemporary glass František Vízner the Museum, and Natalie Heineman I are both happy that our beloved craft, and design in glass since its Family Gallery.” A smaller named gal- worldwide.” Steven Weinberg collection will be in such good hands. opening in 1951. Additionally, it was lery, inspired by the Heinemans’ inter- have a long history of supporting the Toots Zynsky Museum in acquiring important works We have great confidence in the the first museum to showcase interna- est in collecting artists’ works in depth, of art in glass. The objects they have personnel of the Museum and in the tional contemporary studio glass in its will present solo exhibitions focusing bought or helped to buy for the presentation and care that the collec- landmark exhibition, “New Glass: A on artists’ careers, as shown by objects Museum include sculptures by Jon tion will receive.” Worldwide Survey,” which toured the Clark, Bernard Dejonghe, Stanislav Libenský and Jaroslava Brychtová, Gray, Blue and Lavender Persian Set, Pilchuck Series 1984–1985, Sherry Markovitz, Thomas Patti, Dale Chihuly, 1988. Marvin Lipofsky, 1985. Cargo Seed, Bertil Vallien, 1988. #17, Klaus Moje, 1988. Clifford Rainey, Christopher Wilmarth, and Betty Woodman. These out- standing works will soon be joined by many others of equally high caliber. Together, they will significantly alter the character and add to the distinction of the Museum’s permanent collection.

An Extraordinary Legacy The Heineman Collection, which numbers about 250 objects, is distin- All object photos by Douglas Schaible. Douglas by photos object All

7 The Gather | Spring / Summer 2006 The Gather | Spring / Summer 2006 238 All Artists-in-Residence provide Upcoming lectures: public lectures about their Erika Tada work. The lectures are held at April 20 10:00 a.m. in The Studio Lecture Marie Worre Hastrup Holm May 25 Room. No reservations are Æsa Björk Thorsteinsdóttir required; admission is free. October 19 Shin-ichi+Kimiake Details Molded Artists-in-Residence Higuchi from Life Push Boundaries with New Work

