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Posts Tagged ‘William Gudenrath’

  • December 7, 2021
  • 0 comments

Things to Do When You’re a Student at The Studio… Besides Going to Class (2022 Edition)

The Studio of The Corning Museum of Glass hosts more than 1,000 students in its glassmaking classes every year. We welcome students from all over the country and the world to our classes. Here are a few things students can look forward … Read more →

  • Posted in: Glassmaking techniques/process, News & Events, The Studio
  • March 23, 2021
  • 1 comment

Finding Marietta: Evan Turk’s Drawings Bring the Story of the Rosetta Bead to Life

This blog post comes to us from guest contributor Evan Turk, an award-winning illustrator and children’s book author. Originally from Colorado, Evan was, until recently, living in the Hudson Valley of New York, only a short drive away from the … Read more →

  • Posted in: News & Events
  • July 14, 2020
  • 0 comments

And Now For Something Completely Different (or, Don’t Mention the Pythons)

If someone asked, “Hey, remember the time John Cleese visited the Museum and blew glass?” you could be excused for doing a double-take and thinking “What, when?!” Well, strap in, because we’ve got a story for you, and the person … Read more →

  • Posted in: News & Events, The Studio
  • May 9, 2019
  • 3 comments

A short history of Bill Gudenrath

Whether you are local to Corning, New York, or a glass enthusiast anywhere around the globe, chances are you have heard the name William Gudenrath. You might avidly follow his work and have attended his classes and lectures, or you … Read more →

  • Posted in: 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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