Glass Society Glass Matters_No.7, Feb 2020

February 2020

Issue No. 7

ISSN25 16-1555

Contents

Chairmens’ message

Creative Sculpture

A History of Irish Glass
News

Love Tokens

Sam Herman –

a life in glass

Bonham’s Auction

Eila Grahame –

coloured glass

Aryballoi

White House Cone
museum of glass

Events
David

Reekie

Anna Moran

Neil Chaney

Charles Hajdamach

Jim Peake
Bill Millar

Theo Zandbergen
Hans van Rossum

Graham Knowles
3

38
39

Editorial
I
t has been very welcome, receiving messages of appreciation

for the new Journal of the Glass Society and further news of

research by members preparing to publish an artide in the next

issue. If you are investigating an area of glass that could interest
other members, do take the opportunity to put your findings

into print — in this magazine or for a more extended piece, a

presentation in The Journal- you’ll have a few years to complete

your research before the next issue and all the assistance you
require from the editing team.
It’s also a pleasure to receive correspondence from our

members in Holland, Belgium and France and beyond Europe, in

Australia and Canada. We are preparing to print thoughts, ideas
and queries received, following up Simon Wain-Hobson’s artides
on Cordials and Kit-Kat glasses; then an informative piece on

a new glass museum in Brussels, funded and created privately,

‘Foundation Madeleine 7’, based on the glass of the Art Nouveau
movement and Val Saint Lambert. Dudley Museum Service glass
collections, hiding away at Himley Hall and not yet accessioned,

continue to be discovered – our volunteer member, Bill Millar

is investigating Webb ‘bronze wear’ and will be assisting on an

artide by a glass Caddy Spoons collecting group. We will also
present an exhibition of western glass artists being held in Japan.

&ASS

SOCIETY

ISSN 2516-1555

Issue 7, February 2020

Jointly published by the Glass Circle and

The Glass Association
©Contributors, The Glass Association and The Glass Circle

Editor:
Brian J Clarke

[email protected]

Design & layout:
Emma Nelly Morgan

[email protected]

„…

Printed by:
Warners Midlands plc

www.warners.co.uk

Next copy date:
April 2020

E-mail news
&
events to [email protected]

“Neither the Glass Circle’s
nor the
Glass Association’s committee

members
bear any responsibility for the views expressed in this

publication,
which
are those of the contributor in each case.

though neither the Editor nor the committees are responsible for

inadvertent infringements. All photographs are copyright the author
unless otherwise credited.”

THE GLASS ASSOCIATON COMMITTEE MEMBERS:
The Glass Association Registered as a Charity

No.326602 Website: www.glassassociation.org.uk;

Charles Hajdamach:
Life President;
charleshaj-

[email protected]; David

Willars:
Chairman:
[email protected];

Judith Gower: Hon.
Secretary;
Maurice Wimpory,

Membership Secretary & Treasurer:
membership@

glassassociation.org.uk: 150 Braemar Road,

Sutton Coldfield, West Midlands, B73 6LZ; Nigel
Benson; Paul Bishop:
Vice-Chairman;
Brian Clarke:

Publications Editor;
Christina Glover; Alan Gower;

Bob Wilcock

THE GLASS CIRCLE COMMITTEE MEMBERS:
Website: www.glasscircle.org;
Simon Cottle:

Honorary President;
Susan Newell:
Chairman:

[email protected]; Laurence Maxfield:

Honorary Treasurer:
[email protected];

Vernon Cowdy:
Website Manager:

web@glasscircle.

org; Geoffrey Laventhall; Anne Lutyens-Stobbs:
Meetings Organiser;
James Peake; Anne Towse;

GLASS MATTERS EDITORIAL SUB-COMMITEE
MEMBERS:
Nigel Benson; Brian Clarke; Susan Newell;

Simon Wain-Hobson; Bob Wilcock

FRONT COVER:
Two glass sculptures by Sam Herman, made in the

early 1970’s at the Royal College of Art. Sam used Dartington cullet with
45% lead oxide, giving a ‘brilliance’ and time for manipulation in the

making. Private collection. Picture with thanks to Sylvain Deleu

BACK COVER: A
Thomas Webb & Sons ‘Rock Crystal’ glass
Moon

Flask.
Sold at Bonhams Auction, 20.11.2019. Estimated £1,200 to

1,500, it reached a hammer price of 17,000. Picture © Bonhams

Glass Matters Issue no.7 February 2020

CHAIRMEN’S MESSAGE

Chairmen’s
Message

Sue Newell, Joint Chairman
of The Glass Society

W
elcome to

Glass Matters 7,

the first of the new decade.

