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Posts Tagged ‘Astrid van Giffen’

  • December 1, 2020
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CSI (Conservation Special Investigation): Blaschka

Like forensic investigators, conservators collect, examine, and document evidence to help solve mysteries. This is the story of one such investigation. The Backstory The incredibly life-like and detailed invertebrate models made by Leopold and Rudolf Blaschka in the mid to … Read more →

  • Posted in: Conservation, From the Collections, Research
  • June 30, 2020
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An Unusual Charge: Conserving a Volta’s Straw Electroscope

As a conservator at a glass museum, most of the conservation treatments I do are on glass, but sometimes we are faced with other, less expected materials. One of the more unusual treatments I’ve done recently was repairing the straws … Read more →

  • Posted in: Conservation, From the Collections, Recent Acquisitions
  • May 21, 2020
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The Snowflake Warrior Vase: Experiments to understand snowflakes and their suspension

I was intrigued and somewhat baffled when introduced to the Snowflake Warrior Vase and other snowflake glass objects in the Museum’s collection by Dr. Shelly Xue, our 2019 Carpenter Foundation Fellow for Asian Glass, and Astrid van Giffen, associate conservator … Read more →

  • Posted in: Conservation, From the Collections, Glassmaking techniques/process, Research, The Studio
  • March 3, 2020
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The Snowflake Warrior Vase: What is snowflake glass?

Snowflake glass is a unique type of 19th-century Chinese glass that, as the name implies, invokes images of snow. The effect is created with varying amounts of white inclusions (small particles inside the glass) and small air bubbles in a … Read more →

  • Posted in: Conservation, From the Collections, Glassmaking techniques/process, Research
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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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