The Corning Museum of Glass Annual Report 2004

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The Corning Museum of Glass Annual Report 2004 Cover: Officers The Fellows of The Corning The Fellows of The Corning Optical model of the Museum of Glass Museum of Glass are among eye, optical glass, brass, E. Marie McKee the world’s leading glass col- lacquered metal (prob- President Gary E. Baker lectors, scholars, dealers, and glassmakers. The objectives ably copper). Probably Amory Houghton Jr. Renée E. Belfer Robert A. Belfer of this organization are (1) France, 19th century. Vice President to disseminate knowl edge Mike Belkin H. 17.6 cm (2004.3.40). about the history and art of James R. Houghton William W. Boeschenstein* Vice President glassmaking and (2) to sup- Lt. Gen. Christian Clausen, retired port the acquisitions program Denise A. Hauselt Thomas P. Dimitroff of the Museum’s Rakow Secretary Jay R. Doros Research Library. Admission Max Erlacher to the fellowship is intended James B. Flaws Christopher T. G. Fish to recognize accomplishment, Treasurer Barbara U. Giesicke and is by invitation. Robert J. Grassi William Gudenrath Assistant Treasurer Douglas Heller David B. Whitehouse A. C. Hubbard Jr. + Executive Director Kenneth L. Jobe Dorothy-Lee Jones Trustees Leo Kaplan Helena Koenigsmarková Roger G. Ackerman* Michael Kovacek Peter S. Aldridge Dwight P. Lanmon + Thomas S. Buechner Harvey K. Littleton Van C. Campbell* Louise Luther Dale Chihuly Kenneth W. Lyon Patricia T. Dann Josef Marcolin Robert Duke John H. Martin + James B. Flaws Gregory A. Merkel John P. Fox Jr. Barbara H. Olsen Polly W. Guth Elmerina L. Parkman Ben W. Heineman* John V. B. Perry Amory Houghton Jr.* Richard F. Randles Arthur A. Houghton III Peter Rath James D. Houghton Rachel Russell James R. Houghton Frieder Ryser Itoko Iwata Prof. Dr. Axel von Saldern + Thomas C. MacAvoy* John P. Smith E. Marie McKee Jean Sosin Joseph V. Noble* Walter Spiegl + Carl H. Pforzheimer III Paul J. Stankard Carlos A. Picón Prof. Dr. Rudolf von Strasser Helmut Ricke Lino Tagliapietra Charles A. Ryskamp* G. Hugh Tait + Antony E. Snow Dena Tarshis Peter F. Volanakis Catherine M. V. Thuro-Gripton Wendell P. Weeks Kenneth R. Treis Ian McKibbin White Kenneth M. Wilson + David B. Whitehouse Eric Martin Wunsch Rainer Zietz * Trustee Emeritus * Life Fellow + Honorary Fellow

Photo Credits All of the photographs in this Annual Report are by The Corning Museum of Glass (Nicholas L. Wil liams and Andrew M. Fortune), with the following exceptions:

Pages 7 and 38: Photos by Maria Strinni-Gill. The Corning Museum of Glass Annual Report 2004

An educational institution dedicated to the history, art, and science of glass

Chartered by the Board of Regents of the University of the State of New York April 27, 1951 (6026) Accredited by the American Association of Museums 1973, 1986, 1999 It was an exciting year. However one In 2004, several members of the staff Executive measures the Museum’s success—number were recognized for their contributions to of visitors, earned revenue, excellence of the world of glass. Dr. Robert H. Brill re- Director’s exhibitions, role in the world of glass stud- ceived the William E. S. Turner Award at the Report ies—we surpassed many of our accomplish- 20th International Congress on Glass in Kyo- ments in earlier years. Visitation grew by 25 to, Japan; the Hot Glass Roadshow was percent over 2003, coach tours apart; partic- given the Art Alliance for Contemporary ipation in the Walk-in Workshop increased Glass Award; and Tina Oldknow received a from 12 to 17 percent of our visitors; and special award from the same organization. the exhibition “Beyond Venice” was extend- The Museum itself received a Stanley Award ed from October to the end of the year. for Excellence in Sales and Marketing from Market research shows that as we in- the Receptive Services Association, a na- crease the number and variety of experienc- tional organization dedicated to increasing es at the Museum, our visitors respond by international travel to the United States. spending more time with us. Years ago, visitors were urged to allow 40 minutes to see *** the Museum. Today, the average visit takes We made a number of outstanding ac- three and a half hours, and visitors are con- quisitions in 2004. The most significant sistently staying longer and longer at the example of ancient glass is a drinking horn Museum. made in the European provinces of the Ro- Two programs in particular contributed man Empire, probably along the Rhine, in to the increase in the number of visitors and the third or fourth century A.D. This object the length of their visits. “Kids Free! 17 and fills a gap in our collection of Roman glass, Drinking horn, blown, Under” had an immediate effect, while “Free and it is important to note that it left the applied. Germany, late third to early fourth cen- to Rediscover,” a fall pilot program, invited European Union with an export license tury A.D. OL. 27 cm visitors to make repeat visits free of charge granted by the Netherlands. (2004.1.13). for the rest of the year. We acquired two noteworthy examples of European glass. The first, a cast portrait *** medallion of Louis XIV attributed to Ber- nard Perrot, documents an extraordinary moment in the history of East-West relations. The medallion is painted and silvered, and it has an Asian hardwood frame in the style of 17th-century Siam. We know that, in 1686, Siamese ambassadors to the Sun King were presented with glass from Perrot’s workshop, and we suppose that the medallion was given to the ambassadors, taken back to King Phra Narai, and painted and framed in Siam. The second remarkable European acquisition is a Gothic-revival house altar made in Germany about 1845. The central glass panel, painted on both sides, is attributed to the Nazarene artist Heinrich Maria von Hess. It is framed by engraved panels signed by Franz Paul Zach, one of the greatest engravers of his day, and exquisite silver- stained ornament. The object is a tour de force. The Museum also acquired exceptional objects for the collection of American glass. They included an elaborate pressed fruit

2 basket with openwork sides, made by the Boston and Sandwich Glass Company between 1845 and 1860. We also purchased a unique pressed glass windowpane that was probably made at Sandwich at about the same time. Among the objects made at Corning is a pitcher engraved with a portrait of Thomas Hawkes by William H. Morse, a talented engraver who died young and whose work is consequently difficult to find. The object was acquired as a gift in part of Richard and Joan Randles, by exchange from Mrs. M. H. Riviere. The modern and contemporary glass acquisitions included Imprint of an Angel II by Stanislav Libenský and Jaroslava Brych- tová. This monumental sculpture is one of the last series of works that Libenský and Brychtová made together, in 1999. The acquisition was made possible by donations from members of the Museum’s Ennion So- ciety. We also received a gift of more than Harlequin Vase, mold- 300 Steuben animals from Robert E. and blown, cased, cut. Czech- oslovakia, Nový Bor, Carol J. Nelson, including a rare 1939 cire Karel Wünsch (Czech, perdue peacock designed by Frederick b. 1932), 1962. H. 38.6 Carder. Another group of gifts, organized cm (2004.3.2). by the Kentucky collector Adele Leight, includes works by Toshikazu Kobayashi and Cup plate, pressed. U.S., possibly Pennsylvania, Anda Munkevica. about 1831. D. 9.4 cm Finally, thanks to the generosity of the (2004.4.34). Birmingham (England) Museum and Art Gallery, we received as a gift a complete, working example of an Owens bottle machine, made by the Owens Bottle Machine Company in Toledo, Ohio, in 1912. As far as we know, it is the only surviving example of this revolutionary machine, which is des- tined to occupy center stage in our projected exhibition of glassmaking machines.

*** Among the notable acquisitions made by the Rakow Research Library was a collection of batch books and journals compiled by Arthur J. Nash (1849–1934) and his son Leslie, who made glass for Tiffany Studios. The batch recipes are written in code to prevent anyone from acquiring information that Arthur Nash regarded as proprietary. Other acquisitions include the research archive of Glenn and Mary Lou Utt, experts on the life and work of René Lalique and authors of Lalique Perfume Bottles.

3 plemented “Beyond Venice” by exploring the impact of Venetian glassmaking on such contemporary masters as Chihuly, Marquis, Moore, and Lipofsky. “Animals in Glass” showcased animals represented on glass objects made in the course of 35 centuries, from 18th-Dynasty Egypt to the present day. Both exhibitions were drawn entirely from the Museum’s collection. The “mini” exhibition featured the Museum’s unique collection of replicas of the Portland Vase. Our 2003 West Bridge exhibition “Dec- ades in Glass: The ’50s” was shown at The Corning Incorporated Gallery at Steuben in New York City between June and October. During the year, we lent more than 100 objects to exhibitions in the United States and Europe. Among the exhibitions that included objects from Corning were “Ambro- gio e Agostino: Le sorgenti dell’Europa” in Milan, Italy; “Lustrous: A Centennial Cele- bration of Art Glass Designed by Frederick Carder” at the Albany Institute of History & Art in Albany, New York, Ball State Uni- versity Museum of Art in Muncie, Indiana, and Wichita Art Museum in Wichita, Kan- Drawing of what may be *** René Lalique’s earliest sas; “Picture This: Windows on the Ameri- perfume bottle design, Every year, in addition to the permanent can Home” at the Minnesota Historical a pendant simulating a exhibition, we aim to present one major, two Society in Saint Paul, Minnesota; and “Iraq Chinese snuff bottle, ink minor, and one or more “mini” temporary and China: Ceramics, Trade, and Innova- and watercolor on parch- exhibitions. In 2004, the major exhibition tion” at the Arthur M. Sackler Gallery in ment paper, about 1895– 1900. From the Glenn was “Beyond Venice: Glass in Venetian Style, Washington, D.C. and Mary Lou Utt La- 1500–1750.” This exhibition brought togeth- *** lique Archive. er about 150 objects made in Venice and other parts of Europe, and examined how The Museum has a long tradition of glassmakers in different regions produced research on the history of glass and glass- distinctive variations on themes developed making. In 2004, we continued our major in Venice. The roster of lenders to “Beyond program of investigating the history of glass Venice” included several of the world’s great through chemical analysis. Research scientist museums: the Louvre, The British Museum, Robert H. Brill studied subjects as diverse the Victoria and Albert Museum, the Rijks- as Bronze-Age glass from Egypt, Roman museum in Amsterdam, the Kunsthistori- glass from Pompeii, and medieval Byzantine sches Museum in Vienna, and The Metro- mosaics. politan Museum of Art. As a tailpiece to the It is the Museum’s policy to share the exhibition of glass, we included a display of results of our research in conversation, in the Rakow Library’s incomparable collec- lectures, on the Internet, and in publications. tion of 17th- and 18th-century editions of Our publications in 2004 included volume Antonio Neri’s L’Arte Vetraria (Florence, 46 of the Journal of Glass Studies, which 1612), the first published treatise on glass- contains 12 articles on topics ranging from making. the Hellenistic glass industry to Chinese The two smaller exhibitions were in- glass made for the Tibetan market in the stalled on the West Bridge. “The Italian 18th century. The most ambitious publica- Influence on Contemporary Glass” com- tion, however, was Beyond Venice: Glass in

4 Venetian Style, 1500–1750, a collection of 50-year-old Junior Curators program was essays that accompanied the exhibition of revised to enable participants to create an the same name. Initiated by our former cura- exhibition of works by living artists. Our tor of European glass, Jutta-Annette Page, Little Gather storytelling program for young- Beyond Venice explores Renaissance glass- sters more than doubled its 2003 attendance, making in Venice and its continent-wide attracting more than 3,500 participants. New influence over more than two centuries. programs included Family Fun Sunday and In 1979, the Museum launched New Draw & Discover. The first of these pro- Glass Review, an annual juried competition grams introduces parents and children to the intended to identify and showcase the best lives of people in other times and places, glass art and design of the previous 12 while the second focuses on objects in the months. A quarter of a century later, we Museum’s collection. issued New Glass Review 25. Redesigned The Studio continued to grow. In 2004, to present larger images and new sections, more than 1,100 students attended more NGR has moved with the times, and it now than 100 classes taught by an international offers an expanded survey of contemporary faculty. We attract all ages, from second- glass. grade students to Elderhostel participants, and more than 4,000 people experienced *** glassworking in the Fun with Glass pro- In 2004, the Museum’s varied education- gram. The Walk-in Workshop exceeded ex- al initiatives came together as a coherent pectations. Halfway through the year, in program, a goal we had pursued for several response to popular demand, we increased years. Our traditional educational programs the capacity of the workshop—and still felt are now integrated with the activities of The the pressure. Seventeen percent of our visi- View of the Spanish Studio, and we are working to combine them tors tried their hand at working with glass, room in the “Beyond with activities at the Rakow Library. The a five-percent increase over 2003. Venice” exhibition.

5 The Hot Glass Roadshow (the Museum’s *** mobile glass workshop) continues to repre- The Museum’s public programs expand- sent us in surprising places. In 2004, the ed by leaps and bounds. Participants in the Roadshow offered a week of glassmaking year’s six 2300° events exceeded 10,000, demonstrations outside the Museum of the and one of the presentations aired national- City of New York, and it traveled to the ly on the Food Network. Programs for chil- SOFA (Sculpture, Objects, and Functional dren—Kids’ Night at the Museum, Holiday Art) exposition in Chicago. Open House, and Ghosts in the Galleries— A new four-day program to teach cura- drew record crowds. Throughout the year, tors at other museums about contemporary “You Design It; We Make It!” attracted par- glass took place in Corning and New York ents and children to this special feature of City, where it coincided with SOFA in Man- the Hot Glass Show. hattan. This biennial program is supported The 2004 Rakow Grant for Glass Re- by the New York and Palm Beach collectors search was awarded to Olive Jones from Ot- Doug and Dale Anderson. The program is tawa, Ontario, Canada. Ms. Jones received designed to encourage curators to exhibit the grant to study the terminology used in contemporary glass. Members of the Muse- the British bottle industry from about 1720 um staff made presentations on glassmaking, to 1840. The proliferation of named shapes and the participants tried various forms of of bottles in the 18th and early 19th centu- glassworking at The Studio and watched ries indicates the expanding use of glass as demonstrations by William Gudenrath and a packaging material, and Ms. Jones’s re- the staff of the Hot Glass Show. The SOFA search is expected to shed new light on this part of the program allowed the curators to development. see new work and to meet with other mu- The Rakow Commission was awarded seum professionals, collectors, artists, and to Silvia Levenson, an Argentinean-born dealers from around the world. artist working in Italy. It’s Raining Knives,

Pino Signoretto teaches hot sculpting at The Studio.

6 a mixed-media installation, is a reaction to the artist’s personal experiences during the Videla dictatorship in Argentina. Glass knives hang over an otherwise secure and complacent suburb. We live, warns Leven- son, in a world of unexpected danger.

*** A significant part of the Museum’s success is due to our emphasis on training. Every member of the staff has specific training goals designed to increase the individual’s knowledge and effectiveness, and in 2004 we supported Amy Schwartz’s participation in the Leadership in Museum Education master’s degree program at Bank Street Col- lege, New York. *** A new Draw & Discov- er program for adults, The 2004 Annual Report contains one launched in October, of- departure from the contents of past Re- fered weekday visitors ports. Recently introduced audit require- an opportunity to learn ments for for-profit companies have caused basic sketching techniques while exploring the Museum’s audit to be delayed until May the collection in depth. 2005. Therefore, in lieu of an audited financial report, readers will find on pages 44–46 a summary of the Museum’s 2004 operating More than $65,000 in gifts and grants results, the financial position at the end of to The Studio supported scholarships and the year, and the outlook for 2005. artist-in-residence programs, and the Chris- topher John Kammerer Memorial Scholar- *** ship Fund. Dr. Susan W. Schwartz continued The Museum’s ability to operate on the her support through the Tom and Sue scale described above is due to the generosity Schwartz Creativity Fund, and a grant from of many, led by Corning Incorporated, which The Triangle Fund underwrote the third continued to provide munificent support. season of glassblowing classes for at-risk Other support included a grant from the students attending our local High School New York State Council on the Arts. Donat- Learning Center. ed income increased by eight percent and Other donations in 2004 included funded acquisitions as well as scholarships $70,000 from the Arthur Rubloff Residuary and special projects at The Studio. Trust, $15,155 from the Gladys M. and The initial enrollment period of the En- Harry A. Snyder Memorial Trust, and nion Society, a patrons’ association estab- $12,000 from The Carl and Lily Pforzheimer lished in 2002, concluded in 2004, with 73 Foundation Inc. Gifts from other sources are founding members. In addition to contribut- acknowledged elsewhere in this publication. ing to the acquisition of Imprint of an Angel We thank all donors and grant-giving orga- II, members provided funds to acquire a nizations for their continued confidence in sculpture by Karen LaMonte (to be pur- our activities. chased in 2005) and the collection of batch books and journals that belonged to Arthur David Whitehouse J. and Leslie H. Nash. Executive Director

7 Additions Ancient European The Museum’s acquisitions of ancient If there is one common characteristic to the glass in 2004 included a Roman drinking among the 2004 accessions to the Museum’s Glass horn and an early Byzantine beaker or lamp. European collection, it is their outstanding The drinking horn is of transparent light documentary value. These objects show a Collection green glass decorated with opaque white and remarkable quality of art and craftsmanship, opaque yellow trails. Several types of glass and each of them represents a turning point drinking horns were made in Europe in the or a peak in the history of glass. January 1 through late Roman and early medieval periods. Our In the late 15th century, glassmakers in December 31, 2004 example, which belongs to the earliest group, Murano began to “include in a little ball all resembles horns found at Cologne and other sorts of flowers,” as the humanist Marcan- places in the Rhineland, in contexts datable tonio Sabellico put it in his description of to the late third and early fourth centuries. Venice in 1495. This was the rebirth of mo- The Museum has three first- to second-cen- saic glass, which, like many of the other tech- tury rhytons (horn-shaped drinking vessels); niques of decorating glass, has its origins in this is the first later Roman drinking horn antiquity. In addition, it predates the inven- to enter the collection. tion of glass paperweights in the 1840s. Not The beaker or lamp is made of transpar- many early millefiori balls are known, and ent pale green glass, and it has a distinctive only a few of them are believed to date back constriction in the lower wall. Similar vessels to the turn of the 16th century. Our newly have been found in fourth- to sixth-century acquired glass ball belongs to this group. It contexts in the Republic of Abkhazia, on is very similar to other metal-mounted balls the eastern coast of the Black Sea. in the Louvre in Paris and the Rijksmuseum in Amsterdam. David Whitehouse At first sight, the purchase of a cast por- Executive Director trait medallion of Louis XIV may seem re- dundant because the Museum acquired a *** similar medallion five years ago. Both por-

Beaker or lamp, blown. Eastern Black Sea, fourth to sixth century A.D. H. 9.8 cm (2004.1.12). Gift of The Wunsch Foundation Inc.

