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Posts Tagged ‘Jiří Harcuba’

  • April 7, 2020
  • 0 comments

Virtual Journeys into our Collection: Thoughts from a Glassmaker

This recurring blog series will feature virtual gallery walks with staff members from The Corning Museum of Glass. Everyone at our Museum interacts with the collection in different ways depending on the job they do and the perspective they bring. … Read more →

  • Posted in: Artists, Favorite Things, From the Collections, GlassLab, Staff
  • July 30, 2013
  • 7 comments

Jiří the Teacher

Today’s post comes from Amy Schwartz, Director of Education & The Studio Jiří Harcuba first came to The Studio of The Corning Museum of Glass in 1997, our second summer offering classes.  I wanted to have engraving as part of our curriculum, … Read more →

  • Posted in: News & Events, The Studio
  • July 29, 2013
  • 1 comment

Remembering Jiří

Today’s post comes from Tina Oldknow, Curator of Modern Glass Heritage means to select the most valuable thing from history and hand it over to the next generation….The task of a teacher is to bring closer the most valuable, to … Read more →

  • Posted in: News & Events
  • August 20, 2012
  • 0 comments

Renowned Czech engraver Jiří Harcuba wraps up 15 years of teaching at The Studio

Renowned Czechoslovakian engraver Jiří Harcuba taught his last class at The Studio this summer after 15 consecutive years. First invited to The Studio in 1997, Jiří brought with him an innovative approach to engraving which “brought magic to it,” according … Read more →

  • Posted in: Artists, 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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