Since our last issue, you

will have received the first vol-
ume of
The Journal of the Glass

Society.
This is a particular source

of satisfaction for us as this qual-

ity publication stands as a lasting
and effective statement of who

we are. We congratulate our Edi-
tor Brian Clarke, and our design-
er, Emma Nelly Morgan, for their

dedication and creativity, as well,

of course, as our members who

shared the fruits of their research,
often the result of many years’ work.
The diversity in the Journal can

also be found in every issue of our
magazine and this one is no excep-
tion, with a balanced mixture of

18th and 19th century glass; then,

following on from his autobiograph-

ical talk at our AGM in Norwich last

year, we are pleased that an article
by David Reekie, the eminent glass

sculptor, is included. The populari-
ty of David’s work is reflected in the
number of galleries and museums

that have his work on display. Muse-
ums are often obliged to keep many

of their treasures in storage, where
they languish, hidden from view.

Currently, Manchester City Art
Gallery has a temporary exhibition,

`Out of the Crate’,
that addresses this
issue – sculptures not otherwise on

regular view can be seen, many still

in their original packing cases. In

this exhibition, sitting alongside

sculptures in stone by Eric Gill

and bronzes by Jacob Epstein, are
glass creations by David Reekie.
We also include an article on ‘ary-

bailor, containers, usually in glass,
containing oils used in the public

baths of the Roman Empire near-

ly two millennia ago. Of particular

interest, are the variety of shapes

and vibrant colours that were in

use, as well as an early warning

that
‘glass containers in bathing

areas could cause injury if they break’!
Predictably, collecting figures

large in this publication and we are
constantly pleased to hear of new

or different types of collecting. One

of our members has a fascination
for Victorian match strikers and

has managed to amass possibly
the definitive collection in a wide
range of colours, some with silver

tops and others without. Another
collects small, some would say min-

iature, Victorian or Edwardian ink-

wells – each enclosing a photograph
of London, Scarborough, Paris, the

Forth Bridge or Crystal Palace – their
origin unknown, possibly manufac-

tured in the UK, or more likely in
Eastern Europe prior to the photo-

graphs being incorporated in the UK.

Another member, wishing to bolster

his retirement fund with tangible

assets, started a collection and now
owns two Beilby armorial goblets!

We are hoping to
see

many of you

at our forthcoming meetings; they
start on March 12th in London with

a talk by our member, the engraved-
glass artist Katharine Coleman
MBE, on a wonderful exhibition

of engraved glass at the European

Museum of Modern Glass in Roden-
thal this year. Maintaining our links

with the Castle Museum in Norwich

you will soon receive details of a
David Willars, Joint Chairman

of The Glass Society

study day we are arranging in April:
the museum has recently received

the bequest of a new collection of

glass and the visit will be an excit-
ing opportunity to get involved.

Some of you may know the Picture

Gallery at Christ Church College in
Oxford; their new display of eigh-
teenth-century English drinking

glasses will hopefully form the cen-
trepiece of a Glass Society visit to

Oxford later this year. While all our
meetings have an informal element

where members can share their
love of glass with others, a more
ad hoc initiative has been the glass
pub lunch in the Manchester area,

where members can take along a
piece from their collection and chat

about it and other glass matters. Do

get in touch if you wish to join in.
Returning to museums, we were

recently thrilled to hear that the

British Glass Foundation (BGF)
has been awarded funds to fit out

the White House Cone museum of

glass
(see the News pages).
Those

close to the BGF will know how long

this process has taken and be very

relieved and pleased that this excit-

ing project, at the heart of British

glassmaking, can now go forward.

Susan Newell and David Willars

Joint Chairmen, The Glass Society

Glass Matters Issue no.7 February 2020

BELOW Fig.2

Construction with
Black Squares,
1981,

50h x 40w x 40d cm
RIGHT (TOP TO BOTTOM)

Fig.3 Construction with Guarding Figures,
1978

Fig.4 Spring Return,
1988

Fig.5 Uphill Struggle 1,
1991

CREATIVE SCULPTURE

FINDING a ARRATIVE
in

Clays

DavidReekie
BELOW Fig. 1

Construction No.1,
1978

M
y life as a glass artist start-

ed in 1965 when I went to

art college, firstly in Bar-

net, London and then to Stour-

bridge College of Art from 1967
to 1970, where I was mentored

by tutors Keith Cummings and

Harry S eager. I was encouraged
to develop new ideas of thinking

and experiment with glass- mak-
ing techniques, one of which was

to form sheet glass in a kiln and
use this glass to build construc-

tions. This led to pieces like
Con-

struction Nol, (Fig.1),
which is now
in the Portsmouth Museum & Art

Gallery collection and later to
Con-

struction with Black Squares, (Fig.2).
Working with these construc-

tions I realised I was making archi-

tectural forms that needed some
kind of scale, so I introduced the
figure, as in
Construction with

