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All Posts by Eric Goldschmidt

  • October 4, 2022
  • 1 comment

Igniting The Flame: Behind the Scenes on an Exciting New Film Project

Early in the morning of Monday, March 14th, 2022, I left an Airbnb apartment near Piazza San Marco in Venice and walked through the quiet alleys to catch the Vaporetto (public transit boat) that would take me to the island … Read more →

  • Posted in: Artists, News & Events
  • February 22, 2022
  • 0 comments

Coyle, Hoobs, and Ryno: A Powerful Flameworking Collaboration

It’s a very exciting time to be a flameworking artist! The process of flameworking involves the use of a focused flame to soften and shape glass, and this segment of the glass art world is seeing a massive surge in … Read more →

  • Posted in: Artists, Hot Glass Demos
  • August 10, 2021
  • 0 comments

Flameworked Desserts: A Delicious Challenge

While it is typical for museum exhibitions to show beautiful and functional objects and provide compelling interpretive text to describe the objects and their use, The Corning Museum of Glass decided to throw in an extra treat this summer. In … Read more →

  • Posted in: Exhibitions, Glassmaking techniques/process
  • August 11, 2020
  • 2 comments

Fiber Optics at 50! How Corning Connected the World

Did you know that every call you make, every video conference you participate in, and every show you binge-watch is possible because of the network of glass underneath it all? Fiber optic technology is the backbone of our communications networks … Read more →

  • Posted in: News & Events
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It’s finally Spring! We’re celebrating with Pyrex’s “Spring Blossom” pattern. Known to collectors as “Crazy Daisy,” this pattern was produced from 1972 to 1981 and was designed by Sara L. Balbach. Pyrex using this pattern was designed specifically to accompany Corelle dinnerware with the same pattern. Learn more about Pyrex at pyrex.cmog.org. 4 Quart Pyrex Bowl with Lid and Stand, Sara L. Balbach (designer), Corning Glass Works, Charleroi, Pennsylvania, 1972-1979. 2010.4.360.We always love seeing these pictures from the height of cut glass production in the Crystal City! In 1903, Thomas Hawkes, the founder of local cut glass firm T. G Hawkes & Co., recruited English glassmaker Frederick Carder to establish Steuben Glass Works in Corning, NY. This photo shows Thomas’ son, Samuel, and Frederick Carder in front of Steuben Glass Works the year it was founded. The Rakow Library digitized this photo from a negative lent to us by Jane Levatino, who was Samuel Hawkes’ granddaughter. [Frederick Carder and Samuel Hawkes in front of Steuben Glass Works office] [picture]., Corning, NY, 1903. CMGL 112278.Object of the Week: Schwarzlot, Johann Anton Carli, Rhine Palatinate, Germany, about 1675. 2010.3.143. Schwarzlot is a sepia enamel first used to paint on stained glass and was eventually used to paint on glass vessels. Johann Anton Carli, who created this piece, is thought to have been trained as a painter of window glass and was one of the few enamelers of Schwarzlot in his region during the second half of the 17th century.This pendant, one of the earliest types of glass found in Mesopotamia, may represent the goddess Ishtar or one of her devotees. The Mesopotamian goddess of fertility and abundance, Ishtar was a popular deity in the ancient middle east, with close connections to other ancient goddesses like the Phoenician Astarte and Greek Aphrodite. The protruding belly and large breasts on this figure may represent the desire for a healthy pregnancy or gratitude for a safe delivery, and a plea to the goddess for her support, of an ancient woman.Pendant with Nude Female, Northern Mesopotamia, 1500-1200 BCE, 55.1.64.This pendant, one of the earliest types of glass found in Mesopotamia, may represent the goddess Ishtar or one of her devotees. The Mesopotamian goddess of fertility and abundance, Ishtar was a popular deity in the ancient middle east, with close connections to other ancient goddesses like the Phoenician Astarte and Greek Aphrodite. The protruding belly and large breasts on this figure may represent the desire for a healthy pregnancy or gratitude for a safe delivery, and a plea to the goddess for her support, of an ancient woman.Pendant with Nude Female, Northern Mesopotamia, 1500-1200 BCE, 55.1.64.

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