For Japanese artist Kimiake Higuchi, it A Form that Outlasts the Moment The Artist-in-Residence program at The Studio of The Corning Marie Worre Hastrup Holm, of Æsa Björk Thorsteinsdóttir, takes years to create a glass sculpture Kimiake began her career as a classi- Museum of Glass gives artists the opportunity to expand their Arhus, Denmark, will use her of Bergen, Norway, has been work and to master techniques using glass. Four artists have been residency at The Studio in May spending a lot of time thinking of a cabbage leaf—a finely detailed cal musician, Shin-ichi as an architect. to add to her series Reminisce, about blinds since her teaching pink-and-green translucent replica They met and married before either chosen for 2006. Each artist spends one month utilizing the full resources of the Museum, including its state-of-the-art glassmaking free-standing glass stones assistant experience at The which offer a visual and tactile Studio last summer. with a single, perfectly formed clear worked in glass. Kimiake found her Studio, the Rakow Research Library and the Museum collection. raindrop and a tiny, venturesome snail. way to glassmaking while seeking a experience. Not the ordinary everyday The process begins when she works, medium less ephemeral than music. Jill Allan, of Victoria, British Erika Tada, of Tokyo, Japan, Twenty of the pieces Holm window treatments, but the waters and fertilizes the gardens that Columbia, describes her strives to keep alive and convey produces will be part of a major Corning blinds crafted from surround the remote home and studio “Music doesn’t have a form you can artistic process as “quiet and memories of her family and exhibition of Danish glass glass. north of Tokyo that she shares with her leave behind,” she states. “Even a contemplative ... rhythmic and childhood through her work. later this year at Holstebro laborious.” Art Museum and Sofienholm, Thorsteinsdóttir says, “Blinds husband, artist Shin-ichi Higuchi. recording is just a copy.” Seeking a Often using letters, photographs Copenhagen. of glass is a fascinating thought form that outlasts the moment, she “My subject matter and finished and small objects, Tada features exercise as well as a challenging When the plant reaches its peak, explored oil painting, then china and product mimic my process— glass containers to display her Holm describes her body of way to work with or divide she makes a plaster cast of a single ceramics. Though ceramic allows deli- quiet and repetitive,” she says. life’s memorabilia. work as blown forms which are space.” Bees Casket, Shin-ichi Higuchi, 1990. “Based in the craft tradition “diamond cut and tenaciously leaf and turns it into a stunning glass cate shading, “it doesn’t have a nature of vessel-making, my work is “Through my glass pieces I hope carved with the sandblaster to Her residency at The Studio in object, using a painstaking, centuries- that lets light pass through it,” she pieces convey a warning about the both functional and abstracted, to communicate with others,” create rough organic marks, October will give Thorsteinsdóttir old technique known as pâte de verre. adds. Next she experimented with a insects and also my feelings about sometimes one of a kind, she says. “The viewers have surfaces are etched and edges an “opportunity to gather my The technique involves grinding glass glass-and-ceramic combination, with sometimes one at a time.” their own personal memories polished.” thoughts about the issue and their loss.” and experiences, and I hope my experiment with the practical (often in many subtle gradations of uneven results, and finally glass itself. While at The Studio in March, pieces cause nostalgia in the “I passionately wish to progress challenges.” She plans to color) into a fine powder, adding other His boxes open to detailed tableaux Allan pursued a theme from viewer for what they have seen and develop the idea further, let experiment with various methods ingredients to create a paste, brush- Her work, which includes sapphire inspired by nature and Japanese her Flying Carpet Series, pieces and experienced in their own the forms and marks evolve and of casting the blinds, and how blue vases with finely detailed blooms comprised of thick, clear bowls lives.” allow myself a dedicated and to mount them. She envisions a ing or tamping the paste into a mold, folktales. “The lid of the box is like a with finely-detailed murrini or concentrated period of time to combination of both permanent firing it, then grinding and polishing to in relief, is inspired by the flowers and curtain at the theatre,” he explains. cane tile floating in the glass. Tada’s return to The Studio this create work,” she says. and fleeting images from video finish the piece. vegetables in her garden. “I pick “The curtain opens to reveal a drama. April comes full circle after her projection on multi-layered each bloom or leaf in the moment of One of my hopes is that when people Specifically, she focused on attendance at workshops in 2004 She has been blowing glass blinds. The Higuchis have “reinvented” the its prime, and in my hands the plants an emerging branch of the and 2005 introduced her to since 1992, producing the work open the box, they will be surprised. series—larger bowls 9–13 the glass facility. She sees the of well-known glass artists in Thorsteinsdóttir has exhibited technique while integrating into their become glass. I continually challenge The images within remind us of what inches in diameter, and tiles residency as an opportunity to Denmark, England and Iceland. extensively during the past 10 work a distinctly Japanese aesthetic myself to express more through my we miss in the hurried tempo of as finished pieces. Carving, teach and learn while working Meanwhile she has worked to years in solo and group shows. and their personal responses to na- pieces.” modern life.” polishing, grinding and fusing side-by-side with Studio faculty develop her own work, style In 2002, her work was part ture. Today they are considered the were instrumental as she sought and artists. She plans to focus and artistic voice. In addition, of “Young and Hot,” a Glass to “exploit light, shadow and on the techniques of pâte de Holm co-curated, designed and Art Society show of emerging leading artists working in pâte Nature in Glass A Philosophy of Teaching reflection.” verre and casting. oversaw the exhibition “Wearing European artists. de verre. Shin-ichi, for whom structure is an Although the Higuchis do not travel Glass, Contemporary Jewellery Allan is a studio assistant at Tada has shown extensively by and Body Adornment,” which Rabbit Casket, Kimiake Higuchi, 1990. abiding interest, makes mosaic pieces from their beloved studio and gar- and covered containers that express Starfish Glassworks in Victoria, invitation in the United States opened in February in London. dens often, they do to teach. “The where she instructs a beginner and Japan since 1995. In 2001, his concerns for the environment and technique itself is not the ultimate glass workshop. She is also a Vetro Magazine named Tada the creatures of nature. Much of his purpose,” notes Shin-ichi. “The studio assistant to Mel Munsen. Best Debut Artist at SOFA work also seeks to keep alive tradition- technique needs the artist’s desire to Chicago. al Japanese motifs and folk stories. express itself. Those who study the technique deepen and broaden it, and His interest in glass came while study- the technique grows. And we learn ing glass mosaics in Sicily. “Dust from that again.” covered the streets,” he recalls. “Suddenly a workman poured water The Higuchis will present a Meet the on the streets and the brilliant, Artist lecture about their work at 6:00 shimmering colors emerged, just like p.m. on Wednesday, June 7, in the 2,000 years ago. That made a lasting Museum Auditorium. impression on me.” by artists. Photos provided This article is drawn from the teaching A recurring theme in his work is video “Pâte de Verre with Shin-ichi and insects. “In our civilization, human Kimiake Higuchi,” made at The Studio, ego is destroying so much of nature,” Master Class Series IV. The video- he explains. “One of the most victim- tape or DVD is available through the ized are the smallest creatures. My Museum’s GlassMarket.

