Glass Message Board
Glass Identification - Post here for all ID requests => Glass => Topic started by: chopin-liszt on November 04, 2012, 01:13:01 PM
-
In order to try to keep a good chronicle of images from the Studio Glass Movement, some folk have suggested (and I agree) we should divide the thread into decades.
This thread is for pieces from 1980 to 1990.
To kick off, one of my very favourite pieces of my whole collection, from Jim Megura, a good friend of oldglassman's, now in the same business as Peter - antique drinking glasses and a prestigeous author on the subject. Not making glass any more, a great loss to all of us.... but I and others, have told him to start again! ;)
And an unusual perfume bottle from Iestyn Davies, dated '88. I don't know where this was made, it involves two different shades of gold foil at different depths within the glass. It does not look as if it had anything to do with his time at Strathearn and as far as I know, different shades of gold foil were not used at IoWSG.
-
I'm going to copy some information out of a book I have
'Contemporary British Glass' Published in January 1993 to accompany the exhibition 'The Glass Show', a Crafts Council Touring Exhibition.
( Mods please delete if I should not be copying this)
Firstly two comments found in the chapter " ' British Glass A Short History', Dan Klein, Vice President, Christie's, Geneva, European Director in charge of 20th Century Decorative Art "
"Whilst at the end of the 1970's there was considerable blowing skill in Britain, glass casting was in its early days. Undoubtedly Keith Cummings has been the chief inspiration to the next generation of students after him, and his pupils include Colin Reid, Tessa Clegg, and Keith Brocklehurst."
page 15
and
"If the first wave of British glass artists concentrated on blowing, the next development was a long period of technical discovery (concerned as much with developing the machinery itself as with perfecting skills in using it). This began at the end of the 1970s and spanned the 1980s, with the inherent risk of the technique itself becoming the art form."
page 15
the following chronology taken from pages 9 and 10
1980 - Keith Cummings publishes 'Techniques of Glass Forming'
1981 - Corning Glass Museum's 'New Glass' exhibition at the Victoria and Albert Museum
1982 - Glass Symposium, NOvy Bor, Czechoslovakia
- Sunderland Polytechnic glass course established
- Coleridge of Highgate 'Class of '82' exhibition, 23Sep-9Oct, first of a series of yearly exhibitions at Coleridge of Highgate
1983 -'Directions - Touring exhibition of B.A.G. (this is British Artists in Glass) shown initially at Commonwealth Institute,London
- Coleridges opens at Piccadilly Arcade, in London's West End
1984 - Ulster Museum begins collection of contemporary glass
- B.A.G exhibition at Shipley Art Gallery in Gateshead,Tyne and Wear, and later in Boston Massachussettes, USA
- Rachel Woodman set up studio with Neil Wilkin in Bath
1985 - Architectural Glass conference, Novy Bor, Czechoslovakia
- 2nd Coburg Glass Prize for Modern Studio Glass in Europe, where Diana Hobson wins a major prize.
- Glassworks (London) Ltd, established in Finsbury Park, London by Catherine Hough, Simon Moore and Steven Newell
- Studio Glass exhibition at British Crafts Centre (now Contemporary Applied Arts), Covent Garden, London 12July-10August. Also in 1987, 1989, 1991
1986 - 'Glass in the Environment' sponsored by the Crafts Council and Royal Institute of British Architects, aided by Pilkington Glass Ltd
- B.A.G. exhibition at Liberty's Department store, London
1987 - B.A.G. exhibition at Harvey Nichols department store, Knightsbridge, London 13 Sep-18Oct
1988 - 'Interglass Symposium', Novy Bor, Czechoslovakia
1989 - Wilson and Gough opens Draycott Avenue, Chelsea, London
- Design Museum opens at Butler's Wharf, London
- Coleridge closes
-
I've got a few photographs of the Ulster Museum of Belfast contemporary collection....
here are some from the '80s.
-
These are early pieces blown by Neil Wilkin. In 1984 (or 1985 the dates conflict in my book) Neil Wilkin set up a studio with Rachel Woodman
The white bowl is part of a set I own and they are unmarked but from the '80s I believe and confirmed Wilkin pieces.
