Glass Message Board
Glass Identification - Post here for all ID requests => Glass => Topic started by: chopin-liszt on November 01, 2012, 03:32:12 PM
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I did sort of mean to start this thread on the 23rd of March, the "official" birthday, the annivesary of the Toledo lectures, but the gmb was down and revamping and life sort of got in the way.
I thought a good way to celebrate this birthday would be by all of use getting together with images we have of pieces from the very early days and having another lovely thread full of glorious show and tell images.
Well, that's the idea. Unfortunately my images aren't that glorious, although the glass itself is.
so to start:
Pauline Solven, RCA '67
Sam Herman, London '67 (I know you've all seen this before. I make no apology for repeating it. It deserves repeating.)
Annette Meech '71
Dillon Clarke '71
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Annette Meech (unmarked)
Sam Herman '71
John Lewis '71
George Laisner '71
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Excellent idea Sue.
I am taking the liberty of posting this photo of your 1973 George Elliot goblet.
John
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That's ok, John - I shall take the liberty of showing your clear yellow button-rimmed very early, Mdina globe.
and my non-cobalt early Fish
my amethyst button-rimmed "pulled ear" vase
and my "Crizzle Stone" bottle (that, as you may remember, is thanks to you :-* )
All the above are very early Mdina, and most likely to be Michael Harris' work
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Although this item is not in the same art glass category; John Airlie (http://www.scotlandsglass.co.uk/cms/index.php?option=com_content&view=article&id=39:john-airlie-glass-artist-and-innovator&catid=16:glass-makers-a-c&Itemid=8) developed the small-scale studio furnace in about 1970. This piece is pre 1976, as Kirkhill Glass closed in that year
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Benny Motzfeld made by her I believe, and signed by her hand BM69 (jar vase) and BM 71 (bubble stripe vase)
Dave Hobart 'fish' strapped vase - unknown artist - November 6th 1974
Karlin Rushbrooke Hole sculptural paperweight 1975
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Michael Harris Fish
Trailed Studio vase - signed but maker unknown, believed to be early studio movement piece
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Sue — Thanks for starting this topic, as I had not really appreciated what Studio Glass was. I found an interesting and seemingly authoritative overview in Judith Miller's 20th Century Glass. I can't say that I fully appreciate what it is, but I will take more care about describing glass as studio, trial, or experimental.
Bernard C. 8)
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So that I do not to entirely swamp this thread here are some group photos of work by Michael Harris while he was at Mdina (1968-1972).
John
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The Australian art glass movement got underway a bit later. The influence of Sam Herman's time at the Jam Factory in Adelaide cannot be overstated. Here are four items signed as follows
1. Samuel J. Herman 1975 SA243
2. Stanislav Melis 1977 S.J.H. Studio
3. RJ Knottenbelt K?G 1977 SJH Studio
4. Peter Goss SA2 S.J. HERMAN STUDIO
The last three date from the year when Herman ran his own studio at the Jam Factory, employing staff and recent graduates to assist him and to do their own work, obviously closely following the master. In the Australian way, all three of them were immigrants - from Slovakia, Netherlands and Britain respectively - and all three went on to have substantial careers in studio glass.
Trevor
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Ooooh, your red Jam Factory Sam Herman '75 is even nicer than my red Jam Factory Sam Herman '75..... :'(
I've got an unmarked bit of green mottled glass, it has been designated as 99% likely to be Sam and Jam Factory by Adam A.
pics here.
Yes, the Studio Glass Movement did take off in different places at different times, and Sam Herman's influence cannot be understated!
I should have said more in my first posting about the origin of the pieces - John Lewis and George Laisner are both American artists.
There were others though, who, while not influenced specifically by the Toledo lectures origins, were still moving in a similar direction - as flying-free has already mentioned, Benny Motzfeldt in Norway was taking glassmaking in this direction, as was Eisch in Germany - both breaking away from big manufactures to concentrate on individually made pieces.