Guarding Figures, (Fig.3),
which is

part of the Dudley Museum Ser-

vices Stourbridge collection. I

soon realised this gave the work a
narrative and I could make state-

ments and add theatre to the

work. The piece
Spring Return,

Glass Matters Issue no.7 February 2020

(Fig.4)

shows this development

and was bought by Norwich Cas-
tle Museum that same year.
The figure now became a major

element in the work and as in

Spring Return, which express-
es the struggles we have in life,

Uphill Struggle I (Fig.5)
tackles

this subject in a much more force-
ful way. I came back to this sub-

ject in 2013 with
Road to Recovery

(Fig.6)
as an ironic response to

government austerity measures.
I am driven by a desire to make

things and during this making pro-
cess I have the effects and qual-
ities that glass can give me at the

back of my mind. There are ele-
ments of both design and decora-

tion in my work and because I use

the human figure, I find it rela-

tively simple to introduce a narra-

tive which suggests any particular

theme or idea I am working on. I

also like to use other materials and

found objects in my work that fit to

the narrative I am trying to form.
Politics, how society affects our

lives and damage to the environ-
ment are always constant influ-
Fig.6

Road to Recovery,

2013, 38h x 55w x 23d cm

ences, see
Fruit of the Sea II (Fig.7).

In my current work I am investi-

gating relationships. By using the

juxtaposition of the figures, with
facial expressions, especially the

position of the eyes and the angle

of the head, I try to indicate sub-

tle nuances in our relationships

with each other, as in
Dialogue IX

(Fig.8).
I combine all these influenc-

es in my drawings and these even-
tually filter through to the work.

Casting and lost-wax casting are

my main techniques and I find these

processes allow me to explore and
develop my ideas even before I touch

the glass. By modelling in clay and

wax I have the freedom to gradually
build my ideas and change things as

I go along. I have also developed the
use of ceramic enamel colours that I
can use both in the glass itself and on
CREATIVE SCULPTURE

LEFT Fig.7

Fruit of the Sea
II, 2006

RIGHT Fig.8

Dialogue DI,
2011,

37h x 26w x 18d cm

Glass Matters Issue no,7 February 2020

BELOW Fig.9a

Sympathetic Thoughts

drawing,
2006

BELOW Fig.10

Dumb as a Dodo IV,
2007, 43h x 24w x 19d cm
the mould surface to create effects

that mirror those in my drawings.

As I mentioned, drawing is an

important part of my creative pro-

cess and a well-conceived idea real-
ised in a drawing can dictate the work
to come, as in
Sympathetic Thoughts

completed in 2009
(Figs.9a & 9b).

Over the years several artists

have inspired me: artists like Hon-

ore Daumier 1808-1879, for his use

of the caricature and bold facial and

body language, the surrealist art-

ist Rene Magritte 1898-1967 and
the painter Fernand Leger 1881-

1955. Then more recently, the Brit-
ish artist John Davies, whose first
exhibition in 1971 at the Whitecha-

pel Gallery in London was very

influential on my figurative work.
Pieces that can be traced back to

these influences are
Dumb as a Dodo,

(Fig.10); Drummers 1, (Fig.11); Ris-
ing Tension, (Fig.12); A Captive Audi-

ence, (Fig.13),
which is part of the

BELOW Fig.9b

Sympathetic Thoughts,
2009,

36h x 23w x 22d c
–
m

ABOVE Fig.11
Drummers I,
2004, 46h x 55w x 25d cm

BELOW Fig.12
Rising Tension,
2005

CREATIVE SCULPTURE

Glass Matters Issue no.7 February 2020

CREATIVE SCULPTURE

Victoria & Albert contempo-
rary glass collection, and also

On Shaky Ground, (Fig.14)
which

is a popular focal point in the
Racine Art Museum, Wisconsin,

USA – the local American Football
team is known as the `Cheeseh-
eads’, so the young fan in the

picture is wearing a cheese hat.
The surreal element of my work

is well represented in
Dragon Boy

1 (Fig.15)
from 2011, which was

initially for an exhibition in Hong
Kong celebrating the Year of The

Dragon. In this piece I use ele-
ments of the traditional Chinese
dragon dancers along with the

processional Snap Dragon used
in festivals in Norwich from ear-

ly times and it is now in the Nor-
wich Castle Museum collection.
The process of lost-wax casting is