9 The Gather | Spring / Summer 2006 The Gather | Spring / Summer 2006 10 Recent Acquisitions

European Glass American Glass Modern Glass for one of two Medici popes, Leo X (Giovanni de’ Medici; 1946 “Silver Streak” Electric Iron r. 1513–1521) or Clement During World War II, Corning Glass Works developed VII (Giulio de’ Medici; applications for Pyrex glass that were meant to alleviate r. 1523–1534). The jug forms the increasing shortage of metal supplies. The best-known part of a larger group of design to come out of this period was the glass housing that vessels with the Medici papal Corning made for the “Silver Streak” iron manufactured by coat of arms: mostly bowls Saunders Machine and Tool Corporation. and plates, but also two further jugs, which are almost Designed in 1943, the “Silver Streak” was not commercially identical to this one (now in produced until 1946. Because the war, and resulting Jug with Coat of Arms The Metropolitan Museum Centerpiece Set metal shortages, had ended by that time, the glass “Silver of a Medici Pope of Art in New York and in the This set, made in the 1870s and 1880s, consists of nine separate Streak” irons were only produced for one year and in limited This piece was the most Musée du Louvre in Paris). pieces which were meant to be arranged on the dinner table to numbers. Today, complete glass electric irons, with original important accession made H. 19.8 cm. Purchased with hold flowers and candles. Depending on the length of the table, parts, are rare. H. 13.8 cm, L. 22.8 cm. to the European collection funds from the Houghton the pieces could be close together or farther apart, and more or in 2005. The jug was made Endowment Fund. fewer pieces could be set out. Because the pieces were pressed, they were relatively inexpensive. Vase with Royal Arms of France Sets like these were made by The Tyne Flint Glass Works in South While the achievements of Shields in northern England and also by the Boston & Sandwich English glass manufacturers Glass Company in Sandwich, MA and the Mt. Washington Glass of the early 19th century are Company in New Bedford, MA. well known, the contemporary development across the channel, in France, has hardly Cordial Glasses been acknowledged. It These two cordial glasses are deserves much better, as from a set that was originally the vase with the arms of ordered for the White House the Bourbon kings of France by Mary Todd Lincoln and demonstrates. The vase was 1828. The most conspicuous then reordered by several made for King Charles X, detail of the vase is its successive administrations. probably by the Cristalleries enameling, which has been The glasses are blown with de Baccarat on the occasion covered by a layer of glass. engraved presidential seals. of a royal visit to the factory in H. 31.5 cm. Since 1989, the Museum has had on loan from Kenneth expressions of a civil society, and Sylvia Lyon a cordial and as such, display the glass from this service which acquired a cordial with the Barry Friedman Collection Harvey Littleton Historical Glass Collection virtues of a moderate but has an engraved crest lacking standard crest, and the Barry Friedman, of Barry Friedman Ltd. in New York City, A group of 10 well-known designs was recently purchased comfortable life. Not so this the motto that appears on Lyons donated the glass with has been a generous supporter and friend of the Museum by the Museum from the “father” of American studio glass, goblet. It nearly doubles most of the set. Because the variant crest. The glass for many years. In 2005, Friedman’s gallery made a gift Harvey Littleton, who began assembling his private collection the size of an ordinary of the missing crest, it must on the right is the gift of to the Museum of 93 examples of contemporary studio of historical glass as a teaching aid for his young glassblowing English wine glass, and must have been part of a later the Lyons. glass including sculpture and vessels by Galia Amsel (U.K.), students. The purchase included Diaspora and Streifen und have been made for public reorder. In 2005, the Museum Philip Baldwin (U.S.) and Monica Guggisberg (Switzerland), Flecken vases produced about 1902 by the well-known Bohemian representation rather than for Benjamin Edols and Kathy Elliott (Australia), Mieke Groot (The art glass company, Johann Loetz Witwe, and an emerald green daily use. Netherlands), Richard Meitner (U.S.), Paul Schwieder (U.S.), covered dish (about 1923) designed for the Wiener Werkstätte and František Vízner (Czech Republic). in Austria by the Viennese architect Josef Hoffman. “Diaspora” Massive Baluster with the Our goblet, decorated with H. 12.7 cm, Diam. 10.6 cm (pictured above, middle). Royal Arms of Britain and a rose and a thistle on the While the most extensive groupings of objects in the gift Monogram of Queen Anne foot (the national emblems represent the work of Meitner and Vízner, there also is a French art glass included decorated vases by Auguste Jean A baluster is a drinking glass of England and Scotland), selection of color studies by Groot. Groot’s exploration of (about 1888), the Daum Frères (about 1910), Marcel Goupy featuring a short vertical apparently celebrates the color and texture, inspired and enriched by her frequent (about 1925), and French studio glass pioneer Jean Sala (about support with a circular section 1707 Act of Union. It was trips to West Africa, is beautifully reflected in a set of simple, 1925). The purchase from the Littleton collection also included a and a vase-like outline. owned by the Royal House of rounded vessel shapes such as the one pictured above. hot-worked sculpture by Czech studio artist René Roubícˇek (1971). Typically, those from England Hanover until its acquisition H. 19.1 cm, Diam. 25.4 cm. Sala H. 27.7, Diam.16 cm (detail pictured above right). do not excel in grandness. by the Museum. H. 23.5 cm, Rather, they are distinctive D. (foot) 12 cm.