In Poland, in the mid-'60s, artists were also experimenting with individually made pieces within the big factories - for example Felix Nawrocki.
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I can't remember the details but there was a big gathering in the UK at some point (late 60's early 70's?) and Benny Motzfeldt was there along with Jiri Suhajek if I recall correctly. There may have been others but I can't remember the info ::) I'll try and find some link to details on that later.
m
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I still haven't got "my" Jiri Suhajek yet. I know what I want. 8)
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I keep an eye out for it still :) (for you I mean, not for me ;D)
m
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Some of these have been on the GMB previously, the majority being blown between 1968-70. Includes pieces by Wayne D Filan, Jiri Suhajek and Sam Herman.
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I don't think it should matter about pieces having been here before Greg - this thread is simply about early studio glass, all together, to put the early days and emerging styles into context - and to celebrate it!
So it's wonderful to see stuff that's not just Mdina - some of who've been specifically collecting early Mdina obviously have a head start in this area,
but there is a lot more to the Movement than the one branch which started in Malta, even though that has spread and branched consideably itself.
Should we impose a "too late for inclusion" date? If so, when?
I was thinking nothing from the '80s, but then I couldn't put in my Jim Megura vase, or my Norman Stuart-Clarke goblet from a workshop he did in London... but, are these too sophisticated?
I'm expecting a "new" bit of American Studio Glass soon. Frederick Warren'75.
It's being held to ransom by parcelforce, who have paid tax on it for me (it shouldn't be subject to tax as a signed piece by a known artist) and are also charging me for having done so. I didn't ask them to!
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Well, Ill toss a bit of American glass in the mix. Mark Peiser, 1969.
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Lovely, thank you so much!
We need more American stuff. LOTS more American stuff!
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Just my view but I think the first seventeen years of Studio Glass should be included on this thread, with the title adapted to read 1962 - 1979 (Or up to ten years after whenever SH went to the RCA was it '69?)
And how about then:
A new thread should be started for Studio Glass 1979-1989.
And a subsequent one for Studio Glass 1990 onwards.
That way the board will have a record of Studio Glass 'through the ages'. Once pieces are loaded you may well be able to see 'influences' for each period as it were rather than them being mixed up in one thread.
As I said, just my view - please debate ;D
m
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In terms of time frames, I think M's suggestion of including pieces up until the late seventies in this particular thread is a good idea. I think SH was head of the glass department from 69-74, although was also a research fellow their a few years before around 67-68. So anything studio pre 79 would seem to work for this thread.
I also like the idea of creating separate threads going forward in time 79-89 and another from 90 through to the present. It would be nice to get a view/reference over these different periods, reflecting the changes that occurred as the movement evolved and grew.
Look forward to seeing your Frederick Warren piece Sue when it arrives, Parcel Force can be a bit of pain sometimes when purchasing from aboard, the added admin charges can be a little hard to stomach, especially when you haven't asked them to do anything!
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So it's ok to stick Bjorn Weckstrom's foot in it... ;D
1976
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Might as well get the 80s in too ;)
Siddy Langley (Blown, UK) & Albrecht Greiner-Mai (Lampwork, Lauscha, Thuringia, Germany)
+ from 70s John Airlie (Blown/Cast, Scotland) & Frits Akerboom (Lampwork, Dutch... Scotland)
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2004 example but active since 70s - Alison Kinnaird. Considered my some to be the UKs foremost glass artist.
More on Scotland's Glass (http://www.scotlandsglass.co.uk/cms/index.php?option=com_virtuemart&page=shop.browse&category_id=314&Itemid=6)
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A large unsigned Charlie Meaker vase
Roy
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Wonderful pics Frank and mghc!
should we ask mods to split the topic into the three threads of Studio Glass before more get added? We were debating whether it might be good to have a this thread for early studio 1962-1979 and then a separate one for '79-;89 and then another for 1990 onwards. That way,eventually we would have a 'progression' of studio glass through the periods and be able to see how influences and changes had happened maybe?
m
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Frank, do you OWN that Fritz Akerboom? I have lusted after that piece since I first saw an image of it in 2000.