quite time consuming and working
from an original drawing,
(Fig.16a),

I sometimes work with a combina-
tion of soft clay and modelling wax

(Fig.16b),
which is then cast into
BELOW Fig.13

A Captive Audience?,
2000, 76h x 50w x 35d cm

RIGHT Fig.16a

The Temptation of Lies V,

drawing, 2018

BELOW Fig.15

Dragon Boy I,
2011,

40h x 33w x 16d cm
BELOW Fig.14

On Shaky Ground, 1996

BELOW Fig.16b

The Temptation of Lies V
2018, making clay & wax

Glass Matters Issue no.7 February 2020

CREATIVE SCULPTURE

BELOW Fig.16c

The Temptation of Lies V,
2018, making mould

a plaster and powdered
flint mould
(Fig.16c).
In

these images I am work-

ing on part of a series of
pieces called The Tempta-

tion of Lies
(see Figs.16d

& 17) –
very much a reac-

tion to what is happen-

ing politically here in the

UK and in the USA. The

political scene in both

countries has driven a

wedge between the peo-
ple and I have reflect-

ed on this in
The Wall

BELOW Fig.17

The Temptation of Lies IV,
2018,

36h x 39w x 32d cm
Between Us 1, (Fig.18).

My workshop is in a

village called Dickleburgh

about 20 miles south of
Norwich. I mainly work

alone but my daughter
Morag helps me from
time to time and is now,
even as a mum of three

children, finding time to

develop her own work.

This essay is an adap-

tation by David Reekie of

his informative, illustrat-

ed presentation, given at
the AGM of The Glass Soci-

ety, held at Norwich Cas-
tle Museum, October 2019.

ABOVE Fig.16d
The Temptation of Lies V,
2019, 37h
x
37w
x 31d cm

RIGHT Fig.18

The Wall Between Us,
2019,

30h x 38w x 27d cm

Glass Matters Issue no.7 February 2020

A HISTORY OF IRISH GLASS

Glassmakers, glass retailers and glass consumers:

New research on glass in Ireland, c. 1730 – c. 1830

Anna Moran

A
reasonably held view is that

the history of Irish glass has

already been written. I can

clearly recall being told ‘that’s all

been done’ some years ago when I

was embarking on my MA thesis on
early nineteenth-century Water-
ford glass (completed at the V&A/

RCA in 2002).
1
M. S. D. Westropp’s

meticulously researched 1920

study of glassmaking in Ireland is

superbly comprehensive, and lit-
erature published since by Warren,
Boydell, Dunlevy and Francis has

impressively fleshed out the sto-
ry.
2

However, by principally focus-

ing on production these important

studies, as well researched and
fundamental as they are, only tell
part of the story. The business

of selling glass in Ireland – tak-

ing in all that retailing involves,

from marketing to shop design

to decorating work-

shops – had not been

addressed in detail.
Equally, how glass

was used in Ireland

during this period –

shopping for glass,
its place in the con-
text of polite dining

and its role as a means
of projecting identity

–
was yet to be compre-

hensively explored. A
rounded history of

the Irish glass indus-

try, its market and its
consumers, c. 1730

–
c. 1830, thus pro-

vided the focus of
my PhD (completed

at the University of

Warwick in 2011).
3

Building on the
work of Westropp, Warren, Boy-

dell, Francis and others, I combed

through a vast amount of archival

material – ranging from Waterford

glasshouse accounts, surviving

glasshouse patterns, newspapers,
Dublin Society Proceedings,

household inventories, domestic

account books, bills and prints –

and with the life cycle of objects
in mind, I sought to combine this
research with a study of surviving

objects to elaborate on the design,

production, retailing, acquisition,
use and re-use of glass in Ireland

during the 100 years between c.

1730 and c. 1830. This history, and
its sources, underpinned my talk
to the Glass Circle in May 2017,

and is the focus of this short paper.

Lead glass production began in

Ireland when John Odacio Formi-
ca, in partnership with Sir Philip
Lloyd and Richard Hunt, estab-

lished a glasshouse in Smithfield,

Dublin, in 1675. Sherds of drink-

ing glasses found at the recent
excavation at Rathfarnham Cas-

tle, Dublin, and finds from other
excavations, when seen together
reveal a series of recurring sty-

listic features particular to Irish
glass.’ These include a coin-

shaped merese between the bowl

and the stem, now understood
to be an idiosyncratic Irish char-

acteristic, making it possible to

attribute a small number of sur-
viving complete examples to Oda-
cio Formica’s Dublin glasshouse.
5

While it is likely that the glass-

house in Smithfield stopped work-

ing after Odacio Formica’s death

in 1696, demand for glass contin-
ued to grow. Attempts to establish

glasshouses in Ireland to satisfy
that demand were

short-lived and with

a view to replacing

imported glass with

Irish glass, the Dublin

Society (established
in 1731) introduced
premiums, financed

by the State, in order

to encourage Ireland’s

indigenous glass

industry. The
Proceed-

ings of the Dublin Soci-

ety
reveal interesting

details on how such

awards were given

and to whom between

Fig.
1

Pair of cut glass decanters,

marked PENROSE

WATERFORD, c. 1783-1799.
H. 24cm.