The bowl with the green rim trail or lipwrap is marked W&W Bath 1985 and I believe that is a Neil Wilkin and Rachel Woodman piece
The blue trailed vase is another early piece blown in 1986 and marked Neil Wilkin Bath Festival 1986
-
Norman Stuart-Clarke egg exhibited at Coleridge Piccadilly - made when Norman was at the London Glassblowing Workshop and signed Norman Stuart Clark LGW 83
-
Iestyn Davies 1998 Blowzone Pefume bottle
Blowzone was started in 1987
A Daniel Edler American studio vase called Flora and dated 1990
Daniel was one of the founders along with Harvey Littleton and Dominick Labino
A Jenny Blair Designs perfume bottle impressed on base JBD
-
HEINER DÜSTERHAUS for Vera Walther
I think this belongs here? My bottle vase is signed and dated '85
http://gold.beepworld.de/myindividuality.htm
and an iridescent vase from Peter Layton made whilst London Glassblowing Workshop were at Rotherhithe (opened 1970 - source Contemporary British Glass published in January 1993). I think this vase is 80's rather than 70's but it's not dated, just signed.
-
I am unsure whether this belongs here, but have estimated it might be - it could be earlier though.
signed George Elliot Worcestershire
http://www.glass-routes.com/elliot.html
-
Norman Stuart Clarke vase called Red Mountain and made whilst he was in Praze an Beeble around 1986
Please search 'Norman Stuart Clarke' on this board for more information on his history
-
That would go so nicely with my goblet, produced in '83 at the London Glass Works!
-
oooh you lucky thing! a great match :)
m
-
A small piece by Elizabeth Swinburne likely to have been blown during her time as a student, around the early 80s.
Elizabeth Swinburne, kindly, provided me with some background info on the piece a couple of years ago now. To paraphrase ''early in the process a small shard of very thin blown yellow glass, which had been engraved, was picked up on the side of the gather of clear. A small amount of silver chloride is sprinkled onto the shard just before it is picked up. The silver melts during the reheating and blowing and runs into the engraved marks - hence you see the little "angles and squiggles"...the silver also reacts with the chemicals that make the yellow and creates browns/yellows and sometimes silvery blues."
Really, nice to know a little more about the piece. Interestingly, among many different positions, I see Elizabeth Swinburne was also senior tutor in charge of glass at the RCA during the late 90s. I have attached a link to her website, for more detailed info: http://elizabethswinburne.com/about/about.html
-
You've got some amazing and interesting bits of glass Greg - does the yellow part really stand so proud of the body as the photo looks? It appears to be flush at the top, but has a bulgy bottom.
-
Thanks Sue, I actually stumbled across this piece a few years back, so really pleased to some degree it ties in with the earlier RCA pieces I have. The yellow shard, actually, stands proud by only around 1mm, you can just feel it raised slightly when running your hand over it, I think the ovoid shape creates a little bit of an illusion so it appears to stand out further than it actually does. Another factor, looking at it close up is that, the yellow shard sits on top of a clear glass casing and when the light penetrates the yellow shard it sometimes creates a little bit of a shadow around the edges of the shard, giving the shard more of a three dimensional appearance.
-
You know I only started this thread to winkle all your fabby early bits out (and Trevor's and flying-free's... and anybody else who's been quietly squirrelling's). ;D
-
You know I only started this thread to winkle all your fabby early bits out (and Trevor's and flying-free's... and anybody else who's been quietly squirrelling's). ;D
:)
-
So this is the 1980s? I have to think of what will get ‘ooohs’ and ‘aaahs’ from this audience. Oh, I know: Peter Goss.
Here are a few not been seen before on this board. The dates are in the file names and the heights are 12, 10.5, 29 and 17cm, respectively. You can find other examples of the works of Peter Goss (and some biographical material) in my earlier posts here (http://www.glassmessages.com/index.php/topic,45352.msg253679.html#msg253679) and here (http://www.glassmessages.com/index.php/topic,42578.msg248749.html#msg248749).
Enjoy!
Trevor
-
I adore the second piece - I'm in serious lust here, and wondering if this was such a good idea after all... :'(
;)
-
A slightly more unusual piece of Peter Layton, which I believe dates to sometime in the 1980s. Love the organic shape of this piece.
-
Thanks, Greg. That Peter Layton piece is wonderful and much to my taste.
Trevor
-
And mine... :'(
;)
-
On these rather cold days, a picture of a small group of Herman's work produced in deep burnt orange colours.
The examples on the left and right were both produced in the 80s and are typical of Herman's work produced at Lots Road. The piece in the centre is an earlier example from the early 70's and blown at the RCA.
Enjoy.
-
Glorious and very cockle-warming, perfect for Burn's Night, which it is 8)
But I'll have to ask you to please post these in the '70s thread too, Greg? Best they're kept together, as in this lovely photo though.
-
Thank you Sue :)
Sure, I'll add a copy to the 70s thread now.