Mayer'sche Hofkunstanstalt Gmbh Mayer of Munich

Total Page：16

File Type：pdf, Size：1020Kb

Mayer‘sche Hofkunstanstalt GmbH Mayer of Munich Franz Mayer of Munich, Inc, F. X. Zettler Architectural Art Glass and Mosaic Established 1847 Mayer of Munich‘s studio building around 1847 Mayer'sche Hofkunstanstalt GmbH - Mayer of Munich Current studio, built 1925 Mayer'sche Hofkunstanstalt GmbH - Mayer of Munich St. Peter‘s Church, Rome: Holy Spirit Window, 1905 Mayer'sche Hofkunstanstalt GmbH - Mayer of Munich Notre Dame College, Baltimore, MD Mayer'sche Hofkunstanstalt GmbH - Mayer of Munich Pencil sketch of Archangels Mayer'sche Hofkunstanstalt GmbH - Mayer of Munich Color Sketch Proposal, F. & M. Maqsoodi, St. Williams Church, Roundrock, TX Mayer'sche Hofkunstanstalt GmbH - Mayer of Munich 1:1 Cartoon displayed in our studio; St. Thomas Church Lincoln, NE; Cutting templates Mayer'sche Hofkunstanstalt GmbH - Mayer of Munich Selection of glas samples Mayer'sche Hofkunstanstalt GmbH - Mayer of Munich Cutting the handmade glass Mayer'sche Hofkunstanstalt GmbH - Mayer of Munich Selected colors on lightbox for final check Mayer'sche Hofkunstanstalt GmbH - Mayer of Munich Ceramic glass melting color Mayer'sche Hofkunstanstalt GmbH - Mayer of Munich Tracing the most important lines of the design onto the individual glass piece Mayer'sche Hofkunstanstalt GmbH - Mayer of Munich The mirror on the ceiling allows a better view on the artworks underneath. Mayer'sche Hofkunstanstalt GmbH - Mayer of Munich Mayer'sche Hofkunstanstalt GmbH - Mayer of Munich Shading the color to create depth Mayer'sche Hofkunstanstalt GmbH - Mayer of Munich All ceramic melting have to be fired to the glass surface at approx. 620°C Mayer'sche Hofkunstanstalt GmbH - Mayer of Munich Leading the individual glass pieces Mayer'sche Hofkunstanstalt GmbH - Mayer of Munich Soldering the lead-cames together Mayer'sche Hofkunstanstalt GmbH - Mayer of Munich Putty makes the window waterproof Mayer'sche Hofkunstanstalt GmbH - Mayer of Munich Crating the stained glass panels Mayer'sche Hofkunstanstalt GmbH - Mayer of Munich Mayer'sche Hofkunstanstalt GmbH - Mayer of Munich Mayer'sche Hofkunstanstalt GmbH - Mayer of Munich Mayer'sche Hofkunstanstalt GmbH - Mayer of Munich Mayer‘sche Hofkunstanstalt GmbH Mayer of Munich Seidlstrasse 25 80335 Munich, Germany www.mayer-of-munich.com [email protected] 888-661-1694 .