Glass Matters Issue no.7 February 2020

41111166

A HISTORY OF IRISH GLASS

1750 and 1794. Initially, large
one-off sums were provided with

a view to contributing to capital
expenditure such as the construc-

tion of glasshouses, but these were

later replaced by a system which
awarded premiums based on the

volume of glass manufactured.

Alongside training young artisans
who worked in areas such as paint-
ing, ceramics and stucco work, the

Society also identified specific
technological innovations which

they felt would aid the industry.

In 1786, for example, a commit-
tee formed by the Dublin Society

awarded ten guineas to Mr Buon-
segna for devising an improved
way of cutting scallops in glass.’
The greatest boon to glass pro-

duction in Ireland, however, came

in the form of legislative chang-
es. These included the granting

of Free Trade from 1780, allow-

ing Ireland to revisit some of the

export markets which had been

developed in the late seventeenth

century, as well as reaching new

markets such as Barbados, Anti-

gua and Newfoundland. In addi-
tion, an exemption was introduced

whereby there was no duty payable
on coal when imported to Ireland

for the purpose of glass produc-
tion. Furthermore, the duty on

glass payable by glassmakers else-
where in Britain was not charged
on glass made in Ireland from 1745

to 1825.
8

As a result, between c.

1780 and c. 1825, the Irish glass
industry was a reasonably buoy-

ant business which supplied a
good share of the Irish home

RIGHT (ABOVE) Fig. 2
Two engraved lead glass water jugs. The example

on the left is marked ‘WATERLOO CO. CORK”,

1815-1835. H. 17.2 cm. The jug on the right is
marked ‘CORK GLASS CO’, 1783-1818. H. 13 cm.

RIGHT (BELOW) Fig. 3

From left: Decanter with bulbous body bearing

engraved symbols of the act of union, marked B
Edwards Belfast’ H. 21cm; Half-size decanter,
marked B. EDWARDS BELFAST, H17.5an;
Decanter (without stopper), marked S. EDWARDS

BELFAST. H. 21.8cm.
market together with an impres-

sive range of export markets.
In terms of what was made,

newspaper advertisements show

that the product range of the

Irish glasshouses — located in

Waterford, Cork, Dublin, Belfast
and Newry — easily matched the
range produced by English glass-

houses. Particular to a number of
Irish glasshouses, however, was
the practice of mould-impressing

the name of the glasshouse on the

base of certain objects. Decanters,

wine coolers, butter coolers and
one plate survive bearing the name

of a glasshouse impress-moulded
on the base, and examples survive
from Penrose Waterford; Benjamin

Edwards, Belfast; Cork Glass Com-

pany, Cork; and Waterloo Glass

Company, Cork — see examples

in
Figs 1, 2 and
3.
9
Three moulded

dishes bearing the names of Dub-

lin manufacturers are also known,
one marked on the base C. M. &

Co, which was probably made by

Charles Mulvany & Co, and two
similar examples, both marked J. D.

A, presumably J. D. Ayckbowm.”

1
0

Glass Matters Issue no.7 February 2020

LEFT Fig. 4

Half-size glass decanter bearing an engraved sailing ship and cartouche, marked
MARY

CARTER & SON 80 GRAFTON ST DUBLIN’, H. 18.7cm.

ABOVE Fig. 5
Blue glass finger bowl, marked ARMSTRONG ORMOND
QUAY,
c. 1800-1829. H: 8.8cm.

