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All Posts by Lindsay Woodruff

  • November 26, 2012
  • 1 comment

Donà Tools giveaway honors the legacy of Elio Quarisa

Elio Quarisa was a beloved Italian maestro and instructor who taught at The Studio of The Corning Museum of Glass for many years, as well as in other studios and glass schools throughout the country. He loved to share Venetian … Read more →

  • Posted in: The Studio
  • November 7, 2012
  • 0 comments

Local glass artist Lindsay Woodruff learns coldworking techniques for jewelry at The Studio

Although I grew up in Corning and had visited the Museum before, I never could have guessed the impact glass would have on my life. When I began working at the Museum as an Explainer in high school, a new … Read more →

  • Posted in: The Studio
  • October 12, 2012
  • 2 comments

Laura Donefer and Jeff Mack at The Studio: September 2012 Collaborative Residency

Each year, The Studio invites selected instructors who have taught intensive courses during winter or summer class sessions over the past five years to apply for the Instructor Collaborative Residency, a seven- to ten-day residency held in September. The chosen … Read more →

  • Posted in: The Studio
  • October 9, 2012
  • 0 comments

Telling a story in glass: Celebrity Scholarship recipient Elizabeth Fortunato

Elizabeth Fortunato began studying glassblowing at the Pittsburgh Glass Center through a high school program. She continued working with glass through college, exploring kiln working at Kent State. This summer, she was awarded a Celebrity Cruises Glassmaking Scholarship to take … Read more →

  • Posted in: The Studio
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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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