Who are the important British Domestic Glass designers of the 20th century?

[Glen]

Adam, my reference is Cottle ('Sowerby Gateshead Glass'). Your grandfather, Adam Dodds, is noted as taking over the position of manager at Sowerby's in 1907, as Henry Pitt's replacement. Cottle credits your grandfather with the introduction of the Tynesyde Glassware range in the late 1920s "in a variety of new, moulded and cut shapes". It's possible that Herr Schottner (p 39 Cottle) who was "recruited as a designer" was involved in this too.

Cottle notes that your grandfather was associated with the company over for 50 years. His time as Manager coincides with the introduction of Carnival (Rainbo and Sunglow) at Sowerby's. He is (to my way of thinking) of great significance.

[Adam]

Glen - I think my rather short last posting has given the wrong impression.  I of course knew of all the facts which you gave and was certainly not running down my grandfather.  Everyone who knew him thought highly of him (even my mother, who was not known for seeing the best in people!).  He retrieved the company with a long struggle after taking over from the infamous Pitt.  I am certain that the period when he was in charge of Sowerbys and his great friend Tom Davidson was in charge of Davidsons was one of the high points, if not THE high point of Gateshead glassmaking.  Perhaps my definition of the word "designers" is a bit too narrow - I thought that it meant the people, many with a background of art, who sit down and produce designs on paper and then, perhaps, follow them through to production.

My grandfather, following his early career only from the census records, had a business and/or accounting type of background.  He certainly developed into a very able, possibly brilliant manager and undoubtedly deserves full credit for all the innovations which you mention.  He obviously gave every encouragement to whatever designers he either employed or consulted.  I only wish I had known him (but if I had, statistically I would probably not be here now!).  My only query was whether or not he was a hands-on designer as I understand the term.  Maybe he did some of that as well - I honestly don't know, which was why I raised the query.

Adam D.

[sph@ngw]

Thank you for these replies. helpful, unhelpful and critical! May i just explain the reason for this little museum   :mus:.
I have been connected with glass for over 50 years (I started aged seven in the packing dept on Saturday mornings at 2/6d (about15p) for a morning's work; dodging the factory inspector's visit (luckily seldom on a Saturday!) but holidays as well.. (shades of Kingsley's Water Babies!), when I was sent to play!" in the sand pit!
I celebrate this year, 40 years, working in glass, including working in France for St Louis, Baccarat, and the French Glass Federation. I have visited over 48 glass factories - I will not bore you with the list -in the UK and Europe, most of which have now closed. (Sorry this may sound like bragging but it is the truth!)! I also knew, as colleagues and friends, Geoffrey Baxter (I went over to Whitefriars in Harrow about twelve times between 1970 and 1980 when they closed and bought about 8 paperweights directly from Geoff,), Frank Thrower of Dartington (one of the most charming talented and self effacing people I have ever met), Michael Harris, highly talented soft spoken charmer, Ronnie Stennett-Willson, (back in the 1970's), and most of bosses of the British Domestic glass companies between 1970 and today. I wish to pay tribute to them in the Museum.
 I also chaired the Hand Made Glass Section  at the Glass Manufacturer's Federation from 1982 to 1986, and was a member of The Council until it moved to Sheffield, when I stepped down, due to distance. I also chaired the Science Museum Glass Gallery from 1979 to 1989, and am still chair of the British Glass Education Trust since 1979! So glass is important to me, it keeps me and my family clothed, housed and fed, this is not a hobby!

It was NOT my original idea to set up a Museum. Andy McC in writing his Miller's Guide of 20th Century Glass, and meeting me for the first time asked, 
"Stephen, why do you not collect glass?"
"Are you mad, I am surrounded by it all day long, give me a break!"
"But you have known all these guys, you are the last link left!"
That last remark never occurred to me so starting with 30 inherited pieces, I started collecting what I liked and regard as typical of everyday use... not the stuffy Museum pieces at auction, glass of the people, used  and loved by us our parents and grandparents.   
So blame Andy he has broad shoulders!
My aim is not just to display British glass from the 20th century. We have researched in detail over 80 British companies, written, briefly their histories, displayed them on a map of the UK, and recorded the reasons for the decline of the British Industry.
(For instance on Tuesday the grand daughters of two glass makers from the Albert Glass Works in Vauxhall in the 1870's are coming to show me pieces of glass made there and inherited by them, plus records that may fill in another small pieces of the missing jig-saw of the past!)
Sadly I believe it will never recover, BUT on the brighter side there are some great glass artists and studios and I venture to say the British, ( I shall not name names...!) are among the best in the world, (We do show examples from about 10!).
Andy and I believe we have a unique resource, the ability to both visit a glass museum and see glass still being made near London (yes, both Caithness and Dartington do this!). But they do not illustrate, inform and perhaps educate people into the beauty, talent and range of British Domestic Glass. Come and see it - special offer up to Christmas of £2.50 a head (free if if you spend £25 in the factory shop!) - and then please pick it to pieces! We learn from constructive criticism, we learn little from praise or flattery! As French writer Georges Duhamel said, "Conserver c'est encore creer" ("To conserve is still a creative act".)

For instance, we have just learned that Len Kempton, who left our company in the late 1930's and died in 1993 (I think!) was a pioneer in the New Zealand Glass industry and made glass well into his Eighties! We have the NZ press cuttings and photos to prove it! 
Angela, any interest?

[Frank]

Thanks for that Stephen, I do hope that you give yourself a credit in your displays too. Hopefully in the next couple of years I will get to the UK and come visit.