Millefiori ball, mosaic glass, silver mount. Ven- ice, probably about 1500, with 17th-century mount. D. 5 cm (2004.3.44).

8 traits were cast from the same mold. They Two plaques showing can be attributed to the Italian glassmaker the French kings Henry Bernard Perrot (Altare, 1619–Orléans, IV and Louis XVIII, cast, polished, copper-wheel 1709), who set up a glasshouse in Orléans and diamond-point en- in 1662. He is credited with the invention graved; gilded frames. of a casting process for large glass panes and France, Paris, engraved relief figures, and he used that technique for by François-Joseph Du- the two portrait medallions. However, it is puis (b. 1782), about 1814–1824. OH. (each) the additional decoration that makes our 14.8 cm (2004.3.30, .31). new acquisition unique. The painting and silvering on the back of the glass and the Portrait medallion of wooden frame show distinct Asian charac- King Louis XIV, cast, teristics. It is known that in 1686 Perrot pre- cold-painted, silvered; wooden frame. France, sented a group of ambassadors from Siam Orléans, Bernard Perrot, with his glass as a gift for their King Phra about 1680, painting Narai, and it is very likely that the portrait and silvering probably medallion was part of that gift. At some Siam, 18th century. OH. point, the medallion received the colored 65.5 cm (2004.3.32). decoration as well as a new frame. Until recently, the development of early 19th-century engraved glass in France was a mystery. Fine engraved glass with French characteristics was routinely attributed to Bohemian emigrants to France. Our acquisition of a pair of magnificently engraved plaques in gilded frames sheds new light on this subject. Both plaques are signed by IV and Louis XVIII, and they were proba- François-Joseph Dupuis (b. 1782), who had bly executed during the reign of the latter, been granted the title “graveur du roi sur between 1814 and 1824. Henry IV was the cristaux” (royal crystal engraver) in 1816. first king of the Bourbon dynasty, which re- The portraits show the French kings Henry gained power after the French Revolution

9 Neo-Gothic house altar, stained, overlaid, reverse- painted, cut, engraved; wooden frame. Germany, probably Munich, König- liche Glasmalereianstalt, perhaps painted by Hein- rich Maria von Hess, glass engraved by Franz Paul Zach (signed), possibly made for the glass dealer Franz Steigerwald, Munich, Germany, about 1845. OH. 77.7 cm (2004.3.43).

with the coronation of Louis XVIII in 1814. scope of art and craftsmanship of its period. Dupuis’s engravings are comparable to those A monumental neo-Gothic house altar of of his Bohemian contemporary, Dominik about 1845 does exactly that by combining Biemann, in their exquisite details and nat- reverse painting on glass with yellow silver uralistic rendering of textures. staining, cased colored glass, cutting, and A museum rarely gets the chance to ac- copper-wheel engraving. Every detail is ex- quire an object that demonstrates the full quisite. The central panel, depicting the Ma-

10 donna and Christ, is painted on both sides, wheel engraved. Bohemia, Karlsbad/Karlovy Vary, providing the illusion of depth. This panel engraved and signed “AP” by Anton Heinrich can be attributed to the Nazarene artist Hein- Pfeiffer (1801–1866), about 1835. H. 12.5 cm rich Maria von Hess, head of the Königliche (2004.3.38). Wineglass with twisted stem, blown, engraved. Glasmalereianstalt in Munich, the most England, Birmingham, George Bacchus & Sons, influential workshop for stained glass in about 1851–1855. H. 13 cm (2004.2.2). central Europe from 1827 to 1874. Rather Claret jug with engraving inspired by the Elgin unusual is the combination with engraved Marbles and stopper, blown, tooled, applied, en- panels, which were executed and signed by graved. England, Stourbridge, Thomas Webb & one of the best artists of his time, Franz Paul Sons or Stevens & Williams, about 1860–1880, Zach (Prague, 1819–Munich, 1881). The possibly engraved by John Northwood. OH. 37.5 occasion for which this outstanding work cm (2004.2.7). of art was commissioned has yet to be de- Vase and stand, mold-blown, cast, cased, cut, termined. enameled, gilded. Bohemia, made for J. & L. A Chinese-style cameo vase of about Lobmeyr, Vienna, Austria, 1872. OH. 110 cm (2004.3.46). 1890 was added to the Museum’s unique collection of English cameo glass. The vase *** has three layers: (1) an opalescent white background, (2) a colorless etched and en- American graved layer, and (3) a pink engraved layer on top. The engraving of the colorless glass The Museum made notable acquisitions is particularly subtle, with contrasting matte of American glass in 2004. One important and polished surfaces that seem to float on purchase was an amethyst fruit basket made the opalescent background. This intriguing by the Boston and Sandwich Glass Company technique, which is new to our collection, in Sandwich, Massachusetts, between 1845 may well be attributed to the restlessly cre- and 1860. The form of this object is relative- ative cameo glass workshop of George and ly common in porcelain, but very rare in Thomas Woodall at Thomas Webb & Sons glass because the openwork sides were very in Amblecote, near Stourbridge. difficult to press and then remove from the mold without damage. The practical value of Dedo von Kerssenbrock-Krosigk this shape, however, was that it allowed air Curator of European Glass to circulate around the fruit, keeping it fresh. The porcelain examples were designed as *** table centerpieces, perhaps for the dessert Other Major Purchases course, and it seems likely that the glass bas- Prunted beaker, Waldglas (forest glass), ket served the same purpose. Interestingly, blown, applied. Possibly Italy or Germany, late the Museum has a colorless basket that may 13th–early 15th century. H. 9.5 cm (2004.3.25). Heart-shaped scent bottle, blown, applied, have been made in the same mold, but the tooled, with millefiori and aventurine inclusions. glassworker elongated the amethyst example Italy, Venice, about 1650–1700. H. 10.8 cm after removing it from the mold, so it more (2004.3.16). closely resembles the porcelain baskets and Optical model of the eye, optical glass, brass, is also more imposing on the table. Many lacquered metal (probably copper). Probably fragments of this design have been found at France, 19th century. H. 17.6 cm (2004.3.40). the site of the Sandwich factory, and we as- Vase with personification of art (or science), sume that this is where our basket was made. blown, tooled, cut, gilded, enameled. England, Another notable acquisition of pressed London, William Collins, enameled by Charles glass is a very large windowpane, which was Muss, about 1815. H. 29.6 cm (2004.2.3). probably made at Sandwich at about the Scent bottle in the shape of a crown, blown, cut, ground, polished. England, London, attrib- same time as the fruit basket. This is the only uted to Apsley Pellatt & Co., Falcon Glassworks, known pane in this pattern. In the 1830s about 1820–1830. H. 20.4 cm (2004.2.4). and 1840s, pressed glass windowpanes were Beaker decorated with the Madonna della advertised by several factories in Pittsburgh, Sedia, blown, cased, silver-stained, cut, copper- Wheeling, and New England, but all of these

11 Lacy glass windowpane, “Star, Fan, and Leaf” pattern, pressed. U.S., probably Sandwich, MA, Boston and Sandwich Glass Company, 1845– 1860. H. 24.4 cm (2004.4.75). Bequest of Mrs. Jason Westerfield, by exchange.

Fruit basket, pressed. U.S., Sandwich, MA, Bos- ton and Sandwich Glass Company, 1845–1860. H. 21.2 cm (2004.4.36).

sign, may indicate that it was installed di- rectly into a house, perhaps as a transom. One other large pressed glass pane is known, and although it also probably dates from the mid-19th century, it is slightly smaller and in a different pattern. The Museum owns one such pane in opalescent glass, which was found in a building in Sandwich, and three or four others are known in golden amber glass. It is possible that the large panes are the size used in steamships as well as in houses. The purchase of our newly acquired pane was made possible by funds from the bequest of Mrs. Jason Westerfield. During the year, we acquired several stun- ning pieces of Corning-made glass. The most important of these objects is a pitcher with a portrait of Thomas Hawkes that was engraved by William H. Morse. The pitcher is undoubtedly a memorial to Hawkes, who died in 1913, and it was probably commissioned by his family. The portrait was copied versions are quite rare. Several smaller panes from one that was originally published in are known from the Pittsburgh factory of 1896, and the pitcher also shows the Hawkes Bakewell, Page and Bakewell, and at least family’s coat of arms. two cupboards have been found with the Morse was the most talented of the en- Bakewell panes installed in the doors. Bake- gravers at the Hawkes firm in the first part well’s factory also advertised glass for steam- of the 20th century. Because he died in 1920, ships, although no illustrations of this glass we believe that the pitcher was created be- have been found to date. tween 1913 and 1918, when the Hawkes The large size of our example, as well as family sold the Steuben Glass Works to Cor- its somewhat simpler and probably later de- ning Glass Works. The pitcher, which re-

12 mained on display in the Hawkes showroom as gifts for our American glass collection, in- Pitcher, blown in optical until the 1960s, when the company closed, cluding some rare pieces. ribbed mold, tooled, ap- was then sold to a collector. We are delighted plied, engraved. U.S., Cor- ning, NY, T. G. Hawkes to have it in Corning once more. This object Jane Shadel Spillman and Company (blank was acquired as a gift in part of Richard and Curator of American Glass from Steuben Glass Joan Randles, by exchange from Mrs. M. H. Works), William H. Riviere. *** Morse, 1913–1918. H. We also acquired one very important 38.4 cm (2004.4.56). Gift in part of Richard piece of early lighting: an opalescent lamp Other Major Purchases Sugar bowl with cover, blown, tooled, applied. and Joan Randles, by ex- with a blown and gilded font and a brass change from Mrs. M. H. U.S., probably Pittsburgh, PA, about 1825. H. stem. Its Dietz & Company “Paragon” Riviere. 20 cm (2004.4.54). burner was patented in 1858 and 1860, so Cup plate, pressed. U.S., possibly Pennsylva- it is a very early example of a burner made Kerosene lamp, blown, nia, about 1831. D. 9.4 cm (2004.4.34). mold-blown, cut, gilded, for use with kerosene. The lamp itself was Ice-glass vase, blown, tooled, applied. U.S., engraved, assembled. U.S., probably created as an astral or solar lamp Reading, PA, Reading Artistic Glass Works, 1857–1865. H. 60.2 cm that employed whale oil or burning fluid. It 1884–1886. OH. 31.8 cm (2004.4.40). (2004.4.37). Purchased was then likely adapted by Dietz as a kero- Claret decanter, “Crystal City” pattern, with funds from the Ger- sene burner when kerosene began to take blown, tooled, cut, polished; sterling silver, en- trude Christman Melvin Endowment Fund. over the market rapidly about 1860. The Mu- graved, repoussé. U.S., Corning, NY, J. Hoare seum has only a few lamps from this period. and Company (glass), and Providence, RI, Gor- This acquisition was made possible by funds ham Manufacturing Company (silver), 1892. H. 39.9 cm (2004.4.14). from the Gertrude Christman Melvin Endow- Lamp with bell-shaped shade, blown, applied ment Fund. iridescence, cut; copper, hammered. U.S., East Finally, the Glass Packaging Institute dis- Aurora, NY, The Roycrofters (lamp), and Cor- persed its collection in 2004, and it was kind ning, NY, Steuben Glass Works, Frederick Carder enough to offer us our choice of its bottles (shade), about 1921–1925. OH. 37.8 cm and flasks. We accepted six of these objects (2004.4.39).

13 Modern ing in Italy, was the recipient of the 2004 Rakow Commission. Her mixed-media in- In 2004, approximately 380 new objects stallation It’s Raining Knives was conceived entered the Museum’s collection of modern in 1996 in response to her personal experi- glass. The largest single gift was the Robert ences during the Videla dictatorship in Ar- E. and Carol J. Nelson Collection of Steuben gentina. It depicts a suburban landscape of animals, which consists of more than 300 green grass and beautiful houses that appears pieces dating from the 1920s through 2001. cozy and safe. The glass knives that hang A generous and important gift that greatly over the scene remind us that there are no enhances the Museum’s holdings of Steuben guarantees. We live in a dangerous world, designs, the collection includes a rare 1939 and because of this, we need to appreciate cire perdue peacock and other animal designs the good things that we have. Much of Lev- by Steuben founder Frederick Carder, classic enson’s art is an attempt to resolve the dif- examples of game fish by James Houston dat- ficulties of living with threats of violence, ing from the 1960s to the 1980s, and a range both political and domestic, that are out of of animal figures and hand coolers by Lloyd our control. Atkins. Among the 28 Steuben designers rep- Other purchased and donated works by resented in the Nelson Collection are David artists and designers new to the collection It’s Raining Knives, cast; Dowler, John Dreves, Jane Osborn-Smith, in 2004 include an untitled reverse-painted artificial grass, nylon Donald Pollard, Paul Schulze, Joel Smith, panel by Frances Binnington (U.K.), colorful line. Italy, Vigevano, Sil- George Thompson, Sidney Waugh, and Peter blown vases by Vittorio Ferro (Italy) and via Levenson (Argentin- Yenawine. Bruno Pedrosa (Brazil), and a crocodile-pat- ean, b. 1957), the 19th Rakow Commission, The majority of glass to enter the modern terned murrine vase by Kurt Walrath (U.S.). 1996–2004. H. 120 cm, collection this year was contemporary. Silvia Sculptures included the meteorite-like cast W. 120 cm (2004.3.29). Levenson, an Argentinean-born artist work- glass Miranda VIII by John Leighton (U.S.),

14 Two peacocks from collection of 314 glass animals, cire perdue (left); cut (right). U.S., Corning, NY, Frederick Carder, 1939 (left); Steuben Glass Inc., designed by Freder- ick Carder, about 1925– 1932 (right). H. (right) 19.1 cm (2004.4.76, .194). Gift of Robert E. and Carol J. Nelson.

Imprint of an Angel II, mold-melted. Czech Republic, Železný Brod, Stanislav Libenský (Czech, 1921–2002) and Jaroslava Brychtová (Czech, b. 1924), 1999. H. 77.5 cm, W. 108.7 cm (2004.3.10). Purchased a humorous Self-Portrait of found and assem- last series of sculptures that the artists made with funds from James R. bled glass objects by Michael Lucero (U.S.), together. This series explores themes of mor- and Maisie Houghton, The Carbetz Foundation and the cast glass and newspaper installation tality and the redemption of the human spir- Inc., James B. Flaws and 13 Crows by Michael Rogers (U.S.). Unlim- it, which the artists call the “inner light.” Marcia D. Weber, the Ben ited and limited-edition designs included sets The abstract shape of the sculpture, which W. Heineman Sr. Family, of drinking glasses with engraved decoration is based on a man’s shoulders and chest, has Joseph A. Miller and Ra- by Jenny Holzer (U.S.) and Roy McMakin been described by the artists as a “vestment” chel C. Wood, Peter and Cathy Volanakis, Wendell (U.S.), the cast Vase L by Christophe Pillet or a “shroud.” It is meant to represent the P. Weeks and Kim Frock, for Daum (France), and the small cast sculp- physical impression of an angel, which is the and Alan and Nancy ture Tail by Kiki Smith (U.S.). divine part of man. Cameros. A group of welcome gifts to the Museum by several artists was organized by the Ken- tucky collector Adele Leight. An amusing blown glass and mixed-media vessel in the form of a dog, titled Curiosity, by Toshikazu Kobayashi (Japan) and two fused, non-narra- tive sculptures, Sunday and Black Monday, by Anda Munkevica (Latvia) represent artists new to the collection. The gift of Sun by Gizela Šabóková (Czech Republic) was her first cast glass sculpture to come to the Mu- seum. The Museum’s major purchase of Imprint of an Angel II, a monumental mold-melted sculpture made by the Czech artists Stanislav Libenský and Jaroslava Brychtová in 1999, was accomplished through the combined efforts of James R. and Maisie Houghton, The Carbetz Foundation Inc., James B. Flaws and Marcia D. Weber, the Ben W. Heineman Sr. Family, Joseph A. Miller and Rachel C. Wood, Peter and Cathy Volanakis, Wendell P. Weeks and Kim Frock, and Alan and Nancy Came- ros. Imprint of an Angel II belongs to the

15 Other purchases and generous gifts en- and carafe set by William Gudenrath (U.S.), hanced the Museum’s representation of well- and a handmade gold, silver, and glass brace- known artists working in glass. New design let in the form of tangled vines by the metal- to enter the collection included the machine- smith Wendy Yothers (U.S.). Vessels featured made “Optical” vases by Sydney Cash (U.S.), the alluring triptych of Pin-Up Girls bottles a unique Venetian-style blown glass goblet by Nancy Callan (U.S.), a tobacco and green glass version of the well-known Palla Set by Benjamin Moore (U.S.), the fused portrait Petit Caravage (Little Caravaggio) by Gae- tano Pesce (Italy), and a variegated, fused filet de verre (glass thread) vessel, Libertà (Liberty), by Toots Zynsky (U.S.). New sculptures added to the Museum’s collection included a skull-like cast ram’s head, Capricorn II, by František Janák (Czech Republic) and a number of abstract works, such as two untitled cut and assembled pieces by Brˇetislav Novák Jr. (Czech Republic), the kiln-cast Come to Me by Gizela Šabóková (Czech Republic), the cut and assembled Synoptic Torsion Bronze #8 by Michael Estes Taylor (U.S.), the blown multipartite wall piece Fugitive by Jack Wax (U.S.), and the complex stacked and enameled plate glass Eleven by Jirˇina Žer- tová (Czech Republic). A three-dimensional painted glass portrait, Double Face, represents the most recent work of Ann Wolff (Germany). The Museum’s holdings of earlier 20th- century glass were expanded with donations and purchases, including the Vrilles de vigne (Vine tendrils) set of drinking glasses designed about 1932 by René Lalique, and a cut mirror, chrome, and wood “Bluebird” radio designed by Walter Dorwin Teague for the Sparton Corporation in 1934. Additions to the Museum’s collection of mid-20th-century design included a covered centerpiece designed about 1940 by George Thompson for Steuben and a fine example of the well-known “Hiidennyrkki” (Pothole) vase produced in 1956 by the Finnish design- er Timo Sarpaneva for Iittala. Three unusual Libertà (Liberty), fused Synoptic Torsion Bronze Czech designs included a pressed plate with filets de verre (glass #8, laminated, cast opti- threads). U.S., Provi- cal, drawn, float, cased, a pattern of squares designed about 1960 by dence, RI, Toots Zynsky and Belgium peach glass- Jan Schmid, the colorful cased and cut Har- (American, b. 1951), es. U.S., Rochester, NY, lequin Vase made in 1962 by Karel Wünsch, 2004. H. 25.4 cm, W. Michael Estes Taylor and an elegant cut vase designed about 1964 47.1 cm (2004.4.28). (American, b. 1944), by Oldrˇich Lipský. Gift in part of the fami- 1993. H. 39.2 cm, W. ly of the late Laura R. 58.3 cm (2004.4.460). Houghton, by exchange. Gift of Sonia and Isaac Tina Oldknow Luski. Curator of Modern Glass