Thanks also for the John Airlie piece - supporting Christine's earlier John Airlie - an important character in the Studio Glass Movement indeed!
Anybody got any Helen Munro-Turner to show....? ;D
I'm not actually sure Alison Kinnaird counts as part of the Studio Glass Movement, which I have always considered to be defined by being hot-worked glass, from a small pot, made by the artist themselves. (as well as the date)
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Love the Bjorn Weckstrom foot Sue. I think this is of the period of my Karlin Rushbrooke jug as he said it was one of his early pieces but unfortunately neither of them are marked.
m
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Can I please make an appeal to our lovely mods to split this thread into different decades?
I think this one should be kept confined to the period from 23rd of March, 1962 until the end of the '70s, to allow for the spread of the movement from the States to the rest of the world and "get off the ground" - given this thread should be all about the "getting off the ground".
I've started another thread for the '80s, but a couple of images need moved from here to there, and I can see a discussion ensuing over whether or not Alison Kinnaird should have her fabulous work included in the "Studio Movement", which to me is all about HOT glass work.
Here's an image of an Eisch "Peacock" jug from the "Poesie in Glas" series, putting it at '77 or later.
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The Akerboom, no sorry Sue. I am sure you should be able to track him down he cannot be that far from you and have a chat! Someone needs to.
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Love the Knottenbelt vase that Trevor (Brewster) posted earlier. ;D
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I'm sure I did meet him once, Frank.
There was a short talk in Dundee, in the MacManus Galleries by Jack who used to be secretary to the Scottish Glass Society - very soon after the SGS Exhibition 2000 was held there and Fritz was there too. I'm pretty sure that's when I first saw an image of this piece but I didn't have the courage to talk to anybody back then! :-[
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In case it is thought that all Australian studio glass derived from Sam Herman and his students, here are four examples from the 1970s that have no connection. The first is by Stephen Skillitzi in 1977, who had experienced the American glass movement as a graduate student in the late 1960s (in art college as a potter - and it shows!). The second is by Helmut Hiebl in 1978, who had worked for Lobmeyr in Austria and Corning in NY (mostly as an engraver) before coming to Australia in 1976 and setting up near Mudgee in the mid-west of NSW.
The next two pieces are by former glassblowers in industry, who left the factory and set up as studio artists. Peter Docherty worked for Crown Crystal in Sydney (later part of the Corning empire) made this tiny 8cm high mushroom in 1979 in a studio near Gosford. Jimmy Wittman worked at Leonora Glassworks (owned by Philips Lighting) in Newcastle before building a backyard furnace. This piece is not signed or dated but it dates from the mid- to late-1970s and came from his personal collection.
Trevor
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Superb! I love the Stephen Skillitzi and Helmut Hiebl.
m
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Fabby, Trevor - this is exactly the sort of thing we need :-*
- bringing the story from the whole world together.
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Here are more treats for fans of Stephen Skillitzi. These pieces are dated 1972, 1977 and 1978, and are 21.5cm high, 37cm long and 23cm high, respectively.
Skillitzi continues to be active. The Adelaide gallery Art Logic has dozens of his works on its website (http://www.artlogic.com.au/categories/artist/stephen-skillitzi).
He is also something of a historian. A long essay on early Australian studio glass has been mentioned on this board before. The best source for it is this blog (http://glasscentralcanberra.wordpress.com/tag/stephen-skillitzi/) which also includes a 1967 photo of the man himself.
Trevor
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I adore the first piece there - it's sort of like a Goth rosebud.. 8)
I'll have to investigate the links later, my pc is on a go-slow and I'll have to fiddle with it, but thank-you so much for them too,
keep them coming, Trevor, please. :-*
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that blog link gives a superb article on the history of Australian Studio Glass and the makers involved.
