GLASS SECTION UPDATE APRIL 2013.Qxd

Total Page:16

File Type:pdf, Size:1020Kb

GLASS SECTION UPDATE APRIL 2013.Qxd GLASS INDEX Antiques . .A-7 Reamy. .A-4 Antique Mirror . .A-3 Reproduction Glass . .A-5,A-12 Artiques . .A-14 Restoration Glass . .A-5 Architectural Glass . .A-8,A-9 Retailer Packs . .A-1,A-2 Ripples (Uroboros) . .A-27 Baroques® . .A-15 Ripples (Wissmach) . .A-23 Bullseye . .A-10,A-11 Ripples (Youghiogheny) . .A-12 Rough Rolled (Spectrum) . .A-15 CBS Dichroic * . .A-1 Clears/Tints - Textures . .A-8,A-9 Saint-Just . .A-4 Colonial (Clear) Reproduction . .A-5 SeedysG6, G7, G10, G11, G18, G24 Corella Classic . .A-24 Shimmermirror . .A-3 Craquele . .A-4 Silvercoats . .A-17 Spectrum . .A-13 to A-19 Desag Antique - GNA . .A-3 SpectrumSystem96* . .A-17 to A-19 Dichroic * . .A-1 Spectrum Spirit Glass* . .A-17 DichroMagic Dichroic * . .A-1 Stipple Glass . .A-12 Drawn Antique French and German . .A-3 StreamX . .A-25 System 96 * . .A-17 to A-19 English Muffle . .A-24 Textures - Clears/Tints . .A-8,A-9 Flashed Glass . .A-6,A-7 Float Glass . .A-3 Uroboros . .A-26 to A-28 Fractures and Streamers . .A-10,A-26 Frosted Glass . .A-3 Verrerie de Saint-Just . .A-4 Fusible Glass * . .A-17,A-19 Victorian Mottles . .A-25 Fusing Packs* . .A-3,A-4 Five Millimeter Clear Sheets . .A-8,A-18 Waterglass® . .A-15,A-16 Front Surface Mirror . .A-3 Wissmach . .A-22 to A-25 Glue Chip - Clear & Colour . .A-29 Youghiogheny . .A-12 Glue Chip Mirror . .A-3 Glass-Fusing * . .A-17 to A-19 GNA . .A-3 Hobby Packs . .A-1,A-2 Not responsible for typographical errors. Hot Glasses - 90 C.O.E. & 96 C.O.E . .A-17 to A-19 Iridescents . .A-16,19-21,23,27,28 Kokomo . .A-20,A-21 Large Sheet Sizes . .A-8,A-18 Mirror Antique . .A-3 Mirror Glass . .A-3 Mouth Blowns . .A-4,A-7 Muffle . .A-24 Mystic . .A-25 New Barioles . .A-6 Oceana . .A-11 Opal Art Glass . .A-32 The Glass Place Website: WWW.GLASSPLACE.COM Tel: 1-800-363-7855 E-mail: [email protected] GLASS INDEX • New glass in all the latest patterns and colours is always arriving. Please ask! • For volume users, solid cases, etc., please ask about special pricing available. • Hobby sheet glass is always priced at stock sheet or net price + .60/sqft. or lb. However, if you are a key account customer, your level pricing on glass prevails (+ .60/sqft. or lb.). Allow an extra day for shipments. (See policy below) • Important: Sheet dimensions and colour mixes are listed as a reference only and are approximates as some sheets vary. Please call if you need to know exact measurements and colour mixes. If a specific size is needed for your project, please tell us at time of ordering. • Have a specific colour to match? Send us a sample and we will do our best to match it or find it for you. • Please have your glass numbers ready when placing your order. Be aware that trying to match a glass colour without a number is difficult. Our staff will do their best to make a suggestion, but we cannot be held responsible. • If you have a special colour request, please mention at the time of order and our staff will try to accommodate them. Special orders require a written confirmation and deposit. • It is the customer's responsibility to make sure special requests, (i.e. special cuts, colours, etc.) are done before order leaves our warehouse. Our staff will do their best to accommodate your special requests, but we cannot be held responsible. • Freight discounts are arranged with most truck lines. Volume freight rates are always available. All glass shipments via Common carrier are shipped freight prepaid (FOB Montreal,Qc.). Need a lift gate? Residential Delivery ? Please mention it as there are extra charges for these services • In case of any damages, note damage on carriers receipt, report claim to trucking company and notify us immediately after receiving. If sent FedEx, mail, etc., note damages & notify us immediately to file claim. The Glass Place is not responsible for any damage caused by shipping, but we will assist you in processing your claim. Cases and boxes are inspected before leaving our warehouse. No returned merchandise will be accepted without prior authorization. • Returns: Before returning any merchandise for any reason, please call for a return authorization number. Nothing can be returned without authorization. All merchandise shipped in error or received defective (See defective items) can be returned at our expense. All other returns are subject to a 15% handling charge plus shipping charges both ways and the credit will be applied to your Glass Place account. Sorry, no cash refunds. Unauthorized returns or deductions from invoices will not be accepted. All returns must be made within 30 days of invoice date. We do not accept returns on special ordered items, close outs, discontinued items, used tools, cut glass or items in unsaleable condition. All returns must be carefully packed and returned. We cannot give credit on materials returned broken. No exceptions on return policies. • For Your Convenience - to convert: -centimeters to inches multiply by .4 -inches to centimeters multiply by 2.54 -square footage to square meters multiply by .0928 -millimeters to inches multiply by .04 -square meters to square footage divide by .0928 -inches to millimeters divided by .04 • All glass is approximately 1/8" (3mm) thick unless noted. 