16 Anonymous Covered urn with fruit finial. U.S., Corning, Two “Optical” vases. Mexico, designed in NY, Frederick Carder, about 1910–1920. Donors Marlboro, NY, for The Museum of Modern Art, Twenty whiskey glasses. U.S., Corning, NY, New York, NY, by Sydney Cash, 1999. Steuben Glass, 1981. to the

Donna and Rocky Ayers, Corning, NY David P. Donaldson, Corning, NY (in memory of Glass Thirtieth-anniversary Corelle plate showing Mildred M. Donaldson from her grandchildren: the Pressware plant. U.S., Corning, NY, World Jordan Lindley and Abigail Victora Donaldson) Collection Kitchen, 2003. Compote. U.S., Massachusetts, New Jersey, or Pennsylvania, 1820–1840. The generosity of Bastiaan Blok, Noordwijk, The Netherlands 83 donors allowed Bowl. Europe, early medieval. Gerald M. and Holly C. Eggert, Rochester, NY the Museum to add Cut vase. U.S., Corning, NY, J. Hoare and 560 objects to the Richard Bright, Corning, NY Company, 1888. collection during Plate. U.S., Corning, NY, Steuben Glass, Gettysburg souvenir dish. U.S., probably the year. 1932–1936. Pittsburgh, PA, 1890–1910. Syria Temple goblet and wineglass. U.S., Alan and Nancy Cameros Pittsburgh, PA, 1898–1900. See James R. and Maisie Houghton. Photographic paperweight. U.S., probably Pittsburgh, PA, about 1900. The Carbetz Foundation Inc. Millefiori paperweight. U.S., 20th century. Double Face, glass “col- See James R. and Maisie Houghton. Gold Aurene vase. U.S., Corning, NY, lage,” antique plate Frederick Carder, about 1903–1905. glass, fired enamels; Sydney Cash, Marlboro, NY Verre de Soie vase. U.S., Corning, NY, steel frame. Germany, Two “Optical” vases. Mexico, designed in Frederick Carder, 1915–1933. Berlin, Ann Wolff (Ger- Marlboro, NY, for The Museum of Modern Art, Blue candlestick. U.S., Wheeling, WV, Central man, b. 1937), 1999. H. New York, NY, by Sydney Cash, 1999. Glass Company, 1920–1929. 117.5 cm (2004.3.11).

Norman L. Corah Jr., Glenville, NY, and Joseph L. Corah, Charlotte, NC (in memory of Patricia A. Corah) Goblet with coat of arms of William IV, prince of Orange. Germany, Saxony, Glücksburg (glass), about 1725–1750; Northern Netherlands (engraving), about 1733–1751.

Corning Asahi Video (a Division of Corning Incorporated), State College, PA Radar panel. U.S., State College, PA, Corning Asahi Video, State College plant, 1980–1989. Cathode ray panel. U.S., State College, PA, Corning Asahi Video, State College plant, 2003. Cathode ray tube funnel. U.S., State College, PA, Corning Asahi Video, State College plant, 2003.

Daum France, Nancy, France Three-vessel vase, Vase L, from “Twins” series. France, Vannes-le-Châtel, Daum, Chris- tophe Pillet, 2000.

Thomas P. Dimitroff and Family, Corning, NY Stemmed goblet. England, Stevens & Williams Ltd. or Thomas Webb & Sons, late 19th or early 20th century. Pair of candlesticks. England, Stevens & Wil- liams Ltd., Frederick Carder, about 1900.

17 Engraved vase. U.S., Corning, NY, Steuben Glass Packaging Institute, Alexandria, VA Glass Inc., 1925–1935. Flask. U.S., Coventry, CT, Coventry Glass Cigarette box with heraldic lion. U.S., Cor- Works, 1824–1826. ning, NY, Steuben Glass, 1930–1935. Medicine bottle. U.S., possibly New York, Two bowls and enameled pitcher with stop- 1836–1840. per. U.S., Corning, NY, T. G. Hawkes and Com- Jar. U.S., Philadelphia, PA, Adam R. Samuel, pany, 1930s. 1870–1875. Elephant and Scottish terrier desk blotter Spring water bottle. U.S., Saratoga Springs, holders. U.S., 1930–1939. NY, Congressville Glassworks, 1870–1885. Pair of bookends with deer. U.S., 1930–1939. Bitters bottle. U.S., probably New England or Vase with deer. Sweden, Småland, Strömbergs- New Jersey, 1872–1882. hyttan, 1965–1975. Bitters bottle. U.S., possibly Chattanooga, TN, Floriform vase. U.S., Grand Rapids, OH, Chattanooga Glass Works, about 1902–1920. Dominick Labino, 1967. Faceted vase. Sweden, Småland, Strömbergs- Douglas Godfrey, San Rafael, CA hyttan, 1970–1979. Selection of 44 photosensitive glass images. U.S., Lakewood, OH, Douglas Godfrey, glass Roland Erlacher, Campbell, NY supplied by Corning Glass Works, 1950–1955. Engraver’s stylus. Europe, 19th century. John E. Gooderham, Sault Sainte Marie, Jeffrey S. and Beverley A. Evans, Ontario, Canada Mt. Crawford, VA Paperweight with rooster. Canada, Sault Sainte Chinese-style cameo Dolphin standard compote. U.S., Pittsburgh, Marie, Ontario, John E. Gooderham, cut by Ed vase, blown, cased, etched, engraved. Eng- PA, Bryce, Walker and Company or Bryce Poore, 1991. land, probably Amble- Brothers, 1875–1890. Millefiori button and miniature paperweight. cote, Thomas Webb & Canada, Sault Sainte Marie, Ontario, John E. Sons, about 1890. H. James B. Flaws and Marcia D. Weber Gooderham, cut by Ed Poore, 2004. 26.4 cm (2004.2.12). See James R. and Maisie Houghton. William Gudenrath and Amy Schwartz, Corning, NY Plaque, Starlite Rhythm. U.S., Plainfield, MA, Thomas Patti, 2003.

Ben W. Heineman Sr. Family See James R. and Maisie Houghton.

James R. and Maisie Houghton, Corning, NY; The Carbetz Foundation Inc., New York, NY; James B. Flaws and Marcia D. Weber, Painted Post, NY; the Ben W. Heineman Sr. Family, Chi- cago, IL; Joseph A. Miller and Rachel C. Wood, Corning, NY; Peter and Cathy Volanakis, Cor- ning, NY; Wendell P. Weeks and Kim Frock, Corning, NY; and Alan and Nancy Cameros, Rochester, NY Sculpture, Imprint of an Angel II. Czech Republic, Železný Brod, Stanislav Libenský and Jaroslava Brychtová, 1999.

Family of the late Laura R. Houghton, Corning, NY (gift in part, by exchange) Sculptural vessel, Libertà (Liberty). U.S., Providence, RI, Toots Zynsky, 2004.

Frederick Campbell Hovey, San Francisco, CA Goblet, Meriden Star. U.S., Meriden, CT, Meriden Cut Glass Company, about 1890– 1900.

18 Cut goblet, “Coral” pattern. U.S., Philadelphia, Lyle L. Luce, Painted Post, NY PA, Quaker City Glass Company, 1902–1920. Electric lamp base blank. U.S., Corning, NY, Three goblets. U.S., Corning, NY, T. G. Steuben Glass Works, 1903–1918. Hawkes and Company, 1920–1955. Two goblets. U.S., Corning, NY, T. G. Hawkes Sonia and Isaac Luski, Charlotte, NC and Company, William LeBrantz, 1930–1950. Sculpture, Synoptic Torsion Bronze #8. U.S., Two cut and engraved goblets. U.S., Toledo, Rochester, NY, Michael Estes Taylor, 1993. OH, Libbey Glass Company, A. Douglas Nash, 1932. John H. and Phyllis Martin, Corning, NY Spoon holder. U.S., 1880–1900 (in memory of Libbie Hughes, Venice, FL Lily M. Greife). Verre de Soie bowl. U.S., Corning, NY, Dish with floral pattern. U.S., Brewster, MA, Frederick Carder, about 1915. Sydenstricker Glass, Bill Sydenstricker, about 1965–1968. Lawrence Jessen, Frederick, MD Vase. Japan, Tokyo, Rury Iwata, 1993. Punch cup with lid. U.S., about 1900. Iwao Matsushima, Okayama, Japan Bill Johns, Memphis, TN (gift in part) Lace mosaic bowl. U.S., Corning, NY, The Lamp with silver fittings. U.S., New Bedford, Studio of The Corning Museum of Glass, Iwao MA, Mt. Washington Glass Company (glass) Matsushima, 2004. and Pairpoint Manufacturing Company (silver), 1880–1900. Paul Micio, Paris, France Three engraved goblets. Probably England, Joan S. Johnson about 1930–1939. See Jon R. Shimer. Joseph A. Miller and Rachel C. Wood Peter T. Joseph, New York, NY See James R. and Maisie Houghton. Sculpture, Petit Caravage (Little Caravaggio). France, Marseilles, CIRVA, Gaetano Pesce, 1991. Anda Munkevica, Riga, Latvia Sculptures, Sunday and Black Monday. Latvia, Marian Karel, Prague, Czech Republic Riga, Anda Munkevica, 2003. Paper maquette for sculpture, Vestment I. Czech Republic, Prague, Marian Karel, about 1995. David Murray, Wanganui, New Zealand Sculpture. New Zealand, Wanganui, David Toshikazu Kobayashi, Toyama, Japan Murray, 2004. Sculpture, Curiosity. Japan, Toyama, Toshika- zu Kobayashi, 2002. James E. and Elva Musslewhite, Fayetteville, PA Bowl. U.S., Corning, NY, T. G. Hawkes and John Kohut, Elkland, PA Company, 1925–1935. Celery vase. U.S., 1850–1875. Finger bowl. U.S., Corning, NY, T. G. Hawkes Robert E. and Carol J. Nelson, Oak Brook, IL and Company, 1885–1900. Group of 314 glass animals. U.S., Corning, NY, Steuben Glass Inc., 1920s–2001. Dwight P. and A. Lorraine Lanmon, Santa Fe, NM Tina Oldknow and Peter Herzberg, Corning, NY Core-formed bottle. Possibly Egypt, fourth Two African scenes. Czechoslovakia, Železný to third century B.C. Brod, Železný Brod Secondary Glassmaking School, 1930–1939. John Leighton, Fullerton, CA (in memory of his Vase. Czechoslovakia, Nový Bor, Borské Sklo father, Jasper L. Leighton) National Corporation, Exbor Studio, Oldrˇich Sculpture, Miranda VIII. U.S., Oakland, CA, Lipský, about 1964. John Leighton, 1991. Sandra D. Palmer, Millersville, MD (in memory Harvey K. Littleton, Madison, WI of Lane D. Palmer) Vase with openwork base. Bohemia, probably Lamp with shade. Probably France, 1920–1929. Klostermühle, Johann Loetz Witwe, attributed to Marie Kirschner, designed about 1904–1910.

19 Gizela Šabóková, Prague, Czech Republic Sculpture, Sun. Czech Republic, Prague, Gizela Šabóková, 2003.

San Giovanni Valdarno, Italy Zebra vase. Italy, San Giovanni Valdarno, Industria Vetraria Valdarnese (I.V.V.), 2004.

Andrea Schwan, New York, NY Drinking glasses, 4 Flutes: A Love Poem. U.S., Seattle, WA, Domestic Furniture, 2003. Set of four “modern old-fashioned” glasses, Aphorisms. U.S., New York, NY, The New Mu- seum of Contemporary Art, Jenny Holzer, 2004.

Amy Schwartz, Corning, NY Covered Goblet and Carafe (for Sophia and Owen). U.S., Corning, NY, William Gudenrath, 2004.

Christopher Sheppard, London, England Ten imitations of ancient vessels. Twentieth and 21st centuries.

James A. Shimer See Jon R. Shimer.

Jon R. Shimer, Port St. Lucie, FL; Jill S. Warring- ton, Severna Park, MD; Joan S. Johnson, Cam- bridge, MD; and James A. Shimer, Huntington, WV (in memory of Abraham A. and Grace Bitler Shimer, Walter Weckerle Sr. and Bessie Van Horne Oakley Weckerle, and Johnston Bitler and Jane Oakley Shimer) Covered Goblet and Vesta B. (Mrs. Cecil M.) Pepperman (bequest) Alabaster on pink Cintra lamp. U.S., Corning, Carafe (for Sophia and Dolphin lamp. U.S., New Bedford, MA, Pair- NY, Steuben Glass Inc., Frederick Carder, 1920– Owen), blown, hot- point Corporation, 1920–1930. 1933. worked. U.S., Corning, Rosaline on Alabaster lamp. U.S., Corning, NY, William Gudenrath Walter Poeth, Magalia, CA NY, Frederick Carder, 1920–1933. (American, b. 1950), Bowl, “Gravic Walnut” pattern. U.S., Corning, 2004. H. (goblet) 49.8 Gladys M. and Harry A. Snyder Endowment cm, (carafe) 38.6 cm NY, T. G. Hawkes and Company, 1903–1915. (2004.4.17). Gift of Lotus flower table decoration. U.S., Corning, Fund (funds) Amy Schwartz. NY, Frederick Carder, 1920–1933. Flint glass pitcher. U.S., Wheeling, WV, Sweeney glass factory, or Philadelphia, PA, Richard and Joan Randles, Webster, NY (gift in Union Glass Works, about 1840. part, by exchange from Mrs. M. H. Riviere, Aiken, SC) Katherine de Sousa, Weston, CT Engraved pitcher. U.S., Corning, NY, Steuben Four drinking glasses, Vrilles de vigne (Vine Glass Works, William H. Morse, 1913–1918. tendrils). France, Wingen-sur-Moder, R. Lalique et Cie, René Lalique, about 1932. Mrs. M. H. Riviere See Richard and Joan Randles. Jane Shadel Spillman, Corning, NY Goblet. Portugal, Ivima, 2004. Eva Rydlová, Janov nad Nisou, Czech Republic Pin in the form of an orange flower. Czechoslo- Steuben Glass Inc., Corning, NY vakia, possibly Jablonec, 1930s–1940s. Vase in the form of a female torso. U.S., Cor- Plate with pattern of squares. Czechoslovakia, ning, NY, Steuben Glass, a Division of Corning Libochovice Glassworks, Jan Schmid, about 1960. Incorporated, Pino Signoretto, 1998.

20 Jack Stever, Truckee, CA Michele O. Williams Family, New York, NY Engraved glass square. U.S., Corning, NY, Covered centerpiece. U.S., Corning, NY, Corning Glass Works, about 1945. Steuben Glass Inc., George Thompson, about 1940. Julius and Dena K. Tarshis, Scarsdale, NY Souvenir tumbler from 1889 Paris world’s Jerry E. and Virginia L. Wright, Corning, NY fair. France, Compagnie des Cristalleries de St. Cup and saucer. U.S., Corning, NY, Corning Louis, 1889. Glass Works, 1940–1949. Coffee carafe with candle warmer. U.S., Cor- Robert and Deborah Truitt, Carmel, IN ning, NY, Corning Glass Works, 1950–1959. Gold Aurene vase. U.S., Corning, NY, Frederick Carder, 1925–1933. The Wunsch Foundation Inc., New York, NY Two sculptures. Czechoslovakia, Železný Beaker or lamp. Eastern Black Sea, fourth to Brod, Brˇetislav Novák Jr., 1981. sixth century. Eight-sided Stangenglas. Possibly Germany, Eleanor Turshin, St. Louis, MO 17th century. Decanter. U.S., Corning, NY, T. G. Hawkes and Company, 1920–1939. Wendy Yothers, Hopatcong, NJ Vines bracelet. U.S., Hopatcong, NJ, Wendy Vetro & Arte Gallery, Venice, Italy Yothers, 2003. Engraved goblet, Natura 2. Italy, Murano, Anfora di Renzo Ferro, Peter Pelzel with the *** assistance of Andrea Zilio, 2003. Vase, Buzios Sea Color. Italy, Murano, Zanetti Transfer to Permanent Collection Vetreria, Bruno Pedrosa with the assistance of Oscar Zanetti, 2003. Juliette K. and Leonard S. Rakow Research Murrine vase. Italy, Murano, Vittorio Ferro, Library, The Corning Museum of Glass, 2004. Corning, NY Plaster model for cast glass wall for Montreal Peter and Cathy Volanakis world’s fair, 1967. Czechoslovakia, Nový Bor, See James R. and Maisie Houghton. Ladislav Oliva, 1966. Model for glass window. Czech Republic, Henny Wallstab, Griesheim, Germany Zdenka Strobachová, 1956. Bottle, Crossing Lines. Germany, Griesheim, Kurt Wallstab, 1999. Donor to the Future Machines Gallery Kurt Walrath, Beaver Dams, NY Vase, Olive Crocodile. U.S., Providence, RI, Birmingham Museum and Art Gallery, Rhode Island School of Design, Kurt Walrath, Birmingham, England 2001. Owens bottle machine. U.S., Toledo, OH, Owens Bottle Machine Company, designed by Jill S. Warrington Michael Owens, 1912. See Jon R. Shimer.