Thanks so much for linking it.
m
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Here is another treasure for you lovers of the work of Stephen Skillitzi in the 1970s, in this case 1976. This monster is 22cm high and weighs 2.5kg. Like an earlier piece I showed, this one clearly suggests Skillitzi's training as a potter. It also shows why the cow maid's stool has three legs, not the four legs which require greater precision in the making.
We picked it up at a weekend gallery sale in Newcastle, NSW. That city has an industrial heritage that includes coal mining, steel furnaces and, of course, glass making. In case such industrial areas are thought always bleak and dreary, Newcastle boasts some of the most glorious headlands and beaches in Australia. Not even the queue of 15 or so bulk carriers out to sea can take away from the breathtaking views. Recommended!
Trevor
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Superb!
m
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Wonderful - it's perfectly wonky and sophisticated... a sculpture of colour, texture and light - an epitomy of great Studio glass... contented sigh. :)
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I was pleased to find this London Glasshouse goblet the other day . Signed by Jane Bruce , London Glasshouse, 1977. It's 9 inches tall .
http://www.caa.org.uk/exhibitions/archive/2008/glasshouse/jane-bruce/
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Quite a piece of history there, Mike. And quite a pretty one too.
I'm not fond of the colour mix, but I am droolling just a bit, because of what it is. I didn't set out to collect studio glass goblets, but it sort of happened along the way. ;D
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Thanks Sue ! I saw it in a small junk shop and thought 'oooohh that looks interesting !' and it was !! Very pleased to hear you collect them too ;) It was good to find out she was there at almost the start of the Glasshouse and was taught by the great man himself !
http://www.samueljherman.com/Journey/Journey.html
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;D I know exactly what you mean. It's just stunning to think of the origins and what has come from that, since.
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Yes indeed ! Also Jane Bruce is still working with glass ...
https://www.cmog.org/artwork/ivorywhite-tall-lidded-vessel?search=collection%3Afc0392e3aa65b06bc6c41349b2181858&page=0
http://collections.vam.ac.uk/item/O98924/sentinel-white-scarlet-clear-black-form-bruce-jane/
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Note the random lozenges on the second piece. ;D
(which should clearly contain some delicious artisan gin ;D )
Remember the random lozenges on the one-off piece made by Michael Harris in '64 at rogaska sklo?
Recall the random lozenges on the work by Iestyn Davies...
Not forgetting of course, that originally, lozenges were not random and not neccessarily cut through layers of colours.
A new use of old techniques.
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I do like the second V&A one ...as you say it would make a lovely spirit bottle :D
Interesting too that the Glasshouse was set up just at the time Michael Harris left for Malta ...obviously MH thought to replicate it all in a warmer climate !!
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I think there were financial considerations taken into account (help to set up new businesses) over the move to Malta, rather than the weather, which the Harris family obviously liked.
(Although I can remember my mother loved the sun, and just assumed I did too. I didn't, I hated it. Small children are not supposed to be deep fried.)
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Yes I'm sure ! What a huge leap to take ....to give up a well paid and secure job at the RCA with a young family ...too ! What amazing foresight !
(differant times in those days ...I remember , too well , turning into a lobster on family holidays !! )
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He did have plenty of support for the new venture. I was concerned about that myself when I was speaking to Michael's twin sister, who told me that Lord Queensbury was fully behind him, as were his parents. It was a time of confidence and hope, back then.
I had to do the miserable lobster thing too. Mother just covered us in horrible smelly brown oil which was supposed to enhance the "tanning effect" - hence my use of the expression "deep fried". >:(
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Good to hear he had all that support ...didn't know ! Great too he persuaded the Boffos to join them .The fab. four ...with Eric Dobson ! Between them they really created some wondeful glass in that time of confidence and hope !!
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Queensbury, at the time, was about the highest you could get to, in terms of creative arts. His support was the icing on the cake. :)
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Just to add a couple of pieces to the list, two of which I have already showed in another thread.
The first one measures H 19 cm/7" - W 28 cm/11" - Signed Val Saint-Lambert - Samuel J Herman - 252 -1979.