3mm=1/8", 4mm=1/6", 5mm=1/5", 6mm=1/4" • All glass mixable for quantity discount - Sale or otherwise. CRATE & PALLETIZATION POLICY Never any crate charge for the following: • Glass Orders (stock sheet sizes) over $1000.00* • Intact Factory Cases or Retailer Packs • Certain sheets may have to be cut to avoid extra charges. * Orders for less are subject to a $25.00/case crate charge. ** Extra Large Cases - crate charges vary call for specifics. *** Oversized crates may be subject to a $10.00 build-up fee. All orders regardless of value, will incur a $10.00/pallet charge when palletization is needed (maximum 3-4 cases/pallet) Website: WWW.GLASSPLACE.COM The Glass Place E-mail: [email protected] Tel: 1-800-363-7855 RETAILER, HOBBY & FUSING PACKS DICHROIC SCRAP (AUSTIN THIN) CBS Crinklized DichroicTM Starter Pack CBS Variety Dichroic Packs Excellent assortment of colours and smaller Coating is made of extremely thick crystal #7575 - Specialty Dicrhoic Starter Pack: sizes of dichroic glass. In a variety of coatings layers that are the key to the effects that are Contains types of specialty glass. Fracture/ and textures. Available in Standard or Thin, achieved from fusing Crinklized DichroicTM. Streamer, Spirit, etc. Rainbow coated. Clear or Black, and Thin Pattern glass. Coating looks smooth, but once fired, surface 2" x 4" - 12 pcs. (90 C.O.E.) 90 or 96 C.O.E. crinkles and crystallizes. Use these packs to #7581 - Specialty Dicrhoic Starter Pack: test this new coating. All primary colours avail- STANDARD Contains types of specialty glass. Fracture/ able in 90 & 96 C.O.E. on black. Blister #DC108 Clear - 90 C.O.E. Streamer, Spirit, etc. Rainbow coated. packed #DC109 Black - 90 C.O.E. 2" x 4" - 12 pcs. (96 C.O.E.) 90 C.O.E. 96 C.O.E. #DC110 Clear - 96 C.O.E. #7580 - Primary Color Starter Pack: #DC111 Black - 96 C.O.E. #7572 - Black #7576 - Black Random colors - 2" x 4" - 12 pcs. on Thin THIN Black. (96 C.O.E.) DICHROMAGIC Spectrum Box #DC112 Clear - 90 C.O.E. #7578 - Patterns Galore: Random patterns 10 - 2-½" x 4" Assorted Textures & Colours on #DC113 Black - 90 C.O.E. 2" x 4" - 6pcs. each on Thin Black and Thin Spectrum 96 C.O.E. 8 Clear & 2 Black. #DC114 Clear - 96 C.O.E. Clear. (96 C.O.E.) Weight: 2 lbs. #DC115 Black - 96 C.O.E. #7521 #7582 - Taste of Texture: Random textures THIN PATTERN 2" x 4" - 6pcs. each on Black and Clear. #DC116 Clear - 90 C.O.E. BULLSEYE Panel Pack (96 COE) #DC117 Black - 90 C.O.E. Contains approx. 45 (10" x 10") or 38 #DC118 Black - 96 C.O.E. (5" x 10") & 25 (10" x 10") sheets of glass Pattern Sample Pack: Contains 23 pieces #DC119 Clear - 96 C.O.E. – That's over 46 lbs. or 30 sqft. Just the right on black. Random pattern styles. DICHRO MAGIC Box (90 C.O.E.) assortment for panel usage: Catspaw Blisterpacked. Box contains 8-Black & 8-Clear Opals,Iridescents, Jeweltone Cathedrals, Piece size: 1.5" x 1.5" 2-1/2" x 4" sheets of Dichroic glass. Includes Fractures/Streamers & Pale Transparents. #7574 - 90C.O.E. assorted colours and textures, all on Uroboros Weight: 50 lbs. #7579 - 96C.O.E. 90 C.O.E. fusible glass - Granite / Fibroid / #7036 Aventurine Green Family Pack Ripple / Standard 3mm / Fipple / Radium. BULLSEYE Lamp Pack One 12 x 12 in. sheet of each of the Green Weight: 2 lbs. Box contains approx. 45 (10" x 10") or 38 Aventurine sparkle densities: Light, Standard #7513 (5" x 10") & 25 (10" x 10") sheets of glass. A and Heavy. (96 C.O.E.) #70441 DICHRO MAGIC Box (96 C.O.E.) Lampmaker's Treasure Chest: Solid & Streaky Aventurine Variety Pack Contains 5-black & 5-clear 2½" x 4" Opalescents, Ring Mottles, Fractures / Each pack provides one 12” x 12” sheet of the sheets of dichroic glass. Includes assorted Streamers & Iridescents. following colours: Green, Blue & Black colours and textures on Uroboros 96 Weight: 50 lbs. Aventurine.(96 C.O.E.) #70442 C.O.E.Fusible Glass.
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]
  • ANTIQUES Department 119 – Superintendent – Don Kuchenbecker – 920-793-1991 Email - [email protected]
    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.
    [Show full text]