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Posts Tagged ‘glass engraving’

  • January 24, 2023
  • 1 comment

Donor Profile: Charles Nitsche and Mary Lammon Nitsche

A Crystal Legacy Preserved Passionate supporters of learning opportunities in glass engraving, Charles Nitsche and his late wife, Mary Lammon Nitsche, have a lengthy history of involvement and support for The Studio of The Corning Museum of Glass—and have most … Read more →

  • Posted in: Donor Profiles
  • September 20, 2022
  • 1 comment

The Last Engraving: Max Erlacher, a memorial

Two months on from the unexpected passing of Max Erlacher, colleagues and dear friends at The Corning Museum of Glass have shared their thoughts and memories of working alongside the legendary glass engraver. Born Roland “Max” Erlacher in Austria in … Read more →

  • Posted in: Artists, News & Events
  • September 14, 2021
  • 0 comments

Engraving Your Heart on Your Sleeve: Glass Engraving Techniques and Self Expression in 1700s Britain

The special exhibition In Sparkling Company: Glass and the Costs of Social Life in Britain During the 1700s opens with the story of lead glass. The first display case that visitors encounter holds two goblets, both made in England about … Read more →

  • Posted in: Exhibitions, Glassmaking techniques/process
  • July 2, 2015
  • 0 comments

Enhancing the Sparkle: New Assistants to Focus on American Brilliant-Cut Glass Collection Thanks to Luce Grant

There’s something remarkable about walking through our Crystal City Gallery. The light catches every cut—every engraved detail—of the hundreds of pieces on display, all of which were made in Corning. Seeing where the process starts, with a “blank” piece of … Read more →

  • Posted in: News & Events, 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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