A HISTORY OF IRISH GLASS

Such pieces met the demand for
glass not just from the nobility
but also, and perhaps to a greater
extent, from the expanding mid-

dling sort and professional classes

who, with conveying their status in
mind, recognised that glass was a

key material within an appropri-

ately furnished and well-lit home.
The ways in which glass was

marketed and sold not only reveal
the business of retailing but also

inform us on aspects of the glass

industry and the prerogatives of

consumers. Over the course of the
eighteenth century, the number of

shops selling glass increased and
elaborately decorated glass shops

became destinations in their own
right. The provision of an adequate

assortment of glass, along with the

ability to give credit, to advise on
matters of taste, and to provide a

pleasurable context in which to

shop, were the prerequisites to

securing a good reputation as a
glass seller. Some retailers clearly

felt a need to project a strong busi-

ness identity, supported by the fact

that a number of glass objects sur-

vive with the names of prominent
retailers mould- impressed on the

base. These include ‘J. D. AYCK-

BOWM DUBLIN’; ‘MARY CARTER

& SON 80 GRAFTON STREET’;

`ARMSTRONG ORMOND QUAY’;

`FRANCIS COLLINS DUBLIN’; and

`JACKSON GRAFTON STREET’ –
see examples in
Figs 4 and
5.
11

Research by historians Jan de

Vries, Maxine Berg and Helen Clif-
ford has argued that skill and work-

manship were key features in the

increased demand for new com-
modities such as glass and ceram-

ics in the eighteenth century.
12

Being in a position to boast that
the glass was cut or engraved on

site under the master glasscutter’s

supervision made the all-import-

ant cognitive link with the mak-
ing process and with the skill and
workmanship involved. In 1800,
Dublin retailer John Kennedy of

Stephen Street had a team of six
cutters in his decorating workshop

while the retailer J. D. Ayckbowm
had four cutters in his employ.
13

Those running glasshouses also

sold glass direct to consumers. The
Round Glasshouse in Dublin, for
example, was selling an incred-

ible range of glassware from its

shop, including ‘wine glasses with

a vine border, toasts, or any flour-
ish whatsoever’, as shown by an

Glass Matters Issue no.7 February 2020

A HISTORY OF IRISH GLASS

RIGHT (ABOVE) Fig. 6

Pattern for ‘Sallad or Sugar Bowls’ from the John
Fitzgibbon Drawings’ said to have been used at a
Cork glasshouse in the early nineteenth century.

RIGHT (BELOW) Fig.
7

Three sample glasses bearing a variety of

cut decoration, possibly used by a travelling
salesman.

advertisement dating to 1751. Lat-
er, in the early nineteenth centu-
ry, the Waterford glasshouse ran

its own ‘Ware Room’ on the quay

in Waterford, separate from the

glasshouse, where tea was served
to potential customers in a nice-

ly furnished ‘back room’. Such

glasshouses would also have had
a travelling salesman whose role

was to develop a network of retail-
ers around the country. It is quite

possible that when visiting their

network, they may have brought
paper-based patterns, perhaps

similar in format to those asso-
ciated with a Cork glasshouse

(Fig. 6),
or may have brought

glass samples illustrating the dif-

ferent patterns available
(Fig
7).

While glass was probably pri-

marily sourced new, it was also
part of the vibrant trade in
second hand goods. While a pau-

city of sources makes it difficult

to comprehensively understand

the character of the secondhand

goods trade, the proliferation of
advertisements for house contents

auctions in Dublin newspapers,
many of which list glass, testifies

to the fact that a dynamic trade

in secondhand household goods

existed. Such auctions, alongside

markets and itinerant traders, pro-

vided a way for consumers to pur-
chase glass which may otherwise

have been outside of their budget.

Why were consumers so inter-

ested in acquiring glass? Over the

course of the long eighteenth cen-
tury glass came to be seen as a key

element within the vocabulary of
polite dining, see examples in
Figs.

8, 9 and 10.
Alongside its func-

tional role in the kitchen as the

Glass Matters Issue no.7 February 2020

ABOVE (RIGHT) Fig. 8

A
selection of cut glass pieces, including a covered urn
–
shaped vase, a piggin and two butter
–

coolers.

ABOVE (LEFT) Fig. 9
Cut glass celery vase on three legs, c. 1790
—
c.1800.

BELOW Fig. 10
Two cut glass canoe-shaped bowls on moulded feet, c. 1790 — c.1800.
A HISTORY OF IRISH GLASS

preferred material for storing and

preserving, its importance with-

in the material culture of dining
increased over the course of the

century. By closely examining col-

lections of family papers in search
of household inventories, bills

and account books, and by care-
fully combing through contempo-

rary diaries and letters for what

are often very fleeting referenc-

es to glass, it was possible to gain

some insights into the use of glass
in the Georgian home in Ireland.
The inventory made in 1763 by

George Cockburn of the contents
of his home at 10 Cavendish Row,
Dublin, included a considerable list
of glass for use in the context of
dining and gives a perspective of

its importance in equipping the
outer-facing functions of a home.

