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Posts in Category ‘tiffany mosaics’

  • December 6, 2017
  • 1 comment

Mining for Tiffany’s mosaics in the digital age

This post comes from Morgan Albahary, curatorial and collections assistant of The Neustadt Collection of Tiffany Glass and contributor to the Tiffany’s Glass Mosaics publication. The “Digital Age” has forever changed the way we research. From the more than 25 … Read more →

  • Posted in: Exhibitions, Research, tiffany mosaics
  • November 20, 2017
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American Indians in Tiffany’s Marquette Mural

Logan Pappenfort met us in the lobby of the Peoria Tribal Headquarters in Miami, Oklahoma. I’m the Director of Education and Interpretation at the Corning Museum of Glass, and with me were a video producer and two videographers from the … Read more →

  • Posted in: Exhibitions, From the Collections, tiffany mosaics
  • October 23, 2017
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Photographing Tiffany’s mosaic installations

One of the challenges of organizing Tiffany’s Glass Mosaics was that many of Tiffany’s mosaics are located in their original architectural settings, or in situ, and cannot be removed to loan to an exhibition. Curators Kelly Conway and Lindsy Parrott … Read more →

  • Posted in: Exhibitions, tiffany mosaics
  • September 7, 2017
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Beyond Tiffany: Ancient, Modern, and Contemporary mosaics in CMoG’s galleries

This post was written by Katherine Larson, Assistant Curator of Ancient and Islamic Glass, and Alexandra Ruggiero, Assistant Curator If you’ve had a chance to visit our changing exhibition, Tiffany’s Glass Mosaics, you’ve likely been mesmerized by the glass mosaics on … Read more →

  • Posted in: Exhibitions, From the Collections, tiffany mosaics
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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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