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BIG amber & clear glass figure ID help!

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chopin-liszt:
Grrrrr - it's a mulitilayer bowl I want!
Interestingly,  :angel:  in 1960, Michael Harris designed, cut and engraved a clear glass vase with random lozenges, just like the random cut lozenges on ID's bowls.
It's a very attractive design, isn't it?

steph:
 :hi:  yes, a brilliant design.  Incredibly time consuming to do, I'm told.  The bowl I've got with its nine layers of colour gets so much attention....and no wonder.  The lozenge cuts that go right through and just leave a single thin skin of the inner colour are all individual little works of art.  A few years ago I watched a student in Dudley attempting her first work on a BZ two layer bowl, she was terrified and it was taking hours just to do a couple of cuts.  I have the utmost admiration for cold and hot glass workers... and not a little envy!  :mrgreen: 

Incidently, amongst my stored stuff I've got a little, what I think is a Medina vase, usual short stubby conical vase, ground base, nice vibrant yellowy inner...but no sig...all my other medina pieces are signed and I've never seen pieces without a sig.... so, is there a general ruling for Medina... some signed? all signed? or hit and miss?   And thanks, I didn't know MH did that type of thing ever!! :thud: :wsh: :t:n time.  cheers steph.

chopin-liszt:
Tons of Mdina isn't marked, Steph.
Iestyn Davies did a stint training at IoWSG, before going to Stuart Strathearn for a bit.
My brother has a fairly good collection of BZ - including a massive bowl as you describe - three stripes of layers from top to bottom. I'd be happy with something far less complicated.
MH's vase was a straight sided cylinder on a foot - it's on p.8 of Mark Hill's Michael Harris book.

steph:
 :hiclp: So no sig's on lots of Medina. Wow that's a relief.... I'd just convinced myself I'd not learnt anything over the last few year!!!!! It's def M....just run of the mill - I don't have Mark's book, shall have to get a copy. I've never bothered with the theory, not had time, just bought glass I liked.  But since I was introduced to the GMB my interest has developed.  I have quite a selection of books now.  But my spare time is taken up with studying at Lancaster so time on the GMB or indulging my passion for glass has to be limited.  Now I've learnt how to use my camera and downsize pics the inclination to drop in more frequently - grows.  So much knowledge and entheusiam is fantastic to be around.   :hi: :wsh: time to finish an essay!  :cry:  cheers steph

chopin-liszt:
I took up glass after graduating - I simply couldn't give up my prediliction for/addiction to research and study. So far it's filled and satisfied the urge for over 10 years - and, as you can see from this thread, I still make loads and loads of mistakes!
Very briefly:- and taken from Mark's book, pp 8-14
MH was fascinated by glass from an early age - when he first encounterd it in Stourbridge as a student, where he got into cold working - he was a very accomplished engraver and diamond point worker, then he went to the RCA in London to study industrial glass design and eventually (after graduating and then teaching graphic design at Southend Municipal college) became tutor in Industrial Glass Design at the RCA.
That was where he met Sam Herman who had come from America to give a lecture on the brand new movement of hot worked studio glass.
He was so taken and inspired by the possibilities that he left the RCA and went to Malta to set up Mdina.

During the period before setting up Mdina, while on a visit to Roguska Slatina or at the RCA (nobody's sure), he had also made a bark-textured vase, with Paul Woods, sometime between '63 and '65, inspired by the work of Timo Sarpaneva.

The early period of Studio Glass and it's origins isn't theory - it's a thrilling adventure story!

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