Amongst the long list of glass items
were ‘Six long flowerd champaigne

glasses’, ‘Sixteen Bumper Glass-
es’, ‘Six New Wine Engh. Decant-

ers & Six Stoppers’ and ‘Six Hock

glasses guilt round the Bowls wth
a Case’.” For Lieutenant-Colonel

William Blacker (1777 — 1855), of
North Great George’s Street, who

bought his glass at James Dono-

van’s ceramics and glass shop on

George’s Quay, having the cor-
rect cut glass at his dinner table

was critical. He declared, ‘Giving

a dinner for the first time to those
who you are aware are in the habit

Glass Matters Issue no.7 February 2020

A HISTORY OF IRISH GLASS

of faring sumptuously every day

[and] consequently good judges is
no joke — The
eye
as well as the

appetite must be car’d for’.
18
Bish-

op Edward Synge (1691 – 1762),

with the dessert of an upcoming

dinner in mind, wrote in June

1750 to his daughter in Dublin
about the “Pyramids to be look’d

at.”
18
On the subject of how they

would be displayed, he was quite

specific: “It is resolv’d, that if you’ll

send four dishes of the same size

with the one now sent down, We
shall be tolerably well equipp’d.

Get them therefore and send them,
when you can, and with them two

Glass-plates, or Salvers, to lay on
dishes on which Jellys, or Sillabubs

are to stand.”
17
These, together

with the many other tantalizing
references to glass found in the

archives, convey the important
role glass played in the construc-

tion of polite identity, the com-

munication of good taste and the
representation of family lineage.

Another example of how the

role of glass far exceeded the func-

tional or ornamental was its use in

the world of clubs, brotherhoods

and societies, and in particular its
use in the context of toasting prac-

tices. The minute books of Dublin’s

Ouzel Galley Society (established c.

1705 with the aim of finding ami-
cable solutions for commercial dis-

putes) clearly reveal that this club’s

primary raison d’etre was drink-

ing.
18
Each new member or offi-

cer had to drain, in a single draft,

a bumper of claret from the Soci-
ety’s glass loving cup. Drinking

was equally important to the mem-

bers of The Florists Society (estab-

lished with the goal of promoting
floriculture in Ireland). Their

`bumper toasts’ had a floral theme.
Alongside toasting the King, the
Glorious Memory, ‘this society and
all florists’, ‘a round of carnations’

were to be drunk in the months
from July to January and ‘the

Auriculas were to be first drunk’
between January and July.” With-
in the ceremonies of the various

societies and brotherhoods estab-

lished during the eighteenth cen-
tury, the use and decoration of

the glass used was highly signifi-

cant, for not only could it serve as

a medium for communicating sol-
idarity and allegiance, but the rit-
uals surrounding its use could also

signal membership and exclusivi-
ty. Repeated raising of glasses and

toasting in unison had the effect of
heightening emotions and estab-

lishing solidarity between those
present, placing glass at the cen-

tre of this important social ritual.
In 1825, the excise duty on glass

was extended to Ireland, putting
Irish glass on an even tax foot-

ing with England. This exposed
the weaknesses of the Irish glass

industry: materials, labour and
fuel had to be imported, which

meant that in the absence of some
form of assistance, Irish glass
manufacture was at a natural dis-

advantage. When required to pay
the same duties as their rivals,

Irish glass manufacturers found it
difficult to compete with English

and Scottish producers in their
home market. In addition, by the
late 1820s and 1830s, the cheaper,
utilitarian glass – with negligible

margins after excise – constituted

a very considerable portion of the
market for glass in Ireland. Only

the larger concerns in England

and Scotland, with greater econo-
mies of scale and lower costs, could

survive. Those Irish concerns

which had invested in steam-pow-
ered technology in order to pro-

duce higher-end products in an

attempt to increase their prof-
it margins struggled to compete

with English, Scottish and Conti-

nental cut glass.
2

° This, combined

with other factors, prevented
Irish glasshouses from compet-

ing more effectively with their

Scottish and English competitors.
The study of archival evidence

presents an intriguing layer of

contextual material, allowing us
to answer new questions about

the reality of making, selling and

using glass in Ireland during the
period concerned. This ensures

that we can appreciate surviving
objects not only for their beauty

and the mastery of their making
but also for the intriguing sto-
ries they tell, and are yet to tell.

This essay is an abridged version

of Anna Moran’s Ph.D, presented in

a talk to the Glass Circle at a meet-

ing in 2017 at The Artworkers Guild.

IMAGE ACKNOWLEDGMENTS

The examples in Figs.1 to 5 and 8
to 10 are all Ex. Kenneth Tughan

Collection and now in the Collec-
tion of the National Museum of

Ireland. Photo: © Bryan F. Rut-

ledge, B.A.

