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The Corning Museum of Glass Annual Report, 2006

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The Corning Museum of Glass Annual Report, 2006 The Corning Museum of Glass Annual Report 2006 Cover: Officers The Fellows of The Corning The Fellows of The Corning Museum of Glass Museum of Glass are among Peacock vase, blown; E. Marie McKee the world’s leading glass col- silver-gilt mount. U.S., President Carole Allaire lectors, scholars, dealers, and Corona, NY, Tiffany Gary E. Baker glassmakers. The objectives Amory Houghton Jr. Studios, 1898–1899. Renée E. Belfer of this organization are (1) Vice President H. 14.1 cm (2006.4.161). Robert A. Belfer to disseminate knowledge James R. Houghton Mike Belkin about the history and art of Vice President William W. Boeschenstein* glassmaking and (2) to sup- port the acquisitions program Alan L. Cameros Denise A. Hauselt of the Museum’s Rakow Secretary Lt. Gen. Christian Clausen, retired Research Library. Admission Thomas P. Dimitroff to the fellowship is intended James B. Flaws Jay R. Doros to recognize accomplishment, Treasurer David Dowler and is by invitation. Robert J. Grassi Max Erlacher Assistant Treasurer Christopher T. G. Fish Barbara U. Giesicke David B. Whitehouse William Gudenrath Executive Director Jirˇí Harcuba+ Douglas Heller Trustees A. C. Hubbard Jr. Roger G. Ackerman* Kenneth L. Jobe + Peter S. Aldridge Dorothy-Lee Jones Thomas S. Buechner Leo Kaplan Van C. Campbell* Helena Koenigsmarková + Dale Chihuly Michael Kovacek Patricia T. Dann Dwight P. Lanmon + Robert Duke Harvey K. Littleton James B. Flaws Louise Luther John P. Fox Jr. Kenneth W. Lyon Polly W. Guth Josef Marcolin Ben W. Heineman* John H. Martin + Amory Houghton Jr.* Gregory A. Merkel Arthur A. Houghton III Barbara H. Olsen James D. Houghton Elmerina L. Parkman James R. Houghton Paul N. Perrot + Itoko Iwata John V. B. Perry Thomas C. MacAvoy* Richard F. Randles E. Marie McKee Peter Rath Joseph V. Noble* Rachel Russell Carl H. Pforzheimer III Prof. Dr. Axel von Saldern + Carlos A. Picón Josh Simpson Helmut Ricke John P. Smith Charles A. Ryskamp* Jean Sosin Antony E. Snow Walter Spiegl + Peter F. Volanakis Paul J. Stankard Wendell P. Weeks Prof. Dr. Rudolf von Strasser Lino Tagliapietra Photo Credits Ian McKibbin White David B. Whitehouse Dena Tarshis All of the photographs Catherine M. V. Thuro-Gripton in this Annual Report are * Trustee Emeritus Kenneth R. Treis by The Corning Museum David Watts of Glass (Nicholas L. Eric Martin Wunsch Williams and Andrew M. Fortune), with the follow- Rainer Zietz ing exceptions: *Life Fellow Pages 4, 5, 30, 35, 37, and 40: +Honorary Fellow Maria Strinni-Gill. Page 30: Provided by the Star Gazette. Page 38: Eric Meek. Page 39: Deidi von Schaewen. This was an exciting year, with new initia- Executive tives and great additions to the glass collection Director’s and the Rakow Research Library. The many notable objects that entered the Report glass collection in 006 are described in detail on pages 8–. The most remarkable acquisi- tion of all was the gift of a collection of 50 examples of studio glass created by many of Pamplona and Venere the most accomplished artists working in glass in Seta, filigrana glass, between the 1960s and the present. The col- blown, cut. Italy, Mu- lection was formed over a 0-year period by rano, or U.S., Seattle, Ben W. Heineman Sr. and his wife, Natalie G. WA, Lino Tagliapietra (Italian, b. 1934), about Heineman. Mr. and Mrs. Heineman selected 1997. H. (taller) 81.2 cm major artists and, with great discernment, col- (2006.3.18, .21). Gift of lected their work in depth. In a speech that Mr. the Ben W. Heineman Sr. Heineman made during the summer, he noted Family. that the gift was made so that many people would be able to view the collection. One hun- Lantern, stained glass, metal, assembled. Eng- dred eighteen objects were received in 006, land, about 1875–1880. and the remaining part of the collection will H. (without hanger) 42 arrive in 007. In many ways, the Heineman cm (2006.2.8). Collection complements the Museum’s other holdings of studio glass. Together, they form a comprehensive and inspiring collection of con- temporary glass art. We are truly indebted to the Heinemans for their extraordinary gener- osity to the Museum and to glass lovers every- where. Among the acquisitions of European glass are a vase made in Venice or one of the places in Europe where glass was made à la façon de Venise, and a cameo glass goblet. The vase, which is exceptionally large and bears traces of painted ornament, was made in the late 16th century. The goblet, which has a cover with a tall finial, is attributed to the Silesian engraver Ernst Simon, who was active in the 1860s. Additions of American glass included a gild- ed and enameled tumbler bearing the initials of Frederica Christina Sophie Amelung, whose father, John Frederick Amelung, operated the New Bremen Glassmanufactory between 1785 and 1795. The tumbler