Susan Weber, Duluth, MN (in memory of Donor to the Education Department Howard and Mary Faucett) Gilded model of two birds. U.S., Corning, Mandalay Road Trading Company Inc., NY, Frederick Carder, about 1945–1955. Bainbridge Island, WA Cylindrical bead, prunted bead, and group of Wendell P. Weeks and Kim Frock 26 beads. Asia, late 20th century. See James R. and Maisie Houghton. Two face-bead necklaces and group of six necklaces. Asia, late 20th century. Mrs. Jason Westerfield (bequest, by exchange) Pressed lacy glass windowpane. U.S., probably Sandwich, MA, Boston and Sandwich Glass Company, 1845–1860.

21 In October, Patricia J. Rogers was ap- the United States by Louis Comfort Tiffany Rakow pointed director of the Osterville (Massa- about 1895 to perform experimental work chusetts) Free Library, and she resigned as in Boston. Later, he and his sons, Leslie and Research the Museum’s deputy director of library re- A. Douglas Nash, joined Tiffany at his Co- Library sources. We promptly began the search for rona, New York, glasshouse. Arthur’s tech- a new head of the Rakow Research Library. nical skill led to the development of many Several candidates have been interviewed, forms of Art Glass. and we expect to make an appointment in The Nash archive includes a notebook, the near future. dated 1893–1906, containing Arthur’s glass The year 2004 was highlighted by the formulas and a pencil sketch by Tiffany of a acquisition of two important archives. The glass vessel; a leather-bound, lockable jour- first was a collection of notebooks and pa- nal with glass formulas of Arthur and Leslie pers belonging to Arthur J. and Leslie H. Nash; several additional volumes of formu- Nash, relating to their work for Tiffany las; an album of photographs of Favrile Studios. Arthur J. Nash (1849–1934) was glass in Leslie Nash’s collection; and a copy an English glassmaker who was brought to of an agreement between Tiffany and the Nashes regarding the closing of L.C.T. Fur- naces Inc. in 1928. One of the volumes of formulas is a small leather-bound notebook dated 1906– Notebooks and journals 1908. It contains copious notes and this in- from the collection of scription from Arthur Nash: “A book named Arthur J. and Leslie H. ‘Esparto’ has a lot of glass information in- Nash. cluding method of making lustrous glass. Drawing by Leslie Nash Keep these two books safe always. Never of water lily glass vase leave around—Dad. Some day these formu- (left) and proposed fish- lae may prove to be of great value.” The bowl for Laurelton Hall archive acquired by the Library includes a (Louis C. Tiffany’s home). Tiffany Studios, gilt-tooled copy of the “Esparto” collection Corona, New York. of formulas. These documents, which offer a unique record of Arthur J. Nash’s pioneering work in glassmaking and glass decoration, also provide insight into Leslie Nash’s efforts to ensure that his father, rather than Tiffany, would receive proper credit for his discover- ies. The glass formulas, which Tiffany was never permitted to see, appear in code, and the key is contained in one of the notebooks. The Nash archive was acquired in part with funds donated by the Charles Hosmer Morse Foundation Inc., Jay and Micki Doros, and Paul David and Chloe A. Nassau. The second major collection acquired by the Library is the archive of Glenn and Mary Lou Utt, which pertains to the history of René Lalique’s designs for the perfume industry. This rare documentary material includes transparencies, slides, and photographs, many of which have never been published. The collection is the result of more than four decades of collecting by the Utts, who became interested in Lalique while they were

22 living in Paris in the late 1950s. Their book, val collection on the J. & R. Lamb Studio. Study for a window, Lalique Perfume Bottles, sold more than Finally, Robert E. and Carol J. Nelson sup- gouache on paperboard. U.S., Corona, NY, Tif- 30,000 copies, and their own collection of plied documents relating to their 2004 gift fany Studios, Louis C. perfume bottles was sold at auction in 1998. to the Museum of 314 Steuben glass animals. Tiffany, 1912 (signed Other archives acquired in 2004 included Another unusual collection received by and dated on verso). the Thomas C. Klopp collection of docu- the Library during the year was an assort- H. 17.8 cm. ments pertaining principally to 19th- and ment of what is popularly called “glasshouse early 20th-century American glass, especially money.” This currency, which was used from pressed glass; and materials compiled by the 1840s to the 1870s, was often issued as James Measell on the New Martinsville and payment to factory workers, who could then Viking Glass Companies. exchange it for household goods at a store Some archival collections came to the Li- operated by the company. This collection brary as gifts. The National American Glass was given to the Library by Frances D. Ar- Club gave us the first installment of its armentrout. chives in 2004. Mark Pendergrast, author Among our major book acquisitions was of Mirror, Mirror: A History of the Human the third edition of a letter from João Jacinto Love Affair with Reflection, provided re- de Magalhães to the English chemist Joseph search materials for that book. Barrie Tait Priestley in which the author describes a Collins donated Katharine Lamb Tait’s archi- glass instrument for the making of various

23 artificial mineral waters. This document, library) was updated with pages for addi- published in London in 1783, also discusses tional resources and interlibrary loan infor- the author’s improved eudiometer, an instru- mation, and an “Ask a Librarian” feature ment for the volumetric measurement and was added after the Library joined “Ques- analysis of gases, and provides detailed in- tion Point–24/7,” a worldwide collaborative structions on its use. We also acquired a reference service that assists users around bound volume of articles published in a the world through a Web-based network of weekly Milan newspaper on the Crystal libraries. Palace and the 1851 London world’s fair. Another outreach initiative was the Li- Other significant acquisitions included brary’s participation in “Glass Art and Sci- a gouache design for a Tiffany Studios win- ence: A Voyage of Discovery,” which was dow, signed and dated “Louis C. Tiffany hosted by the Glass Manufacturing Council 1912” on the reverse. in collaboration with the Paul Vickers Gard- Of special interest to researchers are the ner Glass Center, with support from Corning Library’s new subscriptions to the following Incorporated and Alfred University. This pro- electronic databases: Art Index and Art In- gram is designed to explore ways in which dex Retrospective, which present citations teams of artists and scientists can expand the from leading international art publications frontiers of glassmaking. from 1929 to the present; Bibliography of The Library was also invited by the Amer- the History of Art, which focuses on publi- ican Scientific Glassblowers Society to create cations relating to European and American a poster of its services. The poster was dis- art history from late antiquity to the present; played during the annual ASGS conference and Decorative and Applied Arts Index, in Saratoga Springs, New York, and it result- which features annotated references to more ed in new contacts with members of the so- than 500 design and craft publications since ciety. 1973. All of these databases are available to The staff welcomed about 1,000 visitors on-site users. during the year, including 600 individual During the year, we completed the cat- researchers and groups of students from aloguing of several important collections. colleges and area high schools. Hours were Among them is our unique collection of 26 extended as a service to students enrolled in of the 31 known editions of Antonio Neri’s courses at The Studio. We also continued our L’Arte Vetraria, the first book devoted entire- participation in a three-year, grant-funded ly to the art of glassmaking. Our holdings program to help teachers in the Watkins Glen of this work, first published in 1612, include (New York) Middle School employ Museum a copy of the 1662 English edition, which resources in their curriculum. was presented to King Charles II of England. Approximately 12,000 reference ques- We also catalogued our collection of about tions were answered, 700 items were sent 80 batch books. Some of these books are on to other institutions and individuals on in- microfiche, but many of them are originals. terlibrary loan, and nearly 200 items were Finally, many books from the personal li- borrowed in response to patrons’ requests brary of the late Laura R. Houghton that are for materials from other sources. beneficial to glass researchers were added to our cataloguing records. *** About 3,200 new citations of books and Acquisitions by Category periodical articles were added to the Li- Monographs 2,470 brary’s online catalog. In addition, some Films/videotapes/DVDs 91 2,500 entries that had formerly appeared in Other audiovisual materials 40 the bibliographies of the Journal of Glass Slides 3,500 Miscellaneous 199 Studies and New Glass Review were con- verted to the electronic format. Financial Donors The Library expanded its outreach efforts Jay and Micki Doros, Irvington, NJ in several new directions in 2004. Its section Dorothy-Lee Jones, Sebago, ME of the Museum’s Web site (www.cmog.org/ Howard Lockwood, Fort Lee, NJ

24 George L. Miller, Roebling, NJ Bird Brain Inc., Ypsilanti, MI David D. Schepps, Aventura, FL Blue Spiral 1, Asheville, NC Maynard E. and Marion S. Steiner, Oradell, NJ Flora Bonzo, Corning, NY Lauriston Ward Jr., Sebago, ME Angela Bowey, Paihia, New Zealand Neila and Tom Bredehoft, St. Louisville, OH Lenders of Materials to Be Duplicated British Society of Master Glass Painters, Broadfield House Glass Museum, London, England Kingswinford, England British Society of Scientific Glassblowers Michele Oka Doner, New York, NY Videotape Library, Caithness, Scotland Val and Rob Smith, LABAC, Leawood, KS Thomas S. Buechner, Corning, NY Meyda Tiffany, Yorkville, NY The Bullseye Connection, Portland, OR Bullseye Glass Company, Portland, OR Donors to the Library Collection J. Burnside, New York Education Peter Aagard, Corning, NY Department, Albany, NY ABR Imagery, Bloomington, IN Edward A. and Louise K. Bush, Painted Post, NY Jennifer Adair, It’s All Glass, Dickson, TN Michael Cable, Sheffield, England Erich Aeschlima, New York, NY California State University–Fullerton, John R. Ahfeld, Early American Pattern Glass Fullerton, CA Society, Lancaster, PA Camard & Associés, Paris, France Aladdin Mantle Lamp Company, Canadian Clay & Glass Gallery, Waterloo, Clarksville, TN Ontario, Canada Andrew E. Albertson, Cooperstown, NY Richard Candee, York, ME Alderfer’s Fine Art & Antiques, Hatfield, PA James Carpenter, James Carpenter Design Abdallah Al-Kahtany, The Islamic Educational Associates, New York, NY Center, Khamis Mushait, Saudi Arabia Jordi Carreras, Barcelona, Spain Sheikh Saud bin Mohammad bin Ali Al- Carson Home Accents, Freeport, PA Thani, Doha, Qatar Casa Editrice Leo S. Olschki, Florence, Italy American Bottle Auctions, Sacramento, CA CERFAV, Vannes-le-Châtel, France American Cut Glass Association, Ramona, CA Chappell Gallery, New York, NY Amici dei Musei di Roma, Rome, Italy Château de Blois, Blois, France Andante Travels, Salisbury, England Václav Cigler, Prague, Czech Republic Susana Arbáizar González, Fundación Lázaro Coastal Bend College, Beeville, TX Galdiano, Madrid, Spain Anne and Marvin Cohen, Los Angeles, CA Frances D. Armentrout, Naples, FL College of Santa Fe, Santa Fe, NM Arrow Springs, Shingle Springs, CA The Contemporary Museum at First Artichoke Publishing, Vancouver, British Hawaiian Center, Honolulu, HI Columbia, Canada Hilary Cool, Nottingham, England Artificial Eye Clinic, Vienna, VA Corning Incorporated, Endicott, NY Aurora Studios, Oswego, NY J. W. and Treva Courter, Kevil, KY Balingen Grosse Kreisstadt, Balingen, Crayon Soup, King of Prussia, PA Germany Robert W. Crolius, The Refractories Institute, Pronob and Gail Bardhan, Corning, NY Pittsburgh, PA José Pedro Barosa, Santos Barosa, Lisbon, The Currier Museum of Art, Manchester, NH Portugal Barbara Czurda, Vienna, Austria Arlon Bayliss, Anderson, IN Shu Feng Dai, Beijing, People’s Republic of China Beadcats, Wilsonville, OR André Darquennes, Waterloo, Belgium Claire Beaulieu, Montreal, Quebec, Canada The David Collection, Copenhagen, Denmark Beaver Galleries, Canberra, Australia De Boccard Edition-Diffusion, Paris, France Susan Belyea, Glass Roots, Kingston, Ontario, Maria De Vasconcellos e Souza, Museu da Canada Vista Alegre, Ilhavo, Portugal S. A. Bendheim Co. Inc., Passaic, NJ Delphi Stained Glass, Lansing, MI Bendzunas Glass, Comer, GA Denver Glass Machinery Inc., Englewood, CO Pierre Berge & Associés Société de Ventes DK Publishing Inc., New York, NY Volontaires, Paris, France John Dodozy, Great Barrington, MA Barry L. Bernas, Gettysburg, PA Kelly Doeing, Lancaster, PA Alex Bernstein, Worcester Center for Crafts, Michele Oka Doner, New York, NY Worcester, MA Günter Dörfel, Dresden, Germany Philippa Beveridge, Barcelona, Spain Peter Drobny, Corning, NY

25 John Drury, Brooklyn, NY Henry Halem, Kent, OH Easy Leaf Products, Los Angeles, CA Sami Harawi, Mostly Glass Gallery, Edmund Industrial Optics, Barrington, NJ Englewood, NJ Gerald M. Eggert, Rochester, NY Jirˇí Harcuba, Prague, Czech Republic Eglomisé Designs Inc., Devens, MA Matt Hargreaves, Kent, WA Erwin Eisch, Frauenau, Germany James Harmon, Barto, PA Robert C. Eldred Co., East Dennis, MA James M. Havens, Olean, NY Bohumil Eliáš, Prague, Czech Republic Gerard Hawthorn Ltd., London, England James J. Elsis, Selden, NY Haystack Mountain School of Crafts, Elvehjem Museum of Art, Madison, WI Deer Isle, ME Paul and Lori Engle, Hubbardston, MA Robert Held Art Glass, Vancouver, British Everson Museum of Art, Syracuse, NY Columbia, Canada The Fenton Art Glass Company, Heller Gallery, New York, NY Williamstown, WV Hiemer & Company, Stained Glass Studio, Giancarlo Ferraris, Pinerolo, Italy Clifton, NJ Fervan’s Main St. Mercantile, Avoca, NY Tomáš Hlavicˇka, Prague, Czech Republic Diego Feurer, Tesserete, Switzerland Irene Hollister, Hanover, NH George F. Fishman, Fine Arts Mosaics, Holsten Galleries, Stockbridge, MA Miami Shores, FL James R. Houghton, Corning, NY Fitzwilliam Museum, Cambridge, England Houze Glass Corporation, Point Marion, PA Veronika Flesch, Straunberg, Germany Hubbardton Forge, Castleton, VT George A. Fogg, Boston, MA Hyde Park Union Church, Chicago, IL Chantal Fontaine, Brussels, Belgium Beth Hylen, Corning, NY Fortessa Inc., Sterling, VA Instytut Archeologii UMK, Uniwersytet Fortuna Fine Arts Ltd., New York, NY Mikolaja Kopernika, Toruñ, Poland Alex Fotheringham, Northumberland, England Islamic Archaeological Mission in Egypt, The H. C. Fry Glass Society, Beaver, PA Middle Eastern Culture Center in Japan, Galerie Espace Verre, Montreal, Quebec, Canada Tokyo, Japan Galerie Pokorna, Prague, Czech Republic JamFactory Contemporary Craft and Design, Galleria Rossella Junck, Venice, Italy Adelaide, Australia William L. Geary, Västervik, Sweden Herbert F. Johnson Museum of Art, Cornell Gemini Kaleidoscopes!, Zelienople, PA University, Ithaca, NY Diana George, Austin, TX Adrian Jones, Akron, OH Georgia Marketing Group, Lawrenceville, GA Olive Jones, Ottawa, Ontario, Canada Glasfachschule Zwiesel, Staatliches Berufsbil- Susan Henshaw Jones, Museum of the City of dungszentrum für Glas, Zwiesel, Germany New York, New York, NY Glass Act, Santa Maria, CA Joslyn Art Museum, Omaha, NE Glass Art Society, Seattle, WA The Judson Studios, Los Angeles, CA Glass Crafters, Sarasota, FL James D. Julia Inc., Fairﬁeld, ME The Glass Eye Studio Co., Seattle, WA Kalmbach Publishing Co., Waukesha, WI Glass Manufacturing Industry Council, Leo Kaplan Modern, New York, NY Westerville, OH Peggy Karr Glass, Randolph, NJ Glass Packaging Institute, Alexandria, VA Dedo von Kerssenbrock-Krosigk, Corning, NY Godinger Silver Art Co. Ltd., Ridgewood, NY Kimbell Art Museum, Fort Worth, TX Javier Gómez, Alcorcón-Madrid, Spain King’s Chandelier Co., Eden, NC Gorny & Mosch Geissener Münzhandlung Alison Kinnaird, Midlothian, Scotland GmbH, Munich, Germany Kirks Lane Lamp Parts Company, Bristol, PA Carlotta Graedel-Matthâi, Austin Desmond Alex Klein, Royal Leerdam Crystal, Leerdam, Fine Art Ltd., London, England The Netherlands Brian Graham, Doylestown, OH Koganezaki Glass Museum, Kamogun, Japan Rudi Gritsch, Kramsach, Austria John Kohut, Elkland, PA Monica Guggisberg, Paris, France Vladimír Kopecký, Prague, Czech Republic Margery Pearl Gurnett, Pearl Glassworks Ltd., John and Tammy Kosla, Lake Zurich, IL Rochester, NY Kuhn Studio Inc., Winston-Salem, NC Jens Gussek, Halle, Germany Kunsthaus Lempertz, Cologne, Germany Habatat Galleries, Great Barrington, MA Kunstkammer Georg Laue, Munich, Germany Habatat Galleries, Royal Oak, MI J. & R. Lamb Studios Inc., Clifton, NJ Ben Hafey, Toronto, Ontario, Canada Landmark Lighting Inc., Chula Vista, CA