The second one measures H 33 cm/13" - D 28 cm/11" - Signed Val Saint-Lambert - Samuel J Herman -125 -1979.
I have added an image with a, unfortunately empty, 75 cl wine bottle next to it, to put it's size in perspective. Unfortunately it doesn't show its iridescence, and the colours of the smaller vase don't show that well. I'm not used to taking pictures of this type of glass but learning and just trying to see what works.
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Another piece I got is one also by Sam Herman and I had difficulties taking pictures of it, due to its size and the colours didn't show properly, so here are some images with different light sources and again, the empty bottle to show off its size. What looks like a large chip on the rim is a reflection, it is without damage.
H 36 cm/14" x W 45 cm /17,3/4" - Signed V200 - Samuel J Herman - 1989 - Weight 11 kg.
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Glorious, Anne.
You've managed to breathe life into the pics of the final piece there.
The Venus de Milo can just step aside. ;D
But it was Sam gave it life in the first place. 8) 8) 8)
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Thank you Sue, it wasn't easy, I was scared it would go through the glass top.
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I wanted to add a few photos of this lovely set of 6 studio goblets, which were blown by Annette Meech at the Glasshouse, circa 1973-74.
Somewhat unusual to see a full group of these goblets together. The last goblet is badly damaged and thought it would be nice to have a record of it along with the others on the GMB for future reference.
Photos to follow over the next couple of posts, enjoy. :)
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Last few photos......
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;D One of these days, our collections should come together, Greg. 8)
They would really go well together.
I've got two Annette Meech goblets, but mine have bobbly stems.
When I first moved into a flat on my own in the '70s, I took myself off to Boots and bought a set of Ravenhead Apollo glasses for entertaining. I paid £3.45 and I was very proud of them. Very trendy.
They're an Annette Meech design, I discovered later!
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I've found a pic of one goblet. It really is this wonky. ;D
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:)
Mine have uneven rims, stems that differ in size and the foot differs quite considerably in size across the six. All part of their charm!
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Absolutely. They would not be right if they were anything else. ;D
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I should add that I have had conversations with Mark Hill about this very wonky goblet I have been attributing to Annette Meech. He thinks it is Jiri Suhajek's work.
Which is an absolutely thrilling idea. I did write to Mr. Suhajek, but got no reply.
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similarity in stem and foot with this to my eye:
http://www.glassmessages.com/index.php?topic=41605.0
It's gorgeous - love the colour combination
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I was led astray by the shape of the bowl and did not see the other similarities before, I was so convinced it was Meech. :-[
I've always loved it though. ;D
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Posting this for Sue.
John
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ooh lala!
( My yellow paperweight positioned under lighting is one of my all time fave pieces. It comes to life under light doesn't it).
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;D Thanks, John. I was a bit overcome when I first placed all 5 small, early Mdina cylinders together, they suddenly became a kind of "Michael Harris quintuplich" rather than just being slightly unusual and interesting individual items.
All have neat, round, polished pontil marks. So they were made after the Boffos arrived, I think. But before Michael Harris left, obviously. 8) ;D
Glad you appreciate them, m. :-*
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I have all my Carlo Moretti pencil vases together each one a different colour. They look like a sculpture.
That's how I view your vases. Rather than being a set they are, as one piece, a sculpture.
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Exactly. As if each vase is a letter, the 5 together make a word which has meaning.
It's a wall of Michael Harris. ;D
I'm in a total tizz. 8)
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One further Annette Meech studio goblet to add to this thread, this one with a beautiful iridescence blown at the Glasshouse and dated 1974.
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Fascinating to see the difference in competence between '72 and '74, and utterly beautiful Greg.
My hands are itching to hold and feel it. :)
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Thought you would like this one Sue. Its a very tactile piece, love the inky blue colouring together with the iridescent finish.
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Another piece to come out of the Glasshouse, this time an earlish example blown by Jane Gilchrist (latterly, Jane Bruce). Signed Jane Gilchrist and dated 1973.