Copy Link

Recommended publications

The Corning Museum of Glass Annual Report, 2006
The Corning Museum of Glass Annual Report 2006 Cover: Officers The Fellows of The Corning The Fellows of The Corning Museum of Glass Museum of Glass are among Peacock vase, blown; E. Marie McKee the world’s leading glass col- silver-gilt mount. U.S., President Carole Allaire lectors, scholars, dealers, and Corona, NY, Tiffany Gary E. Baker glassmakers. The objectives Amory Houghton Jr. Studios, 1898–1899. Renée E. Belfer of this organization are (1) Vice President H. 14.1 cm (2006.4.161). Robert A. Belfer to disseminate knowledge James R. Houghton Mike Belkin about the history and art of Vice President William W. Boeschenstein* glassmaking and (2) to sup- port the acquisitions program Alan L. Cameros Denise A. Hauselt of the Museum’s Rakow Secretary Lt. Gen. Christian Clausen, retired Research Library. Admission Thomas P. Dimitroff to the fellowship is intended James B. Flaws Jay R. Doros to recognize accomplishment, Treasurer David Dowler and is by invitation. Robert J. Grassi Max Erlacher Assistant Treasurer Christopher T. G. Fish Barbara U. Giesicke David B. Whitehouse William Gudenrath Executive Director Jirˇí Harcuba+ Douglas Heller Trustees A. C. Hubbard Jr. Roger G. Ackerman* Kenneth L. Jobe + Peter S. Aldridge Dorothy-Lee Jones Thomas S. Buechner Leo Kaplan Van C. Campbell* Helena Koenigsmarková + Dale Chihuly Michael Kovacek Patricia T. Dann Dwight P. Lanmon + Robert Duke Harvey K. Littleton James B. Flaws Louise Luther John P. Fox Jr. Kenneth W. Lyon Polly W. Guth Josef Marcolin Ben W. Heineman* John H. Martin + Amory Houghton Jr.* Gregory A. Merkel Arthur A. Houghton III Barbara H.
[Show full text]
Subiaco Abbey
The Abbey Message Subiaco Abbey Vol LXX, No. 2 Fall 2012 For all the saints The Inside by Fr. Hugh Assenmacher, OSB “Day by day, remind yourself that you are going to die.” (Rule of Benedict 4:47) Message “The souls of the just are in the hand of God.” (Wisdom 3:1) “It is a holy and wholesome thought to pray for the dead.” (2 Maccabees 12:45) “May He bring us all together to everlasting life.” (Rule of Benedict 72:12) 2 This collage of texts from the Bible and the Rule illustrate the Christian and monas- Abbot’s Message tic attitude toward death. Thus a monastic cemetery is a comfortable place of continu- ing communion as we wait for the “all together” time. Have you been to Caesarea? The beginning of a cemetery at St. Benedict’s Priory, now Subiaco Abbey, and of St. Benedict’s Parish, was in 1878, shortly after the monks arrived from Indiana. The first burial was that of an elderly bachelor, a Mr. Babel, a brewer from Bavaria. He had lived 3 with the monks for about three weeks and then settled northwest of the town of Paris and began to construct a brewery. Here he fell ill. A Protestant neighbor brought the Abbey Journal news to Fr. Wolfgang at the priory and the prior hurried on the sick call. The next day Gardening without rain! word came that Mr. Babel had died and that there was no one to attend to his burial. The monks made a coffin and Fr. Wolfgang and Br.
[Show full text]
Volume 46, Number 12 (December 1928) James Francis Cooke
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 12-1-1928 Volume 46, Number 12 (December 1928) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 46, Number 12 (December 1928)." , (1928). https://digitalcommons.gardner-webb.edu/etude/47 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. PRICE 25 CENTS December i928 32.00 A YEAR THE ETUDE DECEMBER 1928 Page 893 I DO NOT CARE TO ▼ YetE thTHINK of singing as a com¬ wplete art, an entity in itself. And so I Berkey SING ALONE am called a soloist. BY Yet to me the gift of the human &<jAY voice, divine as it is, is not sufficient unto itself. In grand opera, flute or piano trill cadenzas with the coloratura; the full orchestra thunders the chords of a chorus. Opera stars do not sing alone. If accompaniment is important in opera, it is absolutely SOPRANO vital in concert work. Here the singer must rely entirely on METROPOLITAN OPERA one instrument—the piano. And only when the tone of the COMPANY piano harmonizes completely with the singer’s voice do you ★ have that “sweetest strain” the poet described—“a song in which the singer has been lost”.