I think what you are doing is grand!

[Heidimin]

I have no problems with the concept of a museum of British domestic glass production - in fact, I think it's a great idea. Every museum has to have its own focus and I'm sure influences from other countries will be apparent in their impact on British designers.

On designers, I would definitely include AHW - I may be partisan, but he contributed some of Bagley's most distinctive designs, was a leading figure in the move away from "pseudo-cut glass" in the late 30s and post-war period, took mass-produced decorated tumblers to a new level, and was for 30 years chief designer for one of the largest British domestic glass producers of the second half of the C20th (Sherdley/ Ravenhead).

I'm not so sure about Annette Meech - I admire the small number of designs she did for Ravenhead, but she was/is primarily an art glass designer. John Clappison designed a large number of ranges for Ravenhead in the mid-70s, but this was a relatively short interlude in a career primarily focussed on ceramics.

Harold Stabler not Howard btw.

[Glen]

Adam - first, my apologies for not responded to you sooner, but I have been away at a Carnival Glass convention and have only just returned. Second, my apologies for misunderstanding you earlier. I fully understand now exactly what you're saying and I'm really grateful to you for those further, fascinating insights into your grandfather.

I was certainly interpreting "designer" in a much looser and wider way than perhaps I should, for the purposes of this thread. I didn't mean to suggest that your grandfather had actually made the drawings etc for the Sowerby pieces, but that he was the impetus behind it all.

May I also take this opportunity to correct myself earlier too....I was rushing (last week was exceptionally pressured and rushed for me) and I wrote John Jenkins when I meant Douglas Jenkins from the company John Jenkins.

[David E]

Harold Stabler not Howard btw.

Looks like we were both rushing Glen! I just noticed Heidi's comment - not the first time I've made this mistake and he'll probably be Hubert or Humphrey next time around! :D

I also agree that sometimes people heavily involved with 'producing' ground-breaking designs, might not have actually been the designer, but the impetus. Credit is still due to these people for their vision.

[ChrisStewart]

Don't forget Thomas Davidson. he designed most of Davidson's glass between 1890 and his death in 1937. And of course he invented pearline, cloud glass and the flower dome.

Chris

[Glen]

Don't forget Thomas Davidson.

He gets my vote too.

[josordoni]

So interesting Stephen, now that the museum is open, I must come and visit.  If it is a nice day, maybe I'll take a boat out at Broxbourne too!

Moderator: Excessive quote removed

[Frank]

... but that he was the impetus behind it all...

Which would put an entirely different twist on things. Yet there is surely a dilemma in pre, say, 1930 when there were few people recognised as 'designers' and often they were anonymous employees. Designer obsession and indeed the discipline of design history barely existed 20 years ago and most of those that did have a following then were firstly major as architects or artists. Glen is emphasising that management had a major impact on design in that it chose to allow, disallow or encourage in an industry that, in the UK, was largely conservative and reluctant to embrace change.

[Sklounion]

Hi,
Whilst design history is a relatively modern phenomena, after 1950, there was very clearly a shift in British industry as a whole, toward the use of designers. Some of this was a response to two major exhibitions, "Britain can Make It" and the Festival of Britain, but arguably also a response to reducing market share as imported glass from Scandinavia and Czechoslovakia, made its impact. The use, by certain UK  glassmakers, of the Design Research Unit, (Jobling)  members of the Society of Industrial Artists, (GEC) and various RDIs (Royal Designer for Industry) (Chance) is relatively well documented, such designers were instrumental in leading change, and few of those designers were primarily architects or artists. Irene Stevens clearly specialised in glass, and was the first female glass designer to have worked in the British glass industry (I may be mistaken).
Designer recognition (rather than obsession) was apparent in the 1960s.
Marcus

[Frank]

Yes, I was referring to the earlier part of the century but added confusion by then talking about managements importance which was more general. I readily admit to very patchy knowledge in this area particularly after 1950.

[sph@ngw]

May I thank all those who have contributed names and ides of British Glass Designers. missing of course is Christopher Dresserregarded perhaps as teh faher of modern British designer ( along with Rennie Mackintsoh in Scotland!
yes, he did design manynon glass items, but i hope to feature him and many of the otehr names mentioned.
My next plan is a tribute to the late great Peter Deiser, MBE one of the nicest and most talented people I hav ever met!
We worked together on a few projects including the amazing ruby glass cone, ( one of the last things made at Thomas Webb's Dennis Hall Works!, now on loan to the Science Museum,.
It was commissioned for the Glass Gallery set up in the 1960's by The Glass manufacturer's Federation in  Portland Place, ( noe British Glass in Sheffield) with coloured windows designed by  David Queensberry (another great name of British design, sadly overlooked!).

Anyway, hopefully "Peter Dreiser MBE, Engraver Extrodinaire" - together with the Guild of Glass Engravers support, will be an exhibition for Spring 2008 to look forward to, in a large hi tech state of the art setting,
( actually some refurbished  air conditioned prestige offices  I iam commandeering for the purpose before reletting them!) So no " Black Hole of Calcutta" for those members of the Glass Circle who visited in June! ( A Training room planned for 20 with 32 visitors, and no air con on a very warm day...Sorry!)

A tribute to this gentle talented giant who I believe to be the finest copper wheel engraver of the 20th century and who died last autumn, is badly overdue!  S.

[Frank]

Can I suggest that you complement your exhibitions with a permanent set of web pages, illustrating everything in the exhibition with good sized images... you could start it towards the end of the exhibition perhaps?