1126 TheThe GatherGather || SpringSpring // SummerSummer 20062006 The Gather | Spring / Summer 2006 12427 Explainers Enlighten Visitors Gifts to the Museum Gifts and Grants Endeavor, Lino Tagliapietra, 2004. (July 16, 2005, through Photo by Eva Heyd. February 15, 2006)

education program coordinator. “In Total private gifts to the Museum Society’s annual dinner on Renewing and New Members Members addition, the students in the Explain- in 2005, apart from annual November 8. The artist will of the Ennion Society Larry and Susan Aiello John and Carole Allaire ers program benefit. Many are study- operating and capital support be present. The event also from Corning Incorporated, the will help to mark the 10th (July 16, 2005, through Albert Bradtke and David ing museum education or are starting Museum’s corporate benefactor, anniversary of the Museum’s February 15, 2006) Jacobson museum-related programs in college. exceeded $1.2 million, which glassmaking school, The Charles R. and Andrea M.† They are using what they learn here to is the highest gift total in the Studio, and it will pay tribute A complete listing of donors Bronfman impress their professors in their college Museum’s recent history. to Tagliapietra for teaching for calendar year 2005 will Bob and Brenda Brown classes.” the first glassblowing class at appear in the Museum’s 2005 Thomas S. and Mary Buechner Photos by Maria Strinni Gill. Annual Report. Among the major gift initiatives The Studio in 1996. David Burger Patricia T. Dann Mutual Benefit in 2005 was a special campaign Director’s Circle Kenneth Depew In its second year, the program is to raise funds to acquire A $10,000 grant from the Mr./ Mrs. James R. Houghton Thomas P. and Peetie Dimitroff Endeavor, an installation by the Robert Lehman Foundation already a success. The first session Jay and Micki Doros offered a six-month experience but has Italian artist Lino Tagliapietra. Inc. will underwrite a five-day Curators Circle Mr./ Mrs. Robert Duke been expanded to span a full school One of the Museum’s “Legacy” workshop to be taught by James B. Flaws and Marcia D. Mr./ Mrs. Alan Eusden year. Both the Young Educator and series of masterworks by Tagliapietra at The Studio in Weber E. Kilton Fallon Junior Curator programs are open to internationally renowned artists November, as well as a public Polly and John Guth James Fallon who work in glass, Endeavor lecture and reception. high school students from Steuben, Marie Rolf** Kathy and Richard Fishburn consists of 18 four-foot-long Chemung and Schuyler counties. Mr./ Mrs. Carl H. Pforzheimer III George and Sandy Garfunkel hand-blown and cold-worked Other gifts and grants during Jere Gibber and J. G. When Notre Dame High School coreforming, engraving and etching. About 15 students are selected for boat forms, or canoaˆ , which this period included $210,000 Sustainers Circle Harrington student Mary Milliken first heard about They have homework assignments on each program through a competitive were inspired by the gondolas from the Arthur Rubloff Alan and Nancy Cameros Denise A. Hauselt the Museum’s youth education trade in ancient times. application process. and shimmering canals of the Residuary Trust; $100,000 from The Honorable/ Mrs. Amory Douglas and Katya Heller programs, she was skeptical. artist’s native Venice. The Corning Incorporated for a Houghton Jr. Mr./ Mrs. Leo Kaplan Young Educators also hone their For Mary Milliken, the program al- brilliantly colored, intricately commissioned work by Peter E. Marie McKee and Robert Sharon Karmazin Mary is an outstanding art student, teaching and presentation skills. They ready has accomplished what it was finished boat forms are Aldridge; and $16,000 from Cole Jr.