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;) You are turning me green Greg. That is beautiful. It looks really well made too, for such an early piece. No wonks there at all, it's all smooth and elegant.
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Quite refined for the date, although quite weighty for it's size. Has an interesting mirror type iridescence to it, similar ish to the finish on some Labino pieces.
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Created, I believe, by flaming the item after making, which brings metal ions to the surface.
Don't ask me if it's a reducing or oxidising flame, those are even more confusing than lefts and rights.
Is oxidising removing a hydrogen and reducing, adding one? ::)
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Not sure, you have me pondering now.
Might have the odd additional piece to add to this thread! Can't remember if you may have seen them before or not, but will add them to this rather fitting thread. Can't believe it's getting on towards ten years since this thread started, quite frightening where time goes! Will be the 60th anniversary, next year!
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One for enthusiasts of early studio & Czechoslovakian glass. An early studio vase blown by Jiri Suhajek at the RCA in 1970. The vase is in a very deep purple and has a marvered in glass prunt to one side which has been coated in silver leaf. The orange trailing runs around the vase and also under the marvered prunt. The last photo also shows an early goblet blown by Jiri at the RCA in the same year.
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A few pictures of a lovely piece blown by Sam at the RCA in 1971.
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I don't know where you live, so if they go missing, it wasn't me. ;D
The Suhajek globe vase has me swooning. I am glad they live where they are appreciated and looked after with the relevant reverance. 8) 8) 8)
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:) Thanks Sue, they're a joy to look after.
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Just to add an example of Sam's work from this period, which would have been blown during his time at the Lots Road studio.
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Are you being cruel to be kind? That makes me slump. The slump of witnessing perfection. ;D
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Sorry Sue :) Been going through a few old photos, one of my favourites from this period.
Sam's work doesn't really need promoting, it speaks for itself! :)
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You've got me digging. They're peculiar photos, taken with a dumb phone through thick glass, and the pics are small. I'm trying one. They are from the Dan Klein Exhibition in Edinburgh, 2011.
ta-da - they work! Mostly of a wonderful bottle with an explosion. They wouldn't let me have it. >:(
The other piece which gets in, is by Ronald Stennett-Willson.
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Thanks for digging that one out Sue, that's some piece! Looks quite early, do you remember the date? Not surprised you wanted to take it home.
Just found the below link regarding Dan Klein, also shows the Herman bottle you kindly added photos of above. Love the David Reckie piece shown in the link too. (Hope the link works)
https://blog.nms.ac.uk/2019/06/28/glass/
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The bottle with the explosion is '71, according to that article. It was very gold. I think the staff were a bit worried I was trying to get inside the cabinet it was in. I wasn't able to gather the information about the glass as well as pohotgraph it.
But the pics are in the wrong thread, now you've discovered the date. :-[
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Maybe a kind moderator might be able to move these previous 3 posts to the earlier Studio Glass Movement thread. Not sure how these things work.....
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I've reported myself. :)
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Sorted for you Sue and Greg.
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Thanks Anne, just sent you a message, through the report function. Sorry I may have sent more than once as I had run out of characters, coupled with the fact it's early morning and I'm trying to reply from my phone! Please also feel free to delete this ramble! Thanks for all your help. Greg
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An early Studio goblet which I suspect came out of the Glasshouse, and made by Annette Meech in the early 70s.
The construction of the stem is different to other examples of her work I have although I see Annette did also produce goblets with stems of this kind. Just wondered how this compared to your Annette Meech goblet Sue? Has all of the other characteristics you would expect of this period.
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My true Annette Meech goblet, which is signed and dated '72, is very like that. I cannot find a pic.
It has a wonky merise, the bowl is squint. Your merise and bowl are a bit tidier!
Under the merise there is a 3 part stem in blobs, like yours.
But my top round blob must have caused some difficulties, it is patched together from two bits, hot glued.
