Topic: Webb water lily,question please.

[chopin-liszt]

It is signed; "Turner 1946" on the fly-leaf.
It came from a very reputable giver  who got it from a reputable source.
A Pada dealer who also has a bit of her studio work. I can't say I'm overly enamoured by it,  or his prices.
But it is a large white thing, and I'm not fond of white.

I 've not seen any of her cut work either, but I don't really go looking at cut stuff much, as you well know, Paul.

[keith]

Not had an advent calender since the kids were little,it was up for a week before the first window was to be opened,the day arrived and the eldest opened it to find the chocolate missing,the two youngest had eaten the lot and carefully closed the 'doors' ,kids !
  Paul,it's A.Mc Connells 20th Century Glass,

[chopin-liszt]

I used to enjoy an advent candle.
It meant I got to "play with fire". 

[Paul S.]

quote......................."It meant I got to "play with fire".                   .............             thought you did that often, on the GMB

Really must get you into some great cut glass designs in 2014

[Paul S.]

Keith...........       I've always thought that to be one of the most generally useful books  ......   no great depth on anything, but gives a good overview and covers diverfe range of sources.    ........   

[chopin-liszt]

I have my 2 examples of etched glass. (And that will suffice for cut. It's cold worked.)
One, of a tiger in the undergrowth on a blue and green and yellow flashed charger, by Chris Ainslie.
The other, on clear glass, is my early '70s storm lantern by Alison Kinnard.

I may yet be tempted by the work of Lesley Pike. I can't afford the "Rainforest" cullet I want though.
It will be a matter of the right piece at the right time.

oooh, and I'm sure I'd quite like Denis Mann's "Duet".
(The blue etching of a male hand and a female hand playing discordant notes on a piano keyboard.)

Are you able to come up with any "cut designs" to compare with the likes of these, Paul? Huh???    

[Paul S.]

I'd agree Sue that much British cut glass is lacking in imagination and gives the good material a bad press, although if you include wheel engraved then a lot of exciting glass comes to mind, but I could give you a very long list of cut pieces that I'd die to own.   
I think in GB we've always lacked the avant garde approach to art which stifled our creativity  -  just look at what some of the Continental factories were producing in the first third of the C20  -  I've a picture of a cut punch bowl and glasses by Jan Kotera for Wiener Werkstatte (1904) that I'm sure would float your boat.
But then I'm aslo of the opinion that GB got left behind - artistically - in just about all of the creative/craft arts.   

It's odd how some folk see nothing in clear glass, yet others find great beauty in the mitres and windows of lead glass that bring it to life with such refractive brilliance.

Clear glass is what you get by melting sand, simple beauty based on the glass workers ability without adding such superfluous adulteration as colour          

[chopin-liszt]

Clear glass is suitable for windows and scientific work (and there is some truly amazing and beautiful lab glassware out there), but as far as art is concerned - it is a medium in which to scuplt colour and light.

It is also useful for Michael's wine, but he's got some Allister Malcolm "Platinum" goblets, which he vastly prefers to his Edinburgh Crystal "Iona"s. They languish at the back of a cupboard.
For beer, he uses a grey smoke coloured Wedgwood pint mug.

I prefer opals to deadly dull and boring diamonds any day, and in glass, I really don't see any difference between one load of death by a thousand cuts and the next.
It's just a geometrical pattern. 

I like the fluidity of hot-worked glass, a moment, frozen in time.

For sparkles - I want sparklers. Moving, transient and ephemeral.

The problem with Britain and art is Britain is still stuck trying to crawl out of the 19th century, as it is with many, many other things.