* Jon and Judith Liebman and she knew she admired art, but she share their knowledge at the Museum’s designed to do. It has helped her suspended by steel cables. the Gladys M. and Harry A. Peter and Cathy Volanakis Drs. Thomas and Mila Meier wondered what being a Junior Curator monthly Family Exploration events, solidify her decision to attend an arts Snyder Memorial Trust for the Ann and Barry Nicholson* where children and their parents enjoy or museum studies program in college. Lead gifts for this acquisition purchase of early American Collectors Circle Fran and Mary Helen Olmstead at The Corning Museum of Glass could Kate and Ric Asbeck* Barbara H. Olsen possibly offer her. hands-on activities that highlight And it has created a love of working in were made by The Carbetz glass. Foundation Inc., James B. Flaws Becki and Pierce Baker Elmerina and Paul Parkman cultures represented in the Museum’s The Corning Museum of Glass. Jeremy and Angela Burdge** Prof. John V. B. Perry and Marcia D. Weber, Mr. and Grants of $22,300 from the “I didn’t really want to do it, but my collection. Marian and Russell E. Burke Richard and Joan Randles Mrs. James R. Houghton, Polly New York State Council on mother and my teacher thought I “The Museum is like my second Dr. Charles and the Rev. Virginia Helene and William Safire** and John Guth, Mr. and Mrs. the Arts and $10,000 from The should,” states the high school junior. Summer Jobs with Meaning home,” Milliken muses. “I would come G. Deneka Phyllis and Nathan Shmalo Carl H. Pforzheimer III, Wendell Woodcock Foundation were After the program ends in June, sever- back here at any point in my life.” Olivia and Harlan Fischer Jean Sosin “Sometimes I wonder what it would P. Weeks and Kim Frock, Alan made for general support of be like if I didn’t do it. It’s the biggest al of the top Young Educators are hired Kirk and Penny Gregg Dr. Julius and Dena Tarshis and Nancy Cameros, E. Marie the Museum. Through the Dudley D. and Carole H. Johnson William L. Tatro IV thing in my life right now.” as Museum Explainers during the busy McKee and Robert Cole Jr., New York State Education Pamela and Glenn Schneider Mr./ Mrs. G. Thomas Tranter Jr.* summer tourist season. They provide the Honorable and Mrs. Amory Department’s Conservation Dr. Susan W. Schwartz** Robert† and Deborah Truitt Starting Out: Young Educators hands-on exploration at activity carts Houghton Jr., and Peter and Preservation Discretionary Josh Simpson and Cady Mr./ Mrs. Robert Turissini In fact, she enjoyed it so much she located throughout the galleries, giv- Cathy Volanakis. In addition, Grant Program, the Museum’s Coleman Simpson** Theresa Volpe and Robert is now back for more as one of 17 ing visitors of all ages the opportunity members of the Collectors, Rakow Research Library Richard and Judy Sphon Michaelson** students in the Young Educator pro- to touch glass objects or learn more Sustainers, Curators, and received a grant of $3,029 for a Mary Ann Sprague Angelique Wellman** gram. As Young Educators, the group about the techniques used to create Director’s Circles of the Ennion preservation survey of paper- Lucille Werlinich attends Museum workshops each the pieces. They also provide guided Society voted to allocate based library collections. Tony and Ann Wimpfheimer Marianne W. and James D. Wednesday evening from October tours to camp and daycare groups that $67,000 in undesignated Ennion Society gifts toward The Studio also received gifts Young through June. They meet the curators, visit during the summer. Last summer, the acquisition of Endeavor. from Dr. Susan W. Schwartz learn the history and techniques of the Explainers gave tours to more than Additional support came from and The Jeffrey J. and Mary Bold type indicates Founding Member of the Ennion Society. ancient and modern glassmaking and 1,500 youth. the artist and Heller Gallery in Burdge Charitable Trust for the † Deceased. conduct research in the Rakow Library. New York City. Scholarships and Residencies “Because of these programs we’ve * Gift was matched by a corporate matching gift. Fund at The Studio. ** Donor to The Studio. Mary said the program is a lot of fun, been able to really open up what we The installation will be formally but there’s serious work to be done. do in the summer in terms of sum- dedicated at the Ennion Young Educators study the basic com- mer camp groups and tours,” states ponents of glass. They are quizzed on Kristy Bartenstein, family and youth