was given to the Muse- um in memory of Mrs. Lowell Anne Butson, one of Frederica Amelung’s direct descendants. Two outstanding examples of glass made at the Tiffany Studios in the 1890s also entered the collection: a large iridescent Cypriote plaque and an exquisite vase. The vase, which has a silver-gilt mount made by Edouard Colonna and plique-a-jour decoration enameled by Eu- gène Feuillatre, was commissioned by Siegfried Bing, the famous Paris-based art dealer. In addition to the Heineman Collection, im- portant gifts of contemporary glass included Eclipse, a major sculpture by Peter S. Aldridge, purchased with funds from Corning Incorpo- rated; Prismatic Tile Screen by James Carpen- ter, donated by Kathy Duffin; and a Steuben Gazelle Bowl, designed by Sidney Waugh in 195, which was the gift of Miriam U. Hoover. Purchases included Megaplanet, the world’s first 100-pound “paperweight,” created by Josh Simpson, and works by Harvey Littleton, Marvin Lipofsky, and Frances and Michael Higgins. *** The Rakow Library received several major donations of archival materials. Ben and Nat- alie Heineman presented their correspondence with galleries and artists, together with files documenting individual acquisitions. These materials provide an invaluable record of the creation of a unique collection of contempo- rary glass. Bill and Judy Cummings donated the entire archive of the Cummings Stained Glass Studios, dating from 198 to 006. In addition to business records, the archive con- tains original drawings, photographs, and slides. Michael, Doug, and Katya Heller gave us the archive of the Heller Gallery in New York City, which has been a leading glass art gallery for 0 years. This is a rich source of information on many of the most prominent artists working in glass, and it is likely to be widely used by students of the Studio Glass movement. Another resource on contemporary The 006 special exhibition, “Glass of the Stained glass window glass is the collection of correspondence and Maharajahs,” focused on 19th-century glass design for the First Bap- slides donated by Ruth Summers, the former furniture and lighting devices made in Europe tist Church, Arcata, CA. Cummings Stained owner of the Kurland/Summers Gallery in Los for the Eastern market. Curated by Jane Shadel Glass Studios. Gift of Angeles. Finally, Josh Simpson presented press Spillman, the exhibition included loans from Bill and Judy Cummings. releases, interviews, and other publications India, the Czech Republic, the United King- that document his career from 1981 to 004. dom, and the United States. An original book Thanks to the generosity of these and other of designs from F. & C. Osler, the famous Eng- donors, the Library is recognized as the fore- lish manufacturer of chandeliers and glass fur- most repository of archival materials concern- niture, was lent by the Birmingham Museum ing the art and history of glass. and Art Gallery. Two smaller exhibitions were installed on *** the West Bridge: “Splitting the Rainbow: Cut Glass in Color” and “Worlds Within: The Evo- The artist Josh Simpson lution of the Paperweight.” In “Splitting the the link between classroom and Museum expe- and his 107-pound Rainbow,” Jane Spillman drew attention to the riences. We hosted two Evening for Educators Megaplanet, commis- popularity of colored cut glass from 1880 to events to encourage teachers to work with us, sioned by the Museum 190. “Worlds Within,” curated by Laura Cot- and it was gratifying to record a 16-percent in- as its 1,000th paper- weight acquisition. ton, traced the history of the glass paperweight crease in school visits, to almost 1,000 stu- from the 1840s to the present day and show- dents. cased Josh Simpson’s 107-pound Megaplanet, The Little Gather, a weekly story hour for the 1,000th paperweight to enter the Museum’s five- to 10-year-olds, drew large crowds dur- collection. ing the summer, and we experimented with a During the year, “Decades in Glass: The parallel program, Vitreous Adventures, which ’60s,” curated by Tina Oldknow, was exhibited introduced eight- to 1-year-olds to scientific at The Gallery at Steuben Glass in New York applications of glass. In the galleries, the Young City. This show had been displayed on the Explainer Program expanded from 10 to 18 West Bridge in 005. participants, who provided visitors with a hands-on experience of different kinds of glass *** and glassworking. During Chemistry Days, our staff and docents worked with area scientists The Education Department continued to ex- to present demonstrations and experiments pand its activities, introducing its first curricu- throughout the Museum. We also introduced lum-integrated tours for first, third, and fifth two audio tours of the glass collection (one graders. First graders explore “Glass: It’s All for adults and the other for families), narrated Shapes and Sizes” to learn about shapes and by curators and The Studio’s resident adviser.
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