26 Irena Lazar, Pokrajinski Muzej Celje, Celje, National American Glass Club, Ham Lake, MN Slovenia Jane Nelson, The Villages, FL LEDtronics Inc., Torrance, CA Heidi Neuhoff, Neuhoff Gallery, New York, NY Louis LeLoup, Neupré, Belgium New Orleans Auction Galleries Inc., New Silvia Levenson, Vigevano, Italy Orleans, LA Lights of Distinction, Crystorama Lighting John and Loretta Nielsen, Sunshine State Group, Westbury, NY Carnival Glass Association, Palm City, FL Maurine Littleton Gallery, Washington, DC Marianne Nolan, The Rushlight Club, Ruth de Lorraine, Campbell, NY Brecksville, OH Macalaster Bicknell Company of NJ Inc., North Country Studio Workshops, Hanover, NH Millville, NJ Northeast Auctions, Portsmouth, NH Dian Magie, The Center for Craft, Creativity Northstar Glassworks Inc., Tigard, OR and Design, Hendersonville, NC Old Barn Auction, Findlay, OH Alex G. Malloy Inc., South Salem, NY Tina Oldknow, Corning, NY Marinha Grande Glass Museum, Marinha Olivia Opello, Onondaga County Public Library, Grande, Portugal Hazard Branch, Syracuse, NY Marlborough Gallery, New York, NY Outwater Plastics Industries, Wood-Ridge, NJ Leland Marple, Saratoga, CA Albert Paley, Paley Studios Ltd., Rochester, NY Kathleen Marrs, Alexandria, VA Dr. Paul D. and Elmerina L. Parkman, Bonnie Marsden, Potomac, MD Kensington, MD Eduardo J. Martí, Queensborough Community Mark Pendergrast, Essex Junction, VT College, Bayside, NY Penland School of Crafts, Penland, NC Allison Martin, Wyckoff, NJ Ursula Peters, Germanisches Nationalmuseum, Mary-Anne Martin Fine Art, New York, NY Nürnberg, Germany Luisa Martínez García, Museo de Arte en Vidrio Marc Petrovic and Kari Russell-Poole, de Alcorcón, Alcorcón-Madrid, Spain Centerbrook, CT Marx-Saunders Gallery, Chicago, IL Henning von Philipsborn, Universität David H. Maude-Roxby-Montalto di Fragnito, Regensburg, Regensburg, Germany Château d’Oex, Vaud, Switzerland Lisa Pilosi, The Metropolitan Museum of Art, Kim Mawhinney, The Ulster Museum, Belfast, New York, NY Northern Ireland Ellen A. Plummer, The Arkansas Arts Center, McDermott Glass Studio, Sandwich, MA Little Rock, AR Lani McGregor, The Bullseye Connection Pook & Pook Inc., Downingtown, PA Gallery, Portland, OR Rita Pope, Corning Incorporated, Corning, NY E. Marie McKee, Corning, NY Christian Poulin, Espace Verre, Montreal, Memory Lane Antiques, Bakersﬁeld, CA Quebec, Canada Memphis Brooks Museum of Art, Memphis, TN Prima Donna European Designs Inc., William H. Menzies Jr., The Flow, Tyler, TX New York, NY Gernot H. Merker, Kelheim, Germany Quorum International, Fort Worth, TX Midwest Auctioneers & Realty Inc., Jim Wroda Rago Arts & Auction Center, Lambertville, NJ Auction Services, Greenville, OH A. G. Rauws, Pandhuis Archeologisch & Bouw- John and Shirley Miles, Nelson, New Zealand historisch Centrum, Utrecht, The Netherlands Mint Museum of Art, Charlotte, NC Rejuvenation, Portland, OR Mirror Fair, New York, NY Renaissance Antique Lighting, Newport, RI Mississippi Museum of Art, Jackson, MS Renovator’s Supply Inc., Millers Falls, MA Mode Int’l Inc., Brooklyn, NY Henry Richardson, Richardson Studios, Richard H. Moiel, Houston, TX Easterhampton, MA William Morris, William Morris Studio, Pascal Richet, Paris, France Stanwood, WA Mrs. Robert Richter, Painted Post, NY Dale L. Murschell, Springﬁeld, WV Helmut Ricke, Düsseldorf, Germany Musée-Atelier du Verre, Sars-Poteries, France Rings and Things, Spokane, WA Museo de Arte en Vidrio de Alcorcón, Alcorcón- Rebecca Rockom, Bullseye Connection Gallery, Madrid, Spain Portland, OR Museo del Vetro di Altare, Altare, Italy René Roubícˇek, Prague, Czech Republic Museu Cau Ferrat, Sitges, Spain Roy Electric Lighting Co., Staten Island, NY Museum of American Glass at Wheaton Village, The Royal China & Porcelain Companies Inc., Millville, NJ Moorestown, NJ Museum of Arts & Design, New York, NY Evelyn Ryan, Morgantown, WV

27 Eva Rydlová, Janov nad Nisou, Czech Republic Tim Timmerman, Beaverton, OR Paul Sahlin Tiffany’s, Long Beach, CA Caterina Tognon, Bergamo, Italy Saladin’s, Kennesaw, GA William Traver Gallery, Tacoma, WA Sandy USA, Springfield, MO Robert and Deborah Truitt, Carmel, IN Bob and Jo Sanford, DeLeon Springs, FL Sheila Tshudy, Sabinsville, PA S. S. Sarna Inc., Manhasset, NY Ruriko Tsuchida, Suntory Museum of Art, Adrian Sassoon, London, England Tokyo, Japan Judith Schaechter, Philadelphia, PA Robert Turcan, Craponne, France David D. Schepps, Aventura, FL Universitetet i Oslo, Oslo, Norway Alvise Schiavon, Vetro + Arte Gallery, University of Washington Press, Seattle, WA Venice, Italy University of Wisconsin, Madison, WI Rick Schneider, Salisbury, MD UrbanGlass, Brooklyn, NY Dietrich Schneider-Henn, Munich, Germany Barbara Urbanska-Miszczyk, Piotrkow Schonbek Worldwide Lighting Inc., Trybunalski, Poland Plattsburgh, NY Vallot Fine Art Auctioneers, New York, NY Schoolhouse Electric Co., Portland, OR H. R. van der Woude, Zuidlaren, Lavana Schurtliff, Mt. Pleasant, MI The Netherlands Hank Schwartz, Jamaica, VT Van Dyke’s Restorers, Woonsocket, SD Arlene Palmer Schwind, Portland, ME Alfons Vandervaeren, Kraainem, Belgium L. H. Selman Ltd., Santa Cruz, CA Anne Vanlatum, Musée-Atelier du Verre, Shepardson Studios, Florence, MA Sars-Poteries, France De Sherbinin Products Inc., Hawleyville, CT Wallace Venable, Morgantown, WV Susan Showalter, Van Wert, OH Victorian Lighting Works, Centre Hall, PA Scott Simmons, Sunrise Glassworks, Vintage Hardware, San Jose, CA Belleville, WI Vista Alegre Atlantis SA, Alcobaça, Portugal Josh Simpson, Shelburne Falls, MA W.A.C. Lighting Company, Garden City, NY Val and Rob Smith, LABAC, Leawood, KS Wale Apparatus Co. Inc., Hellertown, PA Snowflake Ornament Company, Fort Wayne, IN Walsworth Publishing Company, Marceline, MO Sørlandets Kunstmuseum, Kristiansand, Norway Wardell Publications Inc., Fort Lauderdale, FL Southern Alleghenies Museum of Art, John J. Weishar, Weishar Enterprises, Ligonier, PA Wheeling, WV Spectrum Glass Co., Woodinville, WA Weiss & Biheller, New York, NY Jane Shadel Spillman, Corning, NY Jorge Welsh, Lisbon, Portugal Remi Spriggs, New York, NY Josef Welzel, Hadamar, Germany St. Anthony Park Lutheran Church, Weppner & Associates, Snyder, NY St. Paul, MN West Virginia Museum of American Glass, Stadt Munster, Munster, Germany Weston, WV Stained Glass Workshop, Farmingdale, NY Westinghouse Lighting Corporation, Stained Glass Workshop, Syosset, NY Philadelphia, PA Frank Starr, Corning, NY Whistlestop Antiques, Fort Bragg, CA Robert F. Starr, Orlando, FL David Whitehouse, Corning, NY Kimball M. Sterling Inc., Johnson City, TN Matthew Wiggins, The Chrysler Museum of Art, Steuben Glass Inc., Corning, NY Jean Outland Chrysler Library, Norfolk, VA Norman D. Stevens, Storrs, CT Nicholas L. Williams, Corning, NY Erin R. Stevie, Marshallville, OH Hugh Willmott, University of Sheffield, Susan Stinsmuehlen-Amend, Ojai, CA Sheffield, England Rick Sweeney, Omni Graphics, San Diego, CA David Wilson Design, South New Berlin, NY Ingrid H. Szabolcs, Vienna, Austria Kenneth M. Wilson, Punta Gorda, FL Thomas A. Tag, Great Lakes Lighthouse Micky Wolfson, Miami, FL Research, Dayton, OH Jerry and Virginia Wright, Corning, NY Barrie Tait Collins, Bethany, CT Jay Okun Yedvab, Toronto, Ontario, Canada Dena K. and Julius Tarshis, Hartsdale, NY Wendy Yothers, Hopatcong, NJ Andrew Thomas, Lightnin’ Bugs—Lamps & Jaroslav Zahradnîk, Železný Brod, Curios, Pearce, AZ Czech Republic Roger V. Thomas, Portland, OR Zen Oriental Art Gallery, Wanchai, Hong Kong, The Louis Comfort Tiffany Foundation, S.A.R., People’s Republic of China New York, NY Jirˇina Žertová, Prague, Czech Republic

28 Donated income to the Museum in- tures was followed by a private dinner with creased eight percent in 2004, led by several the artist for members of the Ennion Society. Development initiatives to raise funds for glass acquisitions The Japanese artist Toshio Iezumi inaugurat- and archival materials for the Rakow Re- ed the series in January with a lecture titled and search Library, as well as scholarships and “Carving Glass.” Iezumi begins with layers Membership special projects at The Studio. of fused plate glass, which he then forms The initial enrollment period for the into glowing, sensuous shapes, using the cen- Ennion Society, a patrons association estab- turies-old tools of the stone sculptor. In June, lished in mid-2002 to raise funds principally the American artist Toots Zynsky and the for acquisitions, concluded on June 30, Danish artist Allan Scharff shared the lectern. 2004, with 73 founding members (see list- Zynsky described how she produces her sig- ing on page 30). nature shaped bowls with pulled and fused Ennion Society members contributed to Italian canes. Scharff, who is primarily a sil- the acquisition of two important works in versmith, combines glass and silver to pro- glass: Imprint of an Angel II, a mold-melted duce sleek shapes that are inspired by his sculpture by the Czech artists Stanislav Li- fascination with leaves, birds, and water. The benský and Jaroslava Brychtová; and Dress, third “Meet the Artist” lecture, which was a sculpture by the American-born artist held in October as part of the Museum’s Karen LaMonte. Donors to Imprint of an 43rd annual Seminar on Glass, showcased Angel II were James R. and Maisie Hough- the 2004 Rakow Commission recipient, Sil- ton, The Carbetz Foundation Inc., James B. via Levenson, who presented her installation, Flaws and Marcia D. Weber, the Ben W. It’s Raining Knives, to the Museum. Ms. Lev- Heineman Sr. Family, Joseph A. Miller and enson is an Argentinean artist who lives and Rachel C. Wood, Peter and Cathy Volanakis, works near Milan, Italy. Wendell P. Weeks and Kim Frock, and Alan The Development Department’s other and Nancy Cameros. Dress was selected by 2004 activities included the organization members of the Director’s, Curators’, Sus- of a reception at The Corning Incorporated tainers, and Collectors Circles of the Ennion Gallery at Steuben in New York City, where Society from two options proposed by the the Museum mounted an exhibition titled Museum’s curators. The selection was an- “’50s Glass.” nounced at the annual Ennion Society dinner More than $65,000 in gifts and grants to at the Museum on November 5. The sculp- The Studio were directed to the glassmaking ture will be made and presented to the Muse- school’s scholarship and artist-in-residence um by the artist, who is living and working funds and the Christopher John Kammerer in the Czech Republic, in 2005. Memorial Scholarship Fund, which provides Members of the Ennion Society also con- tuition support for flameworking students. tributed to the acquisition of notebooks and Dr. Susan W. Schwartz continued her sup- journals that once belonged to Arthur J. and port for the Tom and Sue Schwartz Creativ- Leslie H. Nash, master glassmakers for the ity Fund. A grant from The Triangle Fund Louis Comfort Tiffany Studios. The col- underwrote the third session of glassblow- lection contains glass formulas for the re- ing classes at The Studio for at-risk students nowned Tiffany Studios, written in code. The attending the High School Learning Center Museum acquired not only the notebooks, of the Corning–Painted Post Area School but also the key to the code (see page 22). District. Additional donations were dedi- A gift from Ennion Society members Dale cated to equipping a photography room and Doug Anderson underwrote a curatorial at The Studio, where glassmaking students training program at the Museum. This pro- can take digital photos of objects they have gram was designed to help curators at muse- made. ums around the country become better ac- The Carder Steuben Club Inc., the Mu- quainted with glass as a medium for artists. seum’s first Association Member, made a During the year, a “Meet the Artist” series grant of $3,000 to enhance signage in the of public lectures by noted artists who work Frederick Carder Gallery. This gallery is de- in glass was introduced. Each of these lec- voted entirely to glass designed by Carder,

29 who managed Steuben Glass Works from its Alan and Nancy Cameros founding in 1903 until 1932. Dr. Charles and the Rev. Virginia G. Deneka Other grants received in 2004 included Jay and Micki Doros Robert and Patricia Gilchrist $70,000 in two gifts from the Arthur Ru- Kirk and Penny Gregg bloff Residuary Trust, $15,155 from the Gene and Janet Kammerer Gladys M. and Harry A. Snyder Memorial Dr. Susan W. Schwartz Trust for the purchase of American glass, Ted† and Mary Ann Sprague and $12,000 from The Carl and Lily Pforz- Members heimer Foundation Inc. for a new gallery Maureen and Roger Ackerman guide for the Glass Innovation Center. The Larry and Susan Aiello New York State Council on the Arts made James K. Asselstine and Bette J. Davis a general operating grant of $22,300. Becki and Pierce Baker Total income raised through membership Joan Baxt and development activities—with the excep- Robert A. and Renée E. Belfer tion of general operating and capital support Bob and Brenda Brown Thomas S. and Mary Buechner provided by the Museum’s major benefactor, David Burger Corning Incorporated—was $594,485. Van C. and Susan H. Campbell Dale Chihuly Eleanor T. Cicerchi Jill A. Drummond Development Director Mr./Mrs. Robert Duke Kathy and Richard Fishburn *** Jere Gibber and J. G. Harrington Denise A. Hauselt Founding Members of the Ennion Society Mr./Mrs. John E. Hendricks May 1, 2002–June 30, 2004 James D. Houghton and Connie B. Coburn Laura R. Houghton Director’s Circle † A. C. and Penney Hubbard Polly W. Guth Dorothy-Lee Jones and Lauriston Ward Mr./Mrs. James R. Houghton Sharon Karmazin Robin Lehman and Marie Rolf Jon C. and Judith Liebman Crandall Melvin Jr.† in memory Tom and Peggy MacAvoy of Gertrude C. Melvin Mr./Mrs. Donald B. McNaughton Mr./Mrs. Carl H. Pforzheimer III The Rev. Richard M. Murphy Margaret Pace Willson Paul David and Chloe A. Nassau Curators’ Circle Ann and Barry Nicholson James B. Flaws and Marcia D. Weber Barbara H. Olsen The Ben W. Heineman Sr. Family Elmerina and Paul Parkman Weston H. Jenkins in memory Helene and William S. Safire of Norma P. H. Jenkins Josh Simpson and Cady Coleman Karl H. Koepke in memory Jean Sosin of Anna A. Koepke Richard and Judy Sphon Paul J. and Patricia Stankard Sustainers Circle Dr. Julius and Dena Tarshis Dale and Doug Anderson Mr./Mrs. William C. Ughetta Pamela Lee Biallas Theresa Volpe and Robert Michaelson Olivia and Harlan Fischer Tim and Paddy Welles Daniel Greenberg and Susan Steinhauser Angelique Wellman Elice and Rhodes Haverty Lucille Werlinich E. Marie McKee and Robert Cole Jr. Florence and Ian McKibbin White Joseph A. Miller and Rachel C. Wood Polly and Buzz Strasser Donors to The Studio Peter and Cathy Volanakis Jeremy and Angela Burdge Wendell P. Weeks and Kim Frock Gene and Janet Kammerer Florence and Robert Werner Robin Lehman and Marie Rolf Helene and William S. Safire Collectors Circle Dr. Susan W. Schwartz Kate and Ric Asbeck Josh Simpson and Cady Coleman † Deceased Jeremy and Angela Burdge Theresa Volpe and Robert Michaelson

30 Beyond Venice: Glass in Venetian Style, Lenders to the exhibition, which included 1500–1750 some of the world’s great museums, were Exhibitions May 20, 2004–January 1, 2005 Trustees of The British Museum, London; The Museum’s 2004 special exhibition David Incorporated, Switzerland; Christo- explored the dissemination of Venetian-style pher Fish, United Kingdom; The J. Paul glassmaking across Europe. It brought togeth- Getty Museum, Los Angeles; Keith King, er, for the first time, 133 rare and precious France; Kunsthistorisches Museum, Vienna; glass objects from the Renaissance and early The Metropolitan Museum of Art, New modern period, and displayed them in the context of their time. Two pieces bearing the Medici coat of arms, which had once been part of the same set and are now in different collections, were reunited in Corning. The exhibition was presented in a series of rooms, each of which represented a region that played a role in the exportation of Venetian glassmaking skills and technology. The first room was devoted to Venice itself and showcased objects from the Museum’s Venetian collection. Visitors then viewed outstanding examples of Venetian-style glass made in Austria, Spain, France, the Low Countries, and England. As visitors progressed through the rooms, it became evident that in each of the regions, Venetian-style glass reflected local tastes. Over time, distinct regional differences emerged. “It’s as though Venetian-style glassmaking were a language and each of these Each room in the “Be- yond Venice” exhibition regions developed its own dialect,” said represented a region David Whitehouse, the Museum’s executive that produced glass in director, who organized the show. Venetian style.

View of the English room in the “Beyond Venice” exhibition.