1328 TheThe GatherGather || SpringSpring // SummerSummer 20062006 TheThe GatherGather | | SpringSpring // SummerSummer 20062006 14294 FAVORITE THINGS

Dedo von Kerssen- red glass. This technique is very hard to Yue Fei), written during the early Qing brock-Krosigk, curator accomplish on large objects, and the ex- period. The scene shows soldiers of the of European glass. ecution of the engraving on the Warrior Song dynasty (960–1270) attempting to Vase is exceptional. overcome a warrior of the invading Jin Everybody loves mas- army. The weapons, according to the terpieces: how marvel- The intricate scene carved into the glass legend, are hammers. ous, how gorgeous! appears to show four warriors racing But while splendor can past a temple on horses, two of them On top of being dazzle, it also can pre- bearing long-handled bulbous objects, a tour de force of vent us from looking and swinging them at a single warrior glassmaking skills, closely, because we as- in the center. The scene also includes the Warrior Vase sume there is nothing a craggy mountain amid cloud motifs, is a window into left to discover. trees, a bridge with a long flight of steps, a rich, fascinating, and many other details. and, at least in Such is the case with our famous the West, far Warrior Vase, which dates to the Thanks to an especially attentive too little known mid-18th century, the heyday of Chinese visitor—Ping Ren, a Chinese student culture. Come glass. The vase is unusually large, attending Villanova University—we now and discover! consisting of colorless glass, speckled know that the scene depicts an episode with white “snowflake” glass and cov- from a Chinese legend, the Shuo Yue Warrior Vase with stand, ered with a layer of cameo-carved ruby quan zhuan (the complete biography of China, 1736–1795.

The Corning Museum of Glass is located An adult Day Pass to the Museum is $12.50. Corning Museum of Glass in the heart of the Finger Lakes Region and Children (17 and under) are admitted free with I-86/Rt. 17, Exit 46 is open daily from 9:00 a.m. to 5:00 p.m. adult paid admission. Corning, New York The Museum is open from 9:00 a.m. to 800.732.6845 8:00 p.m. all summer long (Memorial Day Museum Members always receive www.cmog.org through Labor Day). complimentary admission.

Corning Museum of Glass One Museum Way Corning, NY 14830

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The photographs in this issue of The Gather are by The Corning Museum of Glass (Nicholas. L. Williams and Andrew M. Fortune) unless otherwise noted.