The bottom blob, is wider than the middle one, which is wider than the top one (they are graduated in size) is a sort of slightly squashed squarer shaped one which it sits in a very neat "well" of glass, rasied from the base. Your "well" looks a bit more cobbled together.
The bowl of mine is quite nicely rounded, but has a sort of waisted broad neck and flares out at the rim.
With individual variations, different wonkinesses and the alternative bowl shape taken into consideration, I'd say they are the same. ;D But mine is a lurid pink with silver salt decor and black patchy bits.
Not quite a thousand words, a pic would still have been better. :-[ :'(
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Thanks for taking a look Sue and comparing it against your piece, good to get your thoughts.
I tried to drop Annette an email but see she retired a few years ago now.
Forgot about your dislike of anything pink 😃
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;D It's more cerise than pink, really. It's "baby" colours I detest, out of which pink is most vile offender. ;D
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On these rather cold days, a picture of a small group of Herman's work produced in deep burnt orange colours.
The smaller example in the centre dates to the early 70's and was blown at the RCA. The examples on the left and right are later and date from the early 80s and are typical of Herman's work produced at Lots Road.
Enjoy.
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An interesting article here with some history in it - from 2008 an interview with Keith Cummings (I think George Elliot should have been spelled Elliott with two 't's on the end.
In it Keith Cummings appears to say George Elliott worked for Whitefriars. I didn't know that.
Also regarding Keith Cummings - some info:
Quote 'He began teaching on the Stourbridge course in 1967 and later became its head, a position from which he stepped down in 1995 to become head of research. Now 68, he still puts in half a day a fortnight to supervise PhD students. His career has given him an overview of virtually the whole history of studio glass in Britain. ...'
https://www.business-live.co.uk/retail-consumer/international-glass-phenomenon-3956790
m
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I believe that interview with Keith Cummings was in connection to the Glass Routes exhibition, which is where the other information on George Elliott came from which is also documented on the GMB.
Interesting to read that George Elliott worked as a designer for Whitefriars.
Just to add below a further interview conducted with Keith Cummings in 2017.
https://heartofenglandglass.co.uk/further-higher-education/wolverhampton-university/research-at-wolverhampton/prof-keith-cummings/
One of the most fascinating accounts regarding the origins of the Studio Glass Movement I have come across and one straight from the horses mouth can be listened to in the below link, which contains a number of interviews conducted with David Queensbury and is part of the British Library's 'National Life Stories Collection'. These I understand were conducted in 2003-4 and part 16 features discussions around the birth of the studio movement and the RCA.....Enjoy!
https://sounds.bl.uk/Oral-history/Crafts/021M-C0960X0016XX-0016V0#:~:text=Architecture-,Art,-Authors
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Thanks Greg- and btw I forgot to mention that's a lovely collection in the post just above these :)
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Thanks M :)
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Adding these two Annette Meech goblets here, might as well be close to the others. Both are signed, the first is dated 1974 and the second 1975.
John
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Love these, particularly the second one.
Thanks for posting them, great to see other pieces that came out of the Glasshouse.
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I have a fabulous Annette Meech paperweight from the Glasshouse dated 1990.
Will dig out and take a pic.
I've added the pics to another thread with a similar weight from AM here:
https://www.glassmessages.com/index.php/topic,21404.msg405402.html#msg405402
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Trailed Studio vase - signed but maker unknown, believed to be early studio movement piece
Amber trailed vase in the above post is now identified as by Bernard Rooke and I think late 70s early 80s.
m
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Just to add to this early studio thread, an interesting abstract sculpture blown by Wayne Filan in 1971 at the Royal College of Art.
A fairly large piece for this time period, standing at 32cm tall and weighing around 3.5kg. Utilising a mix of finishes, including a matte powdered type finish along with metallic finish and clear polished finish.
These type of finishes are reminiscent of Wayne's later work in the United States and it is interesting to see them being used in his last year as a student at the RCA.
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One further example to add to this early studio thread, an early student piece by Pauline Solven, blown whilst under the tutelage of Sam Herman, signed Pauline Solven 1967 RCA.