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Posts Tagged ‘Linnea Seidling’

  • July 26, 2022
  • 1 comment

Looking back to ’72: The Junior Curators Honor the 50th Anniversary of the 1972 Flood 

Even before I moved to Corning, I had heard about the 1972 flood. A few weeks before I moved across the country to take a position at the Museum, I spent my last day as a volunteer docent at the … Read more →

  • Posted in: Exhibitions, From the Collections, Rakow Library
  • October 7, 2021
  • 0 comments

Burning Questions Answered on #AskACurator Day

The leaves are changing from green to orange, the glass pumpkins are fully on display: fall is here at the Museum! With fall comes one of our favorite virtual events: #AskACurator Day, where folks from around the world can ask … Read more →

  • Posted in: From the Collections, News & Events, Social Media, Staff
  • September 14, 2021
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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
  • May 12, 2020
  • 0 comments

Virtual Journeys into our Collection: Behind the Glass with our Curators

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. Hear … Read more →

  • Posted in: Artists, Education, Favorite Things, From the Collections, News & Events, Programs, Specialty Glass Residency, Staff
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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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