[Show full text]
Download New Glass Review 11
The Corning Museum of Glass NewGlass Review 11 The Corning Museum of Glass Corning, New York 1990 Objects reproduced in this annual review Objekte, die in dieser jahrlich erscheinenden were chosen with the understanding Zeitschrift veroffentlicht werden, wurden unter that they were designed and made within derVoraussetzung ausgewahlt, da(3 sie the 1989 calendar year. innerhalb des Kalenderjahres 1989 entworfen und gefertigt wurden. For additional copies of New Glass Review, Zusatzliche Exemplare des New Glass Review please contact: konnen angefordert werden bei: The Corning Museum of Glass Sales Department One Museum Way Corning, New York 14830-2253 (607) 937-5371 All rights reserved, 1990 Alle Rechte vorbehalten, 1990 The Corning Museum of Glass The Corning Museum of Glass Corning, New York 14830-2253 Corning, New York 14830-2253 Printed in Dusseldorf FRG Gedruckt in Dusseldorf, Bundesrepublik Deutschland Standard Book Number 0-87290-122-X ISSN: 0275-469X Library of Congress Catalog Number Aufgefuhrt im Katalog der KongreB-Bucherei 81-641214 unter der Nummer 81-641214 Table of Contents/lnhalt Page/Seite Jury Statements/Statements der Jury 4 Artists and Objects/Kunstler und Objekte 9 Bibliography/Bibliographie 30 A Selective Index of Proper Names and Places/ Verzeichnis der Eigennamen und Orte 53 Is das Jury-Mitglied, das seit dem Beginn der New Glass Review Jury Statements A1976 kein Jahr verpaBt hat, fuhle ich mich immer dazu verpflichtet, neueTrends und Richtungen zu suchen und daruber zu berichten, wel- chen Weg Glas meiner Meinung nach einschlagt. Es scheint mir zum Beispiele, daB es immer mehr Frauen in der Review gibt und daB ihre Arbeiten zu den Besten gehoren.
[Show full text]
Mapd Persen 2012.Pdf (16.89Mb)
Siri Beate Persen, HiOA masteroppgave i materialbasert produktdesign. Forord Denne rapporten skal vise min prosess gjennom masteroppgaven våren 2012. Masteroppgaven går ut på formidling av informasjon og historie ved kulturminnet Nes kirkeruin på en diskret og estetisk måte. Oppgaven er gitt av Akershus Fylkeskommune, ved B. Kjartan Fønstelien, enhet- sleder for arkeologisk feltenhet, Akershus fylkeskommune. Nes kirkeruin og området rundt er historisk og naturen er fredet og trekker med dette både loka- lbefolkning og turister. Skiltet skal være spesielt designet for denne plassen på kulturarvens prem- isser. Samarbeidet startet som en skoleoppgave i emnet PDMM 4500 Materialer i et bærekraftig og estetisk perspektiv, hvor oppgaven ble tildelt. Jeg leverte forslag for fylkeskommunen og det ble et positivt utfall, som begge parter ønsket å jobbe videre med for ferdig resultat. Jeg vil takke min veileder, Kyrre Andersen, ved Høgskolen i Oslo og Akershus for nyttig, faglig diskusjon og praktisk hjelp i prosessen. Jeg vil takke min oppdragsgiver Kjartan Fønstelien ved Akershus fylkeskommune for å gi meg denne oppgaven, for å ha vært en god ekstern veileder, vært positiv og åpen, og ikke minst for å ha betalt for modellen. Takk til Hanne Huseby, produktdesigner, arkeologisk feltenhet, Akershus fylkeskommune. Hun har vært kontaktperson og ekstern veileder og hjulpet meg både tidlig og sent. Jeg vil også takke Øyvind Möller Bakken, fotograf ved Akershusmuseet for å stille opp på kort varsel til fotografering av interiøret i Nes nye kirke. Takk til Elisabeth Jansen Vogt ved Kulturhistorisk museum for å levere fotograferingen av gjen- standene tidligere, trass underbemanning. Takk til Anne Gunn Duenger, daglig leder ved Nes samlinger, for nyttig samtale angående guide ved Nes kirkeruin og for å ta seg tid å sende nyttig informasjon via post.