31 torical glass. The Italian impact on contemporary glass throughout the world—and especially in the United States—is the most recent chapter in the long and complex history of Venetian-style glass. Glass is a technically demanding medium, and Italian glassworking techniques are important tools with which contemporary artists realize their ideas. Although Scandina- vian and Czech glassmaking was influential, the Venetians played the most significant role in the development of American contemporary glass. The first American studio glass artist to travel to Venice was Dale Chihuly, who worked at the Venini glassworks in 1968. He was followed at Venini in the late 1960s and 1970s by Richard Marquis, Benjamin The West Bridge exhibi- York; Musée de la Renaissance, Ecouen; Moore, Marvin Lipofsky, and others. Mu- tion “Animals in Glass” Musée du Louvre, Paris; Museu de les Arts ranese glass masters also came to the United featured more than 100 Decoratives de Barcelona; Museum Boijmans States to teach. Lipofsky brought Gianni highly decorative objects that reflect human atti- Van Beuningen, Rotterdam; Museum of Fine Toso to the California Bay Area in 1975, tudes toward animals. Arts, Boston; Rijksmuseum, Amsterdam; and Chihuly brought Checcho Ongaro and The logo of the fish was Royal Ontario Museum, Toronto; and Vic- Lino Tagliapietra to Washington State in taken from one of the Is- toria and Albert Museum, London. 1978 and 1979. The incredible talent, knowl- lamic fragments in the Another part of this exhibition was a dis- edge, and teaching ability of Lino Tagliapie- show. play of the Rakow Research Library’s incom- tra, most of all, have given direction to the parable collection of 17th- and 18th-century careers of many young American artists. The editions of Antonio Neri’s L’Arte Vetraria best artists today do not copy Italian glass. (Florence, 1612), the first published treatise Instead, they reinterpret and extend its dis- on glassmaking. tinctive approach to form and decoration. The show was scheduled to close on Oc- The exhibition featured 28 examples tober 17, but when the Museum suggested of contemporary glass made with Venetian that it be extended to the end of the year to techniques by non-Italian artists. In addition allow our autumn and Christmas-season to pieces by Chihuly, Marquis, Lipofsky, visitors to see it, all of the lenders readily and Moore, there were works by the Ameri- agreed. Seven objects from the exhibition can artists Philip Baldwin, Sonja Blomdahl, will remain in Corning on indefinite loan. William Gudenrath, Dorothy Hafner, Dante Marioni, Kathleen Mulcahy, Steven Rolfe *** Powell, and Richard Ritter; the Swiss artist Monica Guggisberg; and the Japanese artist West Bridge Exhibitions Yoichi Ohira. Younger artists included Amer- icans Nancy Callan, Katherine Gray, and The Italian Influence in Contemporary Kait Rhoads, and Isabelle Poilprez of France. Glass All of the objects in the exhibition were March 18–October 31, 2004 drawn from the Museum’s permanent col- This show was organized by the Muse- lection. um’s curator of modern glass, Tina Oldknow, to accompany the 2004 special exhibition, Animals in Glass “Beyond Venice: Glass in Venetian Style, November 18, 2004–April 24, 2005 1500–1750.” The aim of the “Italian Influ- From the second millennium B.C. until ence” exhibition was to demonstrate that the present day, animals have frequently the influence of Venice is not limited to his- been depicted on glass. Whatever form they

32 take—cast, painted, blown, engraved, York, New York, NY, through April 24, 2004; etched, or pressed—animals in glass invari- 29 objects. ably tend to be highly decorative. Beyond “Steuben 100th Anniversary Exhibition,” The their ornamental qualities, however, these Corning Incorporated Gallery at Steuben, New York, NY, through April 24, 2004; 16 objects. objects reflect something of mankind’s atti- “Ambrogio e Agostino: Le sorgenti dell’Eu- tude toward animals. ropa” (Ambrose and Augustine: The Origins of The earliest of the 101 objects in this Europe), Museo Diocesano, Milan, Italy, through show, which included an 18th-Dynasty stat- May 2, 2004; 11 objects. uette of the ibis-headed Thoth, underscored “Lustrous: A Centennial Celebration of Art the religious importance of animal depic- Glass Designed by Frederick Carder,” Albany tions in ancient Egypt. The Roman and Is- Institute of History & Art, Albany, NY, through lamic objects, mostly fragments that had May 9, 2004; Ball State University Museum of not been exhibited before, focused on the Art, Muncie, IN, July 9–September 26, 2004; beauty and variety of the animal world, Wichita Art Museum, Wichita, KS, October 17, while a display of Chinese snuff bottles re- 2004–April 7, 2005; 42 objects. “Picture This: Windows on the American vealed the symbolic meaning of animals in Home,” Minnesota Historical Society, Saint Paul, the Far East. MN, through October 20, 2004; 12 objects. European glass from the Renaissance to “Glass Threads: Tiffany–Quezal–Imperial– the 19th century showed various approaches. Durand,” Museum of American Glass at Wheaton Following the introduction of the mid-18th- Village, Millville, NJ, April 3–December 7, 2004; century taxonomic system of Carolus Linnae- five objects. us, decoration involving animals changed “American Fancy: Exuberance in the Arts, from symbolic representations to a focus on 1790–1840,” Milwaukee Art Museum, Milwau- zoological characteristics. Today, while ani- kee, WI, April 3–June 20, 2004; Peabody Essex mals still appear in a variety of ways, many Museum, Salem, MA, July 14–October 31, artists continue to employ them as signs in 2004; Maryland Historical Society, Baltimore, MD, December 3, 2004–March 20, 2005; five their work. objects. The show was organized by Dedo von “Nordic Cool: Hot Women Designers,” Na- Kerssenbrock-Krosigk, the Museum’s cura- tional Museum of Women in the Arts, Washing- tor of European glass. ton, DC, April 23–September 12, 2004; three objects. *** “Kickin’ It with Joyce J. Scott,” ExhibitsUSA traveling exhibition, California African-American ’50s Glass Museum, Los Angeles, CA, June 16–October The Corning Incorporated Gallery 20, 2004; Dane G. Hansen Memorial Museum, at Steuben, New York, NY Logan, KS, November 10, 2004–January 7, June 19–October 3, 2004 2005; one object. (Exhibition will tour through The Museum’s 2003 West Bridge exhi- 2006.) bition “Decades in Glass: The ’50s” was re- “The Nature of Craft and the Penland Ex- designed for its showing in New York City. perience,” Mint Museum of Craft + Design, In the 1950s, glass from Italy, Scandinavia, Charlotte, NC, July 3, 2004–January 30, 2005; Czechoslovakia, and the United States re- one object. flected the changing times in practical yet “Eric Hilton Retrospective,” The Corning In- corporated Gallery at Steuben, New York, NY, stylish designs that appealed to a broad October 21, 2004–January 31, 2005; one object. spectrum of society. “Iraq and China: Ceramics, Trade, and Inno- vation,” Arthur M. Sackler Gallery, Smithsonian *** Institution, Washington, DC, December 4, Glass on Loan 2004–July 17, 2005; seven objects. In 2004, the Museum had 133 objects on loan In addition, the Museum lent three objects for to 12 exhibitions in the United States and Eu- temporary display in the collection galleries of rope. These loans are listed below in chronologi- The J. Paul Getty Museum, Los Angeles, CA, cal order. April 12, 2004–February 7, 2005, as a reciprocal “Glass and Glamour: Steuben’s Modern Mo- loan for Getty objects displayed in the Corning ment, 1930–1960,” Museum of the City of New Museum’s “Beyond Venice” exhibition.

33 The year 2004 was one of growth and We introduced the Family Fun Sunday Education excitement for education programs at the program (recently renamed the Family Ex- Museum. ploration Series), which provides informa- We revamped our 50-year-old Junior tion for parents and children about life in Curators program to enable participants various times and places in which glass was to create a show of works by living artists. made. The first of these programs focused Each student selected an artist from The on African beads. Throughout the day, fami- Studio’s collection, studied works by that lies enjoyed presentations by African drum- artist in the Museum’s glass collection, and mers, dancers, storytellers, and beadmakers. gathered additional information in the Ra- They also played the game of mancala and kow Research Library. The artists were in- tasted elephant soup. Each of the five pro- terviewed to learn more about their work grams that were part of this series in 2004 and techniques, and the students even tried included tours of the collection, related craft these techniques themselves in our glasswork- projects, dress-up, an “imagination station,” ing studio. The program included a behind- stories, music, and dance. The series will the-scenes look at how the Museum adds expand to 10 programs in 2005. works to its collection and how it cares for Another new program for both adults them. The students concluded the program and young people was Draw & Discover. by compiling a show of the works they had Participants were given information about been studying and by writing research papers one object in the Museum’s collection, and on the artists they had selected. they then worked with an artist to learn how Our popular Little Gather summer story- to draw that object. Sessions were held sev- hour program for children between the ages eral times each week during the fall. Audience participation of five and 10 more than doubled its 2003 The Education Department continued its is a popular part of the attendance, attracting more than 3,500 par- partnership with the Watkins Glen (New Little Gather summer story-hour program in ticipants. The turnout was so large that the York) Middle School. After considerable the Museum’s auditori- sessions had to be moved from the Rakow preparation at the school, 100 students spent um. Library to the Museum’s auditorium. half a day in the Museum, where they were

34 Fritz Dreisbach (seated) and Dedo von Kerssen- brock-Krosigk (left), the Museum’s curator of Eu- ropean glass, examine trick drinking vessels with students at The Studio. part of small groups that worked with an 4,000 people created glass flowers, beads, artist in The Studio to create a glass model fused picture frames, and sandblasted of one of the planets. They then visited the drinking vessels. Other continuing pro- Glass Innovation Center, where they engaged grams included the popular Elderhostels, in interactive activities on such subjects as which attracted both beginning and expe- lenses and telescopes. The students also at- rienced glass enthusiasts, and the High tended the Museum’s new “Magic of Glass” School Learning Center glassblowing pro- show, which demonstrates the properties of gram. glass. After returning to school, the students A mid-year expansion of the Walk-in wrote essays about the planets and dis- Workshop resulted in the addition of hot- played their glass planets in a model of the working, fusing, and sandblasting projects solar system. for our visitors. The number of spots avail- Almost 11,000 students visited the Muse- able per half-hour increased from eight to um for tours in 2004, a 24-percent increase 20 in the fusing and sandblasting areas, and over the 2003 attendance. from four to six in the furnace-working section. This program was a great success, es- The Studio pecially during the summer season, when 19 percent of the Museum’s visitors elected In 2004, The Studio offered 119 inten- to make a glass object. For the year, 17 per- sive, weekend, one-day, and once-per-week cent of our visitors included the Walk-in classes to more than 1,100 students. A fam- Workshop as part of their Museum experi- ily workshop program was added to the ence, up from 12 percent in 2003. Another class schedule, in which a parent and child new activity involved the making of orna- learned about the Museum’s collection and ments by visitors of all ages. The excitement worked together to create a glass-related expressed by children who are able to blow project during 10 half-day sessions. In the their own glass is infectious! Fun with Glass program, which invites par- Treg Silkwood, Sharyn O’Mara, Vera ticipants to spend several hours trying vari- Vasek, and Helen Schell each spent a month ous glassworking techniques, more than creating work in The Studio as part of the

35 artist-in-residence program. They also ex- idency program. This was almost double plored the Museum’s collection and studied the amount that was collected in 2003. in the Rakow Research Library. Another upgrade resulted in the ability Amy Schwartz to display digital images in our lecture Deputy Director, Education Programs room. In addition, thanks to several gener- and The Studio ous private donations, we have started to create a photography room in which stu- *** dents and artists can produce digital images We wish to thank the foundations, individu- of their work in a professional setting. als, and companies that made generous dona- Two technicians were added to The Stu- tions of money and materials to our programs in dio’s staff during the year. Carl Siglin and 2004: Shawn Murrey now assist Harry Seaman in overseeing our ever-growing facility and its Richard and Kathy Asbeck, Corning, NY upkeep. Bullseye Glass Company, Portland, OR Several groups of high-school and college The Jeremy and Mary Burdge Charitable Trust, students came to The Studio for extended Harrisburg, PA hands-on glassworking and research trips. Don Constable, Metropolitan Contemporary Glass Group, Briarcliff Manor, NY Using a foil mask and They visited the Rakow Library, learned The Crafts Report, Wilmington, DE barrier to protect him- about the science of glass, toured the collec- Glass Alchemy, Portland, OR self from the intense tions, and spent hours on hot-glassworking Glass Brokers, Pittston, PA heat, the flameworker projects. Iwao Matsushima dem- GLP International, Englewood, NJ onstrates the making of During the annual Holiday Open House Margery Pearl Gurnett, Pittsford, NY a core-formed vessel at and glass sale, we raised more than $26,000 Ladislav Havlik, Corning, NY The Studio. to support The Studio’s scholarship and res- Susan and Barry Jacobs, Silver Springs, MD Johnson & Johnson Family of Companies, Princeton, NJ Gene and Janet Kammerer, East Brunswick, NJ (for the Christopher John Kammerer Memorial Scholarship Fund) Nancy King, Elmira, NY Marty Kremer, Poundridge, NY Kier Legree, Savoy Studios, Portland, OR Robert Lehman Foundation Inc., New York, NY Robin Lehman and Marie Rolf, Rochester, NY Litton Engineering Laboratories, Grass Valley, CA Jim Moore, Moore Tools for Glass, Port Townsend, WA Morton Glassworks Inc., Morton, IL Northstar Glass Inc., Tigard, OR Dr. Susan W. Schwartz, State College, PA Josh Simpson Contemporary Glass Inc., Shel- burne Falls, MA Uroboros Glass, Portland, OR Tom and Trish Vermillion, Niceville, FL Theresa Volpe, Kinnelon, NJ Theresa Volpe and Robert Michaelson, Kin- nelon, NJ Angelique Wellman, Hampton, VA

36 Marketing and Communications than 30,000 people through both events. In November, it rolled into Chicago for the in- Marketing, Market research in 2004 clearly showed ternational SOFA (Sculpture, Objects, and that visitors are spending more time than Functional Art) exposition. There it received Commu- ever exploring the Museum: more than three the Art Alliance for Contemporary Glass nications, and a half hours on average, thanks to new Award for its significant contributions to the programs, engaging special exhibitions, and field of contemporary glass. and Public enhanced visitor services. Many visitors take Aggressive advertising and media out- advantage of our extended summer hours, reach efforts also brought recognition and Programs arriving late in the day, and more than half visitors to the Museum. Two new television stay overnight in the region. commercials were created: the first to market As a result of these findings, and in an the Walk-in Workshop glassmaking experi- attempt to encourage repeat visitation, we ence to summer visitors, and the second to launched in September a pilot program highlight to autumn visitors the opportunity called “Free to Rediscover.” Upon entering to explore the world’s best glass collection. the Museum and paying admission, visitors With placements across New York and Penn- may sign up for the program, which then sylvania throughout the summer and fall allows them to return free of charge through months, these commercials helped to attract the end of the year. We were encouraged by new audiences to the Museum. the early response to the program, and we Media relations supported these mes- will continue to promote it in 2005. This sages, with a strong emphasis on increasing was also the first full year of our “Kids awareness of the Museum as a must-see arts Free! 17 and Under” strategy, which gener- destination. “Beyond Venice,” the Museum’s ated a significant increase in family visita- major exhibition in 2004, was covered by tion, especially during the summer months. more than 30 regional, national, and interna- In response to a sustained aggressive out- tional media outlets, from the Boston Globe reach to the international group-tour market to The Magazine Antiques. Partnerships over the past few years, the year 2004 marked with several regional tourism groups resulted the strongest return of international visitors in the Museum’s inclusion in travel stories and group tours that the Museum has expe- carried by the Associated Press, Yankee mag- rienced since September 11, 2001. In fact, azine, and other national publications. early in the year, the Museum was honored Finally, 2004 was an incredible year for by one of the top international travel mar- the GlassMarket. After a strong summer keting organizations, the Receptive Services season, the shop experienced its best sales Association, for its efforts in marketing in day ever on November 26, during its sec- this area. ond annual Day-After-Thanksgiving Sale. The Museum also expanded its reach well Sales remained strong during the holiday beyond the city of Corning. In April, the Hot retail season—quite an accomplishment in Glass Roadshow (the Museum’s one-of-a- what was overall a slow holiday season for kind, state-of-the-art mobile glassblowing most retailers. studio) made its first visit to New York City. Located right outside the Museum of the Public Programs City of New York, at 103rd Street and Fifth Avenue, the Roadshow spent a full week The Museum’s public programs were providing live glassmaking demonstrations tremendously popular in 2004, with record to passers-by, museum visitors, and school attendance at several events. groups. Its activities generated media cover- Our 2300° art happenings reached a new age that included segments on NBC and level of creativity and energy, with a strong NY1, the metropolitan area’s largest cable emphasis on diversity, culture, and communi- news station. ty. At six separate evening events, more than The Roadshow also demonstrated re- 10,000 guests experienced ice sculptures, gionally at Binghamton First Night and the drumming circles, and a variety of music Finger Lakes Wine Festival, reaching more styles, including Motown, Afro-Caribbean,

37 Two young artists have a close encounter with objects from the Muse- um’s collection as participants in the Draw & Discover program.

