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Posts Tagged ‘Marvin Bolt’

  • September 29, 2020
  • 1 comment

From NASCAR to Netflix, everything is Connected by Glass

This week, on October 1, 2020, the Museum’s virtual program Connected by Glass will air its 10th episode, a special discussion in connection with our new mini-exhibit Transparent: voting in America. To reach this milestone is an exciting and well-deserved … Read more →

  • Posted in: Digital, News & Events, Programs, Staff
  • September 1, 2020
  • 7 comments

Three Unbreakable Layers: The Secret of Corelle

As I walked onto my deck, dinner in hand, ready to enjoy a beautiful summer evening, I looked at my plate and suddenly remembered that my blog on Corelle was due. Dinner would just have to wait. Like many people, … Read more →

  • Posted in: Exhibitions, From the Collections, Glassmaking techniques/process, Installations
  • 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
  • April 10, 2018
  • 0 comments

The (Blue) Butterfly effect

When approaching Jeroen Verhoeven’s Virtue of Blue, you might first see a cloud of winged insects crowding around a central light. To me, it brings to mind those long, lazy summer evenings when moths and other flying creatures noisily and … Read more →

  • Posted in: From the Collections
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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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