[Show full text]
Oral History Interview with Kiki Smith, 2017 July 20 and August 16
Oral history interview with Kiki Smith, 2017 July 20 and August 16 Funded by the Pollock-Krasner Foundation. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a recorded interview with Kiki Smith on June 9 and August 16, 2017. The interview took place at Smith's studio in New York, NY, and was conducted by Christopher Lyon for the Archives of American Art, Smithsonian Institution. Kiki Smith and Christopher Lyon have reviewed the transcript. A number of Christopher Lyon's corrections and emendations appear below in brackets with initials. This transcript has been heavily edited. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview KIKI SMITH: After menopause, I just didn't have the same—I don't have the same sort of manic need to be making something every second of the day. And then also, I know the forms of making things often, and I know the forms of exhibiting something, or the distribution of it, and then I have to relearn or find some crevice of something that I've missed, to find a new way to, you know, be excited about what I'm doing. You know, I've been working a long time, so I've had a lot of experiences that for the most part have been very good. Also, I got married recently. CHRISTOPHER LYON: Whoa. KIKI SMITH: So I've spent time being married.
[Show full text]
The Corning Museum of Glass Annual Report 2007
The Corning Museum of Glass Annual Report 2007 Cover: Officers The Fellows of The Corning The Fellows of The Corning Museum of Glass Museum of Glass are among Red /Amber Sliced James B. Flaws the world’s leading glass col- Descending Form , Chairman of the Board Carole Allaire lectors, scholars, dealers, and hot-worked, cased, cut, glassmakers. The objectives E. Marie McKee Gary E. Baker assembled. U.S., Spruce Renée E. Belfer of this organization are (1) President to disseminate knowledge Pine, NC, Harvey K. Robert A. Belfer Littleton (American, Amory Houghton Jr. about the history and art of Mike Belkin glassmaking and (2) to sup- b. 1922), 1984. H. 37.2 Vice President William W. Boeschenstein* cm (2007.4.168). Gift of port the acquisitions program James R. Houghton Alan L. Cameros of the Museum’s Rakow the Ben W. Heineman Sr. Vice President Lt. Gen. Christian Clausen, retired Research Library. Admission Family. Kenneth C. Depew to the fellowship is intended Denise A. Hauselt Thomas P. Dimitroff to recognize accomplishment, Secretary Jay R. Doros and is by invitation. Mark Rogus David Dowler Treasurer Max Erlacher Robert J. Grassi Christopher T. G. Fish Assistant Treasurer Barbara U. Giesicke William Gudenrath David B. Whitehouse Jirˇí Harcuba+ Executive Director Douglas Heller A. C. Hubbard Jr. Trustees Lawrence Jessen Kenneth L. Jobe + Roger G. Ackerman* Dorothy-Lee Jones Peter S. Aldridge Olive Jones + Thomas S. Buechner Leo Kaplan Van C. Campbell* Helena Koenigsmarková + Dale Chihuly Michael Kovacek Patricia T. Dann Dwight P. Lanmon + Robert Duke Harvey K. Littleton James B. Flaws Louise Luther John P.
[Show full text]
Lars Westerlund, the Finnish SS-Volunteers and Atrocities
LARS WESTERLUND The Finnish SS-VOLUNTEERS AND ATROCITIES 1941–1943 SKS The Finnish SS-VOLUNTEERS AND ATROCITIES 1941–1943 LARS WESTERLUND THE FINNISH SS-VOLUNTEERS AND ATROCITIES against Jews, Civilians and Prisoners of War in Ukraine and the Caucasus Region 1941–1943 An Archival Survey Suomalaisen Kirjallisuuden Seura – Finnish Literature Society Kansallisarkisto – The National Archives of Finland Helsinki 2019 Steering Group Permanent State Under-Secretary Timo Lankinen, Prime Minister’s Office / Chair Research Director Päivi Happonen, The National Archives of Finland Director General Jussi Nuorteva, The National Archives of Finland Legal Adviser Päivi Pietarinen, Office of the President of the Republic of Finland Production Manager, Tiina-Kaisa Laakso-Liukkonen, Prime Minister’s Office / Secretary Project Group Director General Jussi Nuorteva, The National Archives of Finland / Chair Research Director Päivi Happonen, The National Archives of Finland / Vice-Chair Associate Professor Antero Holmila, University of Jyväskylä Dean of the Faculty of Law, Professor Pia Letto-Vanamo, University of Helsinki Professor Kimmo Rentola, University of Helsinki Academy Research Fellow Oula Silvennoinen, University of Helsinki Docent André Swanström, Åbo Akademi University Professor, Major General Vesa Tynkkynen, The National Defence University Professor Lars Westerlund Researcher Ville-Pekka Kääriäinen, The National Archives of Finland / Secretary Publisher’s Editor Katri Maasalo, Finnish Literature Society (SKS) Proofreading and translations William Moore Maps Spatio Oy Graphic designer Anne Kaikkonen, Timangi Cover: Finnish Waffen-SS troops ready to start the march to the East in May or early June 1941. OW Coll. © 2019 The National Archives of Finland and Finnish Literature Society (SKS) Kirjokansi 222 ISBN 978-951-858-111-9 ISSN 2323-7392 Kansallisarkiston toimituksia 22 ISSN 0355-1768 This work is licensed under a Creative Commons CC-BY-NC-ND 4.0 International License.