John Cowden, Hot Glass Show supervisor, displays a glass piece designed by a young visitor as part of the “You Design It; We Make It!” program.

and opera by Glimmerglass Opera. Glassmak- some fun twists. Offerings like Kids’ Night ing was, of course, a highlight each time, at the Museum, Holiday Open House, and with guest artists on the Hot Glass Show Ghosts in the Galleries were free events that stage—from local glassmakers to the re- drew families from around the region to en- nowned Italian glass maestro Gianni Toso. joy gallery hunts, unique crafts, music, magic, One 2300° program was described in a and storytellers. letter to the editor of the Elmira Star-Gazette Programs for daily visitors continued to as “one of the most exciting events ever held increase as well. Our “You Design It; We in Corning. . . . Throughout the evening, Make It!” feature of the Hot Glass Show re- there was a strong sense of community.” In mained popular with young visitors during March, a “cooking with molten glass” pre- the summer and other school breaks. Televi- sentation, developed for a 2300° event, in- sion commercials broadcast during the sum- spired a 10-minute segment on “What’s Hot! mer months highlighted this feature along What’s Cool!,” which aired nationally on the with the “Kids Free!” message, and many Food Network in November. families arrived asking how to participate in Summer Bouquet, the Museum’s interna- the activity. tional wine-tasting event, experienced nearly A new “Magic of Glass” show enhanced double the attendance from the previous the Glass Innovation Center exhibits with year. More than 150 wines from around the demonstrations of the physical properties of world were poured, and more than 35 winer- glass, including the making of fiber optics ies participated in the event, including many and the effects of tempering and annealing of the Museum’s regional partners from the glass. The 15-minute interactive show of- Finger Lakes area. Regional restaurants pro- fered visitors the opportunity to “break” vided food samples and highlighted the area’s glass and to ask questions. culinary offerings. The Hot Glass Show continues to be one For children, public programs were an of the most popular features of the Museum. opportunity to explore the Museum with The “Late Show,” presented at 5:45 p.m.,

38 offered an extended live glassblowing dem- Elmira Distributing Company, Elmira, NY onstration in the spirit of performance art, Willis Ford, Painted Post, NY and more than 15,000 visitors attended. To Fox Run Vineyards, Penn Yan, NY accommodate the large number of viewers, Fulkerson Winery, Dundee, NY Gaffer Grille and Tap Room, Corning, NY an additional “Late Show” was presented Glenora Wine Cellars Inc., Dundee, NY in August. Our visitors love the opportunity The Glory Hole Pub and Eatery, Corning, NY to watch longer demonstrations, in which Goose Watch Winery, Romulus, NY the glassmakers create larger and more com- Grill 125, Radisson Hotel Corning, Corning, NY plicated pieces. In 2004, the “Late Show” Hazlitt 1852 Vineyards, Hector, NY began to feature some of the maestros teach- Hermann J. Wiemer Vineyards Inc., Dundee, NY ing at The Studio as guest artists on stage, Heron Hill Winery, Hammondsport, NY including Pino Signoretto and Davide Salva- Hershey Company, Hershey, PA dore. Hosmer Winery, Ovid, NY Hudson Valley Foie Gras, Ferndale, NY Yvette M. Sterbenk Hunt Country Vineyards, Branchport, NY iGourmet.com, Yorktown Heights, NY Communications Manager Ithaca Fine Chocolates, Ithaca, NY Keuka Springs Vineyard, Penn Yan, NY *** King Ferry Winery, King Ferry, NY Gifts in Kind Knapp Vineyards, Romulus, NY Toby Lagonegro, Elmira, NY Special thanks to the businesses and indi- Lakewood Vineyards, Watkins Glen, NY viduals that provided goods, services, and gifts Lamoreaux Landing, Lodi, NY of time and talent to the Museum in 2004: Lindenwald Haus Breakfast and Catering, Elmira, NY Americana Vineyards & Winery, Interlaken, NY Logan Ridge Estates Winery, Hector, NY Aniello’s Pizzeria, Corning, NY Long Point Winery, Romulus, NY Anthony Road Wine Company Inc., Lost Angel Studio, Corning, NY Penn Yan, NY Lucas Vineyards, Interlaken, NY Anthony’s at Holiday Inn, Painted Post, NY Massi’s Greenhouses, Painted Post, NY Arcadian Estate Vineyards, Rock Stream, NY McGregor Vineyard Winery, Dundee, NY Atwater Estate Vineyards, Hector, NY Miles Wine Cellars, Himrod, NY Baker’s Treat, Flemington, NJ Noslo Glass, Corning, NY The Bistro at Red Newt, Hector, NY Old World Café and Ice Cream, Corning, NY Bloomer Chocolate Company, East Pierce’s 1894 Restaurant, Elmira Heights, NY Greenville, PA Prejean Winery, Penn Yan, NY Blossoms Restaurant, Lodge on the Green, Red Newt Cellars Inc., Hector, NY Painted Post, NY Rico’s Pizza, Corning, NY Bully Hill Vineyards, Penn Yan, NY Rooster Hill Vineyard, Penn Yan, NY Casa Larga Vineyards, Fairport, NY Seneca Beverage Corp., Elmira, NY Castel Grisch Estate Winery, Watkins Glen, NY Sheldrake Point Vineyard, Ovid, NY Château Frank, Hammondsport, NY Standing Stone Vineyard, Hector, NY Château LaFayette Reneau, Hector, NY Swedish Hill Vineyard, Romulus, NY Chemung Spring Water, Chemung, NY Three Birds Restaurant, Corning, NY Chocolate Cheers, Kingston, NY Veraisons at the Inn, Glenora Wine Cellars, ChocoVision, Poughkeepsie, NY Dundee, NY Corning Gaffer District, Corning, NY Vineyard and Winery Management, Corning–Painted Post Area School District, Watkins Glen, NY Painted Post, NY George Vreeland, Buffalo, NY Crystal City Wedding and Party Center, Wagner Vineyards, Lodi, NY Corning, NY Wegmans Food & Pharmacy, Corning, NY Tom Dimitroff, Corning, NY Woodbury Vineyards, Dundee, NY Dr. Frank’s Vinifera Wine Cellars Ltd., Hammondsport, NY

39 Scientific Research to have conventional Byzantine chemical Scientific compositions. However, those from Hosios In 2004, the Scientific Research Depart- Loukas in central Greece proved to be differ- Research ment continued its longstanding chemical ent from the mainstream Byzantine glasses analysis program. Chemical analysis is one recovered from all of the other sites we had and of the most valuable tools scientists have studied. The chemistry showed that the glass Curatorial for studying historical glasses. Quantitative itself had probably been manufactured in analyses were performed on 21 samples of Turkey, and that the glasses were colored in Activities 18th-Dynasty Egyptian glasses. These glasses an unusual way. are of special historical significance, since Work also continued on the interpreta- they had been analyzed qualitatively by Pat- tion of our existing analytical data on glasses rick Ritchie and Marie Farnsworth in 1938. from Pompeii, Cumae, Rhodes, and several The work of these two scientists marked the other sites, as well as on the chemical classi- beginning of modern archeometric studies fication of medieval stained glass windows of glass. The present work was done in col- analyzed by the Museum over the past four laboration with Dr. Norman H. Tennent of decades. That classification scheme was set Glasgow, a recipient of the 2003 Rakow forth in an article in the 2004 volume of the Grant for Glass Research. The new analyses Journal of Glass Studies (see below). We Flint glass pitcher, blown, will be especially valuable in connection hope it will provide a starting point for inter- cut. U.S., Wheeling, WV, with analyses we have already completed of preting data assembled by other scientists Sweeney, or Philadelphia, glass ingots recovered from the 13th-century and scholars working with medieval stained PA, Union Glass Works, B.C. shipwreck at Ulu Burun in Turkey. glass windows. about 1840. H. 24 cm In addition, we completed 51 analyses of The department also began a new pro- (2004.4.74). Purchased with funds from the tesserae from two 11th-century Byzantine gram of strontium isotope analyses in col- Gladys M. and Harry A. mosaics located in Greece and on the Lido laboration with Dr. Paul Fullagar at the Snyder Endowment Fund. in Venice. The tesserae from Venice appear University of North Carolina. These analyses provide a useful tool for distinguishing between glasses manufactured in different locations. The method has been applied to other archeological materials and in forensic science, but its application to glass studies has only recently been undertaken by the Mu- seum and several institutions abroad. Our work will attempt to survey ancient glasses in general, but at the outset the concentra- tion will be on Egyptian and Mesopotamian glasses, as well as on Egyptian blue, a “chemical cousin” of glass that was made throughout the ancient world. Stephen Koob and I organized the Archae- ometry of Asian Glasses workshop that was held in conjunction with the 20th Interna- tional Congress on Glass in Kyoto, Japan. At that congress in September, I turned over to Steve the chairmanship of Technical Com- mittee 17 (Archaeometry of Glass) of the International Commission on Glass, which I had held since its inception in 1984.

Robert H. Brill Research Scientist

***

40 Curatorial Activities

Publications Brill, Robert H. “Laboratory Analysis of Two Glass Objects and a Glaze Sample from Wreck A” (with Philip M. Fenn and Hiroshi Shirahata), in Anna Marguerite McCann and John Peter Oleson, Deep-Water Shipwrecks off Skerki Bank: The 1997 Survey, no. 58 of Journal of Roman Archaeology, Supplementary Series, Appendix B, pp. 176–177 and 214–215; “Scientific Research,” The Corning Museum of Glass Annual Report 2003, Corning: the museum, 2004 (hereafter, AR), p. 37; “The Second Kazuo Yamasaki TC-17 Lecture on Asian Glass: Recent Lead-Isotope Analyses of Some Asian Glasses” (with Hiroshi Shirahata), International Congress on Glass, Kyoto, Japan, 2004; “Stained Glass from Saint- Jean-des-Vignes (Soissons) and Comparisons with Glass from Other Medieval Sites” (with Patricia Pongracz), Journal of Glass Studies, v. 46, 2004 (hereafter, JGS), pp. 115–144. Kerssenbrock-Krosigk, Dedo von. Review of Fernando Montes de Oca, L’Age d’or du verre en tian Style, 1500–1750,” The Magazine Antiques, Palla Set, blown. U.S., France, 1800–1830, in Kunstchronik, v. 57, nos. August 2004, pp. 68–75; “Executive Director’s Seattle, WA, Benjamin 9/10, 2004, pp. 463–467. Report” and “Additions to the Glass Collection: Moore (American, b. Koob, Stephen P. Review of Sandra Davison, Ancient and European,” AR, pp. 2–7 and 8–10; 1952), 2004. (a) D. Conservation and Restoration of Glass, 2nd ed., “From the Executive Director’s Desk,” The Gath- 55.1 cm (b) H. 44.7 cm (2004.4.18). Oxford and Boston: Butterworth-Heinemann, er (Corning Museum of Glass newsletter), Spring 2003, in Journal of the American Institute for 2004, p. 2 (a Spanish ewer), Summer 2004, p. 2 Conservation, v. 43, no. 3, 2004, pp. 289–290. (the 2004 Rakow Grant for Glass Research), and Oldknow, Tina. “Additions to the Glass Col- Fall 2004, p. 2 (“Beyond Venice” exhibition ex- lection: Modern,” AR, pp. 13–15; “Influenze: tended); “Glass and Glassmaking in Byzantine Venezia, Seattle e la cultura del vetro/Under the Italy: The Testimony of Šabbetay Donnolo” (with Influence: Venice, Seattle, and Their Culture of Giancarlo Lacerenza), JGS, pp. 109–113; “Glass Glass,” in Vetri.Nel Mondo.Oggi, ed. Rosa Baro- in the Price Edict of Diocletian,” JGS, pp. 188– vier Mentasti, Venice: Istituto Veneto di Scienze 191; “Preface” and “Foreword” in Jutta-Annette Lettere ed Arti, 2004, pp. 37–40; “Jury State- Page and others, Beyond Venice: Glass in Vene- ment” and “Notes,” New Glass Review 25, Cor- tian Style, 1500–1750, Corning: The Corning ning: The Corning Museum of Glass, 2004, pp. Museum of Glass, 2004, pp. i–vi; “‘Red Glasses 53–56 and 77–84; “Mirror on the Moment: New from Beirut,’” JGS, pp. 195–196; review of Glass Review Turns 25,” Glass (The UrbanGlass C. Entwistle, ed., Through a Glass Brightly, in Art Quarterly), no. 95, Summer 2004, pp. 42–50. Antiquaries Journal, v. 84, 2004, pp. 448–449; Spillman, Jane Shadel. Editor, The Glass Club review of Alan Macfarlane and Gerry Martin, Bulletin, National American Glass Club, nos. Glass: A World History, in Technology and Cul- 198–200, 2004; six entries on glass companies for ture, v. 45, April 2004, pp. 416–418; review of Encyclopedia of New Jersey, New Brunswick, NJ: F. Paolucci, L’Arte del vetro inciso a Roma nel Rutgers University Press, 2004; “Additions to the IV secolo d.C., in Gnomon, v. 76, 2004, pp. Glass Collection: American,” AR, pp. 11–13; 550–554. “Glass and Glass-Related Powder Horns,” The Glass Club Bulletin, no. 198, Spring 2004. Manuscripts Completed Whitehouse, David. “The Art of Crafting the Brill, Robert H. “Chemical Analyses of Some Portland Vase,” Minerva, v. 15, no. 1, January/ Sasanian Glasses from Iraq,” Appendix 2, for February 2004, pp. 19–20; “Corning Museum David Whitehouse, Sasanian and Post-Sasanian of Glass: Museum Director’s Statement,” in S. J. Glass in The Corning Museum of Glass, 2005. Tilden, Architecture for Art: American Art Muse- Koob, Stephen P. “A French Feast: The Cor- ums, 1938–2004, New York: Harry N. Abrams ning Theater in Context” (with Jutta-Annette Inc., 2004, p. 52; “European Glass in the Vene- Page), for Annales de l’Association Internationale

41 pour l’Histoire du Verre, v. 16, London, 2003 Troy, OH; “Crystal City,” The Studio of The Cor- (hereafter, Annales); “Tricks with Epoxy and ning Museum of Glass; “Decorating the Table: Other Casting Materials,” for Objects Specialty Epergnes and Centerpieces,” Cape Cod Chapter, Group Postprints, American Institute for Con- National American Glass Club (NAGC), Sand- servation, v. 10, 2003. wich Glass Museum, Sandwich, MA; “Dining at Oldknow, Tina. “MexicaniDada: The de la the White House,” New York Ceramics Fair, Torres’ Fine Art of Sacrifice,” for Einar and Ja- National Academy of Design, New York, NY; mex de la Torre: Intersecting Time and Place, “Dining at the White House: Two Centuries of Tacoma, WA: The Museum of Glass: Interna- Presidential Entertaining,” The Art of Dining, tional Center for Contemporary Art, and Seattle: Discourse, and Other Diversions symposium, University of Washington Press, 2005; “Painting Newport, RI; “Fakes and Forgeries in American and Sculpture in Glass: Czech Design Drawings Glass,” Founders Chapter, NAGC, Wellesley, MA; from the 1950s and 1960s in The Corning Muse- “Frederick Carder and Steuben Glass,” Albany um of Glass,” for Czech Glass, 1945–1980: De- Institute of History and Art, Albany, NY; “From sign in an Age of Adversity, ed. Helmut Ricke, London to St. Louis by Way of Venice: Glass from Stuttgart: Arnoldsche Publishers, 2005. World’s Fairs,” SG 43; “The Importance of Col- Spillman, Jane Shadel. “The Storer/Tufts Au- lections vs. Marketing,” American Association tomatic Crystal Fountain,” for Annales. of Museums annual meeting, New Orleans, LA; Whitehouse, David. Sasanian and Post-Sasa- “Pre-Kerosene Lighting in Corning’s Collection,” nian Glass in The Corning Museum of Glass, Historical Lighting Society of Canada meeting, 2005; “David Grose: His Contribution to the Corning, NY; “A Taste for the Elaborate: Ameri- Study of Ancient Glass,” for Newsletter, Western can Artistic Glassware,” Santa Barbara Historical Massachusetts Chapter, Archaeological Institute Society, Santa Barbara, CA. of America, v. 18, no. 2, Winter/Spring 2005; Whitehouse, David. “Beyond Venice: Antonio “Glass from the Crusader Castle at Montfort,” Neri and His World,” SG 43; “Beyond Venice: for Annales. Glass in Venetian Style, 1500–1750,” Save Venice Inc., New York, NY. Lectures Brill, Robert H. “The Second Kazuo Yama- Other Activities saki TC-17 Lecture on Asian Glass: Recent Lead- Gudenrath, William. Completed Introduction Isotope Analyses of Some Asian Glasses,” 20th to Furnace Glassblowing with William Gudenrath International Congress on Glass, Kyoto, Japan; videotape for The Studio. lectures to Museum docents and staff: “Ancient Kerssenbrock-Krosigk, Dedo von. Contribut- Glass from Pompeii and the Ulu Burun Ship- ed to a five-day Studio project on trick glass by wreck,” “Glass from Mesopotamia (Ancient Fritz Dreisbach. Iraq),” and “The Glassmakers of Firozabad” Koob, Stephen P. Taught “Conservation of (video presentation). Glass,” one-week course co-sponsored by The Kerssenbrock-Krosigk, Dedo von. “Beyond Corning Museum of Glass and International façon de Venise: Luxury Glass in Central Europe,” Academic Projects at Sydonie (Orlando), FL; 43rd Seminar on Glass, The Corning Museum of taught and supervised one student conservator Glass (hereafter, SG 43); “Das Corning Museum from the New York University Conservation of Glass: Ein Streiflicht auf die Sammlungen der Program for two weeks at the Samothrace Muse- älteren deutschen Glaskunst” (The Corning Mu- um, Samothrace, Greece; taught and supervised seum of Glass: A highlight on its collection of one intern from France in the Corning Museum’s early German art glass), conference of the Fach- conservation laboratory; appointed chairman of ausschuss V, Deutsche Glastechnische Gesell- Technical Committee 17, International Congress schaft, Bischofsgrün, Germany. on Glass. Koob, Stephen P. “Cleaning Glass: A Many- Oldknow, Tina. Trustee, American Craft Faceted Issue,” 32nd annual meeting, American Council, New York, NY; member of advisory Institute for Conservation, Portland, OR. committee, North Lands Creative Glass, Caith- Oldknow, Tina. “Inside/Outside: The Archi- ness, Scotland, and Glass Quarterly, Brooklyn, tecture of Light,” North Lands Annual Confer- NY; member, International Council, Pilchuck ence, North Lands, Lybster, Caithness, Scotland; Glass School, Stanwood, WA. “Notions of Landscape in Glass,” Museum of Spillman, Jane Shadel. Secretary, Association Fine Arts, Boston, MA; “Twentieth-Century Glass Internationale pour l’Histoire du Verre; planned in Venice and Beyond,” SG 43. and led tour of Members of The Corning Muse- Spillman, Jane Shadel. “American Cut and um of Glass to Spain and Portugal. Engraved Glass,” Troy-Hayner Cultural Center,

42 Beyond Venice: Glass in Venetian Style, New Glass Review 25 1500–1750 96 pp., 178 color illustrations. $10.00. Publications Jutta-Annette Page and others 339 pp., 328 illustrations: 281 color, 47 To mark its 25th anniversary, New b/w. $89.00. Glass Review was redesigned, and some new features were added. Perhaps the This book was created to accompany most immediately noticeable change is a major exhibition of Venetian-style glass a substantial increase in the size of the at The Corning Museum of Glass. It be- images in the “Artists and Objects” and gins with a brief history of the develop- “Jurors’ Choice” sections. ment of glassmaking in Venice itself, and Two new sections were added to the then presents a survey of glass made à la publication. The “Notes” section features façon de Venise in five regions: Austria, reports on the artist Preston Singletary and Spain, France, the Low Countries, and his 2003 Rakow Commission, as well as England. In each chapter, following a a discussion of important gifts from Barry BEYOND general discussion of the glass, there is an Friedman (44 works of modern glass) and VENICE “Objects” section that offers an in-depth Margaret Pace Willson (28 large sculptures Glass in Venetian Style look at outstanding examples of the glass- and other works by her late husband, the 1500–1750 maker’s art. Each of the object entries con- artist Robert Willson). The “Recent Im- sists of one or more color illustrations, a portant Acquisitions” section presents il- detailed description, a comment on the lustrations and brief descriptions of 28 work’s significance and parallel pieces, and significant objects added to public and J O U R N A L O F a bibliography. There is also an essay on private collections in the United States and GLASS the social uses of Venetian-style glassware abroad during the previous year. STUDIES in the Netherlands during the 17th century. One major deletion from New Glass The volume concludes with a compre- Review is the bibliography of recently pub- hensive bibliography and a general index. lished articles and books on glass added to the collection of the Museum’s Rakow Journal of Glass Studies Research Library. In 2003, the bibliogra- Volume 46, 2004. 239 pp., illustrations. phy went online, permitting readers to

$40.00. perform keyword searches and to access VOLUME 46 • 2004 tens of thousands of bibliographic records. THE CORNING MUSEUM OF GLASS The 12 articles in this volume include the late Hellenistic glass industry in Syro- Introduction to Furnace Glassblowing Palestine, new evidence of the production with William Gudenrath of raw glass in Apollonia-Arsuf (Israel), 35-minute color videotape. $29.95 (VHS silver-stained windows from a Carolin- format); $35.95 (PAL format); $39.95 gian church in southwestern Hungary, (DVD format). chemical analyses of stained glass window fragments from the abbey of Saint-Jean- This videotape is volume one in the des-Vignes (Soissons, France), Chinese Foundations Series of The Studio of The glass produced for the Tibetan market, Corning Museum of Glass, which is de- and complex glass table decorations made signed to help beginning students learn for 18th-century Venetian banquets. glassworking techniques. It takes a step- The “Notes” section features reports by-step approach to show students all on glass in the price edict of the Roman the basics of glassblowing at the furnace: emperor Diocletian, crosses on glass pil- from tools and equipment to simple glass- grim vessels from Jerusalem, and major blowing exercises to the blowing of a acquisitions by The J. Paul Getty Museum glass tumbler. Intermediate glassblowers in Los Angeles. This volume also contains can use this videotape to refine their color illustrations and brief descriptions skills. of 35 recent important acquisitions by collections in the United States and Europe.

