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Posts Tagged ‘casting’

  • July 2, 2016
  • 2 comments

Behind Carol Milne’s Secret ‘Knitted Glass’ Techniques

In Session Three at The Studio, we find a special process in the work room. Carol Milne teaches the technique of creating glass pieces that appear to have been knitted! This week-long class takes an intensive look at the steps behind … Read more →

  • Posted in: The Studio
  • November 14, 2015
  • 0 comments

Instructor Highlight at The Studio: Richard Whiteley

Richard Whiteley became an apprentice in stained glass at the age of 15, and went on to earn an undergraduate degree from The School of Art, ANU Canberra, and an M.F.A. in Sculpture from the University of Illinois. Whiteley’s work … Read more →

  • Posted in: Artists, Glassmaking techniques/process, The Studio
  • October 24, 2015
  • 0 comments

Instructor Highlight at The Studio: Silvia Levenson

When Silvia Levenson was a child, her mother bought her one pair of shoes each year. Once, one of the nails in her sole came loose. She remembers trying to hammer it back in, but when she did, it came … Read more →

  • Posted in: Artists, Glassmaking techniques/process, The Studio
  • November 20, 2014
  • 0 comments

Meet a Museum Glassmaker: Jessi Moore

Jessi Moore has been blowing glass for thirteen years. She works mostly with groups who visit The Studio; she also does her own work using different glass techniques. What do you do here at the Museum? I do a variety … Read more →

  • Posted in: Introduction, 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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