[Show full text]
2020 Oberammergau Tour INFO
ACLSACLS 20202020 OberammergauOberammergau TourTour INFO THE TOUR begins in Munich, nearest international airport to ACLS 2020 Oberammergau. OBERAMMER- MAY 27 With participants arriving from all over we leave your GAU TOUR is a flight arrangements to you. From the airport you can travel opportunity take a train & subway to our hotel. A transit pass is planned for its included in you Tour package. members by the ACLS Board. MMUNICHUNICH The tour is built around the famous MAY 28 Our first day in Munich you can join the optional Church Tour Oberammergau or explore the sights of Munich on your own. In the evening Passion Play which get to know each other better at the Opening Tour Dinner. occurs every 10 years in the Bavar- May 29 We join together for a tour of the stained glass & mosaic ian village of workshop of Franz Mayer Studios in the morning. Following Oberammergau, lunch, a most memorable tour of Dachau in the afternoon. home of ACLS member Johannes Albl. SSALZBURGALZBURG In addition to the Passion Play the tour May 30 We leave Munich moving onto Salzburg stopping at Schloss will include the Ba- Hellbrunn for lunch. Enjoy a music event of the Salzburg varian capital of Whitsun Festival in the evening during our visit to Salzburg. Munich, Salzburg known as the MAY 31 We gather after Mass in the Cathedral for a tour of the “Rome of the North” Cathedral Quarter and Salzburg Castle. and then a rest day June 1 Today you get to enjoy Salzburg on your own, then assem- on your own in Inns- ble in the evening for the Group Tour Dinner.
[Show full text]
Greenwood Organ Company 56 W.St 45Th St
THE DIAPASON AN INTERNATIONAL MONTHLY DEVOTED TO THE ORGAN AND THE INTERESTS OF ORGANISTS S;xly-,set:otul J't'ar, No.3 - II' lIo /~ N o. 755 FEBRUARY. 19i1 Subscriptions $!J.OO a year - 30 ct'ntJ a copy 1970 A. G. O. MID-WINTER CONVENTION Relieved of go,'cnlmcnL members and such an atlrdcti\c acousllCilI selling. First Conb>Tq;ational United Church melody as it J;Ot more ornamented workers (or ill few days between Christ. Au organist is enchanh.'d by the re\'er· completely did the job. It is withoul througbout the variations. and the di· III:!;S :md New Ycar, the Nation's capitol heranl acoustics of the W:uhinglon Ca· a doubt the loudest and harshest organ rations themselves do not seem. to em· was invadro by o\'er 2,1)() members of thedral in spite o( an}' practical limita' this fC\'iewer h35 heard in a long time. body the idea of baroque AlltIc'~nlehre . the A.C.O. who held their Mid-Winter tiolls th"1' might pose. On the other J\nd Mr. Cooper had difficulty playing One could not wish for a better per· "",,'halcha.rna·caU·it" on Dec. 27, 28, 29, hand, the audience accustomed to hear· it Starting with unfortunate registra.. fonnance o[ Durufl~'s work on the: and 30. Headquartered at Washing· ing concert music in the less subtle tions willi very predominant quints in name Alain. Obviously. Mr. Russell was ton's excellent Statler-Hilton Hotel just em ironment of a typical symphony hall harmonic texture and far too many in his glory playing this work.