43 Operating Results current operations came from the proceeds Financial on the sale of stock contributed by Corning Fiscal year 2004 was an exciting year Incorporated in 2003, and it was drawn Report for The Corning Museum of Glass. Total from the Museum Operating Reserve Fund. visitation grew 25 percent over 2003. Inter- Contributions from Corning Incorporated national tour group travel from our Asian for facility services amounted to an addi- markets rebounded from the impact of SARS tional $13.1 million. in the prior year. Total tour group visitation Because of the successful year, decisions was 59 percent better than in 2003. Also, were made (1) to expand The Studio’s Walk- the “Kids Free! 17 and Under” marketing in Workshop to support our visitors’ increas- initiative to promote family visitation was ing desire to experiment with glassmaking, very successful, with individual and family (2) to increase acquisition spending for the attendance up 15 percent over 2003 levels. glass and library collections to more than Due to the increased visitation, revenues ex- $1 million, and (3) to make an additional ceeded expectations. Visitor revenues from contribution to the pension plan to increase admissions, retail sales, food sales, and The its funding status. Even with these additional Studio’s Walk-in Workshop grew $1 million expenditures, the net operating surplus at the in 2004 to $6.9 million. end of the year was $450,000. In addition to visitor and other earned The following graphs summarize the revenues, $8.6 million for the funding of Museum’s 2004 operating results.

Earned Revenues and Other Support: $30,230,000

Operating Expenses and Acquisitions: $29,780,000

44 The Corning Museum of Glass Statements of Revenues and Expenditures Years Ended December 31, 2004 and 2003 (Amounts in Thousands)

The following comparative list consolidates the Museum’s unrestricted, temporarily restricted, and permanently restricted activities.

2004 2003 Revenue, gains, and other support: Contributions from Corning Incorporated $ 11,698 $ 21,454 Admissions 1,805 1,503 Sales from merchandising and food services 4,714 4,109 Studio and education programs 1,272 1,124 Other revenues and contributions 835 765 Interest and dividends 462 506 Net appreciation (depreciation) of investments (3,884) 3,958 Total revenue, gains, and other support 16,902 33,419

Expenses: Program Services: Curatorial, exhibitions, and research 5,491 4,896 Studio and education programs 4,072 3,611 Library services 1,157 1,133 Publications 417 456 Visitor services 2,443 2,322 Merchandising and food services 3,552 3,405 Cost of sales from merchandising and food services 2,260 1,909 Depreciation 371 376 Total program services 19,763 18,108

Support Services: General administration 7,370 5,785 Marketing and public relations 1,518 1,460 Information services 522 523 Depreciation 310 402 Total support services 9,719 8,170

Acquisitions: Purchases for the Glass Collection 838 801 Purchases for the Library Collection 213 163 Total acquisitions 1,051 964

Total expenses 30,533 27,242

Other: Minimum pension costs – (611)

Change in net assets (13,632) 5,566

Net assets at beginning of year 36,750 31,184

Net assets at end of year $ 23,118 $ 36,750

45 Financial Position proceeds of $5 million and reclassified as unrestricted net assets. Of the proceeds, $4 million supported 2004 The Museum’s net assets at December 31 are catego- operating expenditures; the balance of $1 million is avail- rized as follows (amounts in thousands): able for 2005 operations and is reported in unrestricted net assets at December 31, 2004. 2004 2003 The $10 million decrease in temporarily restricted Unrestricted 21,381 25,156 net assets was due to $5 million in losses on the sale of Temporarily restricted 377 10,242 stock, and the release of $5 million in proceeds on the Permanently restricted 1,360 1,352 sale to unrestricted net assets for 2004 and 2005 oper- Total net assets 23,118 36,750 ating budgets.

The Museum ended the year 2004 with net assets of Permanently Restricted Net Assets $23.1 million, a decrease of $13.6 million from 2003. The change in net assets was mostly dependent upon The permanently restricted net assets are restricted the timing of cash and/or stock contributions from to investments in perpetuity, the income from which is Corning Incorporated to support operating expendi- expendable to support library acquisitions and annual tures. awards for excellence in glass. In 2004, $24,900 was expended, $18,200 for curatorial grants for the Rakow Unrestricted Net Assets Commission and the Rakow Grant for Glass Research, and $6,700 for library acquisitions. The fund assets re- The major component of unrestricted net assets is main invested 100 percent in short-term bond funds, ac- the Museum Operating Reserve Fund, which was $15.5 cording to the instructions of the donors. million at the end of 2004. This fund was established in 2001 from the proceeds on the sale of stock previously Financial Outlook contributed by Corning Incorporated. A total of $2.5 million was drawn from the fund to support the 2003 The operating budget for fiscal year 2005 has been operating budget. In addition, funds were drawn, as set with expectations for continued growth in visitation, anticipated, to support the 2004 operating budget. With earned revenues, and support from Corning Incorporat- $4.6 million drawn from the fund and investment gains ed. Operating and acquisition expenditures for the year of $1.5 million, the Museum Operating Reserve Fund are expected to total $30.5 million, an increase of three balance was down $3.1 million for the year. percent over 2004. The 2005 deficit from operations is projected to be $9 Temporarily Restricted Net Assets million, up from $8.6 million in 2004. With $1 million remaining in proceeds from the sale of Avanex stock, Contributions to the Museum with donor restrictions Corning Incorporated is budgeted to contribute $8 mil- exceeded $275,000 in 2004, up 44 percent from 2003. lion in 2005, and no funds are expected to be drawn from Of this, $118,500 was for glass acquisitions, $24,500 the Museum Operating Reserve Fund. We are grateful was for library acquisitions, $88,900 was for Studio to Corning Incorporated for its increased support of the scholarship funds and photo lab equipment, and other 2005 operating budget. grants and gifts were $45,300. Donors to Museum Funds (as listed on pages 46 and 47) made a significant Audited Financial Statements contribution to the Museum’s programs, activities, and acquisition strategies in 2004. The complete financial records of the Museum are In 2003, Corning Incorporated contributed two audited on an annual basis. The 2004 audited financial million shares of Avanex common stock, valued at $10 statements and accompanying notes to the financial state- million on December 31, 2003, to support the Museum’s ments are available upon request from the Museum 2004 and 2005 operating budgets. Due to a time re- Controller. striction on the Museum’s ability to sell the shares, the investment was temporarily restricted as of December Nancy J. Earley 31, 2003. The value of the stock declined before the time Director of Finance and Administration restriction expired, and the shares were sold for total

46 Leadership Team John P. Cowden Myrna L. Hawbaker Lesley G. Murphy Hot Glass Show Supervisor Telephone Administrator/ Collection Management Museum Robert K. Cassetti Receptionist Specialist Director, Marketing Lynn M. Creeley and Guest Services GlassMarket Area Stephen Hazlett Paul D. Murphy Staff Coordinator Preparator Information Technology Ellen D. Corradini Manager Human Resource Manager Laurie J. Derr Diane E. Hoaglin Technical Services Assistant GlassMarket Associate Shawn W. Murrey Staff as of Nancy J. Earley Assistant Facility December 31, 2004 Director, Finance and Elizabeth M. Duane Elizabeth J. Hylen Coordinator, The Studio Administration Deputy Director, Marketing, Reference Assistant Communications, and Sales Aprille C. Nace E. Marie McKee Nedra J. Jumper Public Services Team Leader President and CEO Matthew K. Eaker Administrative Assistant, Maintenance Technician Marketing and Guest Victor A. Nemard Jr. David B. Whitehouse Services GlassMarket and Guest Executive Director Shirley K. Faucett Services Manager GlassMarket Area Kathy A. Kapral *** Coordinator Acquisitions Assistant Tina Oldknow Curator, Modern Glass Warren M. Faucett Jonathan J. Keegan Donna L. Ayers Charles C. Stefanini Storage Facility Associate GlassMarket Stock Associate Erin A. O’Neil Web/PC Imaging Information Technology Special Projects Technician Technician John J. Fish George M. Kennard Coordinator, The Studio Constituent Management Gaffer/Narrator Peter Bambo-Kocze Yvette M. Sterbenk Specialist Miriam M. Paul Bibliographer Communications Manager Dedo C. von Kerssenbrock- Membership and Human A. John Ford Krosigk Gail P. Bardhan Resource Coordinator Jill Thomas-Clark Guest Services Coordinator/ Curator, European Glass Reference Librarian Rights and Reproductions Interpreter Nancy J. Perkins Manager Kristy M. Bartenstein Thomas M. Knotts Event Coordinator Andrew M. Fortune Executive Secretary Education Coordinator Milka S. Todorova Assistant to the Photog- Shelley M. Peterson GlassMarket Area Deborah K. Bates rapher/Mount Maker Stephen P. Koob Storage Facility, Retail Coordinator Guide Services Coordinator Conservator Technology, and Inventory Angela L. French Control Supervisor David R. Togni Jr. Jeannine M. Bates Accounting Associate Sonia K. Kosty Controller GlassMarket Associate GlassMarket and Donald G. Pierce Lori A. Fuller Administrative Support Gaffer John S. Van Otterloo Billie Jean Bennett Technical Services Team Associate Web Coordinator Guest Services Team Leader Leader Martin J. Pierce Valerie M. Kretschmann Information Technology Lynn R. VanSkiver Mathew R. Bieri Lekova K. Giadom Accounting Associate Technician Guest Services Associate Storage Facility Coordinator Assistant Preparator David A. Kuentz Richard W. Price Karen L. Vaughn Kelly L. Bliss Steven T. Gibbs Maintenance Technician Head, Publications Visitor and Student Cataloguer Manager, Events Marketing Lynn H. Labarr Department Coordinator, The Studio Flora A. Bonzo William J. Gilbert Gaffer Cassandra J. Putman Tour Reservations Ling Wang Safety Manager Assistant Buyer Coordinator JoAnne M. Leisenring Database Administrator Eric S. Goldschmidt Guest Services Associate Jacolyn S. Saunders Gladys M. West Nancy R. Brennan Walk-in Workshop Assistant/ Publications Specialist Walk-in Workshop Buyer Resident Flameworker Suzette L. Lutcher Coordinator GlassMarket Team Leader Amy J. Schwartz Robert H. Brill Barbara J. Gordnier Deputy Director, Education Melissa J. White Research Scientist GlassMarket Associate Joseph J. Maio Jr. Exhibitions Coordinator Programs and The Studio Assistant Collection Elizabeth R. Brumagen Management Specialist William Gudenrath Harry E. Seaman Reference Librarian Resident Adviser, The Studio Louise M. Maio Public Programs Facility Supervisor, Tina M. Wilcox Warren M. Bunn II Sheila A. Guidice Coordinator The Studio Accounting Associate Registrar Consumer Market Carl A. Siglin Nicholas L. Williams Coordinator Julie A. McAlinn Nivedita Chatterjee Secretary to the Deputy Facility Coordinator, Photographic Department Processing Archivist Bonnie L. Hackett Director, Library Resources The Studio Manager GlassMarket Area Eleanor T. Cicerchi Tina S. Snow Nicholas C. Wilson Coordinator Deborah G. Mekos Development Director Advertising and Creative Marketing and Communica- GlassMarket and Guest Ser- Michael J. Hardy Services Specialist tions Coordinator vices Technical Coordinator Margaret C. Comstock Group Account Inventory Control Jane Shadel Spillman Shana L. Wilson Representative Lisa D. Miller-Gray Coordinator Senior Accounting Associate Curator, American Glass Assistant to the Research Brandy L. Harold Scientist Edward J. Cornelius June E. Stanton Assistant Registrar Brooke M. Monks Audiovisual Coordinator Guest Services Associate GlassMarket and Guest Violet J. Wilson Richard S. Harpending Services Supervisor Administrative Assistant, Julia A. Corrice Exhibit Technician/ Timothy M. Morgan Curatorial Department Serials Assistant Frank H. Starr Demonstrator Information Technology Technician Gallery Educator and Daniel J. Woodard Laura A. Cotton Weekend Supervisor Operations Manager Curatorial Research Assistant

47 Docents Docents Volunteers The Museum has a wonderful group of For more than 50 years, volunteers have and docents. We started the year with 49 docents, been fundamental to the success of many who were joined in the fall by 18 new do- Museum activities. In 2004, volunteers sup- Volunteers cents. The docents led almost 900 tours in ported such programs as 2300°, Kids’ Night 2004. Docents participate in monthly meet- at the Museum, the Little Gather storytelling ings, where they learn about our exhibitions hour, and our Holiday Open House. At spe- and how to present our collection to the pub- cial events hosted by the Museum, volunteers lic. New docents participate in a 10-week served as ushers, greeters, and ticket collec- training program. tors. They also assisted staff members with These docents, and their years of service mailings, data entry, telephoning, and filing. to the Museum, are: Our volunteers include scientists, teachers, nurses, and administrators, and they Philip Addabbo, 13 William Plummer, 2 offer a broad range of skills. Their efforts James Bange, 5 Ted Popovich, 1 are greatly appreciated. Kathryn Baumgard- Anna Rice, 6 Volunteers in 2004 were: ner, 4 Lucille Richter, 17 Bonnie Belcher, 7 Martha Ritter, 3 Eloise Ackerson Terri Grace Barbara Burdick, 3 Loris Sawchuk, 24 Stanley Ackerson Awanda Hunt Richard Castor, 4 Randy Schiavone, 2 Elaine Acomb George Hunt Zung Sing Chang, 2 Tracey Simoniti- Marcia Adamy Julie Hunt Mary Chervenak, 13 Stocker, 3 Surya Adibhatla Tom Hunt Marcelline Dunn, 4 Gisela Smith, 1 Hilda Allington Joan Jacobs Jean Ecklund, 4 Jeff Taylor, 1 Rose Marie Baker- Sally Johnson Shirley Edsall, 4 Patricia Thiel, 12 Paris Carrie Jumper Charles Ellis, 3 Steve Tong, 1 Helen Bierwiler Larissa Lima Mazzali Nancy Evans, 2 Edward Trexler, 2 Nancy Burdick Lee Mertson Willis Ford, 4 Daneen Wassink, 1 Annette Bush Mildred Miles Steve Gee, 1 Terry Callahan Julie Miller Sherry Gehl, 4 New docents are: Anne Capawana Janet Mong Yvonne Hargrave, 2 Margaret Carter Erin Nagyfy Thomas Hart, 3 Karen Biesanz Ann Cassler James Nelson Virginia Hauff, 4 Kylie Blaylock Bruce Cassler Kavita Patil Eloise Hopkins, 3 Julia Bratti Charles Chase Roxanne Reed William Horsfall, 2 Margaret Cooke Lois Chase Joy Sabol Mary Ellen Ivers, 15 Anne Darling Sally Childs Pat Sabol Carla Dyer Jaeger, 1 Marilyn Denson Harold Cook Emma Schockner Albert Johnson, 3 Cheryl Glasgow Phyllis Cook Deborah Smith Jean Krebs, 2 John Kohut Mary Ann Cross Carolyn Stephenson Philip LeBlanc, 3 Mary Margeson Diana Cushing Maria Stutzman Lenore Lewis, 6 Mia McNitt Beverly Dates Genevieve Tarantelli Doris Lundy, 13 Daniel Minster Rita Donnelly Winifred Thom Patricia Lynch, 4 Virginia Minster Helene Ford JoAnne Woodruff Barbara McLean, 3 Barbara Powell Yolanda Giuffrida Radha Wusirika Martha Olmstead, 4 William Powell Roberta Osgood, 1 Karen Rowe Mary Peterson, 16 Sharon Ryerson Tami Peterson, 2 Kathleen Solometo Asija Pikula, 4 Joseph Strait