[Show full text]
January/February 2015 for the Creative
For the Creative Professional Working in Hot, Warm, and Cold Glass January/February 2015 $7.00 U.S. $8.00 Canada Volume 30 Number 1 www.GlassArtMagazine.com Pro Series THE ARTIST WHY RYAN LIKES THIS KILN Ryan Staub is a glass artist who has • Best one on the market. blown glass in 11 different coun- • Gathering port is just right, not so tries and territories, working with all small it’s hard to gather out of, not kinds of glass and glass equipment. so big it dumps all the heat when He currently owns and operates you gather. his own studio in his hometown of • Great for a small home or garage Seattle, Washington. His work can studio. be found in many collections world- • Good addition to a full sized glass- wide as well as online at: blowing studio as an affordable www.ryanstaub.com color pot. • Easy to ramp down slowly, minimiz- ing risk to your crucible. Find out more at • Small and easy to store when not in skutt.com use. • Easily programmable controller with indefinite hold. • Easy to install. • Low energy use, high efficiency. (Average cost is $15/day) staub Gas.indd 1 1/15/14 1:31 PM Letter from the Editor 4 New Year, New Goals for Glass by Shawn Waggoner Warm Glass Studio Profile The Objects of Our Affection 6 Amanda Simmons’ Glass January/February 2015 Volume 30, Number 1 by Shawn Waggoner Marketing Finding More Time in Your Days 12 Techniques for Promoting Social Media Marketing by Mark Veit Hot Glass Studio Profile Filip Vogelpohl 14 A Curious Maker of Glass Art by Colleen Bryan GAS News 20 The 2014 Technology Advancing Glass
[Show full text]
Josette Urso
Josette Urso www.josetteurso.com GRANTS AND RESIDENCIES 2019 Soaring Gardens, The Ora and Lerman Charitable Trust, Laceyville, PA 2018 Ballinglen Arts Foundation, County Mayo, Ireland 2017 Loft Nota Bene, Cadaqués, Spain 2016 Nominated: American Academy of Arts and Letters, New York, NY AIR 3, Ruhpolding, Germany 2014 Ucross Foundation, Clearmont, Wyoming 2013 Adolph and Esther Gottlieb Foundation, Inc., New York, NY Art and History Museums of Maitland - Research Studio, Maitland, FL 2010 Loft Nota Bene, Cadaqués, Spain (1996, 1995) 2009 Yaddo, The Alma B.C. Schapiro Residency, Saratoga Springs, NY 2008 The Pollock-Krasner Foundation, Inc., New York, NY (2007-2008) Franz Mayer of Munich, Inc., Germany (Architectural Glass and Mosaic Studio) Oberpfälzer Künstlerhaus, Schwandorf, Germany 2006 Stock 20, Taichung, Taiwan 2005 Nominated: Lambent Fellowship, New York, NY Full Fellowship, Vermont Studio Center, Johnson, VT 2004 American Artists Abroad, Art in Embassies, Phnom Penh, Cambodia 2003 Weir Farm Trust, Wilton, CT 2002 Ballinglen Arts Foundation, County Mayo, Ireland Heinrich Böll Foundation, County Mayo Ireland Cill Rialaig Arts Center, County Kerry, Ireland 2000 The Basil H. Alkazzi Award, USA Ballinglen Arts Foundation, County Mayo, Ireland 1997 The Pollock-Krasner Foundation, Inc., New York, NY 1996 CFEVA, Philadelphia, PA 1995 Ucross Foundation, Clearmont, Wyoming 1994 Mid Atlantic / NEA Regional Fellowship Painting 1993 Oberpfälzer Künstlerhaus, Schwandorf, Germany (VCCA Exchange) 1991 Camargo Foundation, Cassis, France 1990
[Show full text]