Reproduced courtesy of the

National Museum of Ireland.
Fig.6 is reproduced from pho-

tographs in the Art and Indus-

try Archive, National Museum of

Ireland. Reproduced courtesy of

the National Museum of Ireland.
Fig.7 is in the Collection of

the Ulster Museum. Reproduced

courtesy of the Ulster Museum.

ENDNOTES

1.
Anna Moran, “Manufacturing

Mythology? Waterford Glass in the
Early Nineteenth Century,” M.A.

thesis, Victoria and Albert Muse-
um/Royal College of Art, 2002.

2.
M. S. D. Westropp,
Irish Glass,
edit-

ed by Mary Boydell (Dublin 1978);

Mary Boydell,
Irish Glass,
Irish

Heritage Series, No. 5; Mairead

Dunlevy,
Penrose Glass,
National

Museum of Ireland, 1989; Peter
Francis, “The Development of Lead

Glass: The European Connections,”

Apollo, v.
151, no. 456, February

2000, pp. 47-53; Peter Francis,

“The Enduring Myths of Irish Glass,”
in
Ireland: Crossroads of Art and

Design,
1690-1840, ed. William

Laffan and Christopher P. Monk-

Glass Matters Issue no.7 February 2020

A HISTORY OF IRISH GLASS

house, Chicago: The Art Institute

of Chicago, 2015, pp. 187-191;

and Phelps Warren,
Irish Glass:

The Age of Exuberance,
New York,

1970.

3.
Anna Moran, “From Factory Floor

to Fine Dining: Making, Sell-

ing and Using Glass in Ireland, c.

1730-c. 1830,” Ph.D. diss., Uni-
versity of Warwick, 2011.

4.
Research by Peter Francis has

shown that the royal patent
they received in July 1675 was

for “the Art and manufacture of

a particular sort of Chrystalline

Glasses resembling Rock Chrystall

[which] hath never been exer-
cised or used by any in that our
Kingdome of Ireland.” Dr. Nessa

Roche later identified the site of

what was known as the “white

glasshouse” in Smithfield, and
this site was later excavated by
Frank Myles. See Peter Francis,

“The Development of Lead Glass’;
Franc Myles, “The Archaeolog-

ical Evidence for John Odacio
Formica’s Glasshouse at Smith-

field, Dublin 7,” in
Glassmaking

in Ireland: From the Medieval to

the Contemporary,
ed. John M.

Hearne, Dublin and Portland,

Oregon: Irish Academic Press, and

Dublin: National Museum of Ire-

land, 2010, pp. 83-102; Colin and

Sue Brain, “The Development of

lead-crystal glass in London and

Dublin, 1672-1682: a reapprais-

al”
Glass Technol. Eur. J. Glass Sci.

Technol.
A, April 2016, 57, 2, pp.

37-52; David Dungworth and

Colin Brain, “Late 17th Centu-
ry Crystal Glass: An Analytical

Investigation”,
Corning Journal of

Glass Studies
51, 2009, 111-137;

Antoine Giacometti,
Rath farn-

ham Castle Glass,
Dublin: Office of

Public Works, 2016; and Dwight P.

Lanmon,
The Golden Age of English

Glass,
1650-1775, Woodbridge,

Suffolk, U.K.: Antique Collectors’
Club, 2011, pp. 26-36.

5.
See Peter Francis, “The Development

of Lead Glass”; Colin Brain, “The Evi-

dence for …,” The Glass Cone (news-
letter of The Glass Association), no.

97, Winter 2012, pp. 6-7;

6.
Premiums offered by the Dublin

Society for Manufactures, Fine Arts

and Fisheries.

7.
Royal Dublin Society Library &

Archive,
Premiums offered by the

Dublin Society for Manufactures,

Fine Arts and Fisheries,
7 Decem-

ber 1786.

8.
Over the period 1745-1825, the

rules around where glass could be

exported to changed, as did the
duties (and countervailing duties)

on exported glass. See Cathe-
rine Ross, ‘The Excise Tax and

Cut Glass in England and Ireland,

1800-1830′,
Journal of Glass Stud-

ies,
24, 1982, pp. 57-64 and Anna

Moran, “From Factory Floor to
Fine Dining”, pp. 96-109.

9.
It is important to note that not

all pieces produced by these

glasshouses bear the name of the

glasshouse impressed on the base.
Such marked examples are rare.

10.
J. D. Ayckbowm was principally

a retailer with his own decorat-
ing workshop but he did own the
New Venice Glasshouse on Baggot

Street, Dublin, for a short period

(1799-1802).

11.
I am grateful to Peter Francis for

sharing his discovery of a Jackson
marked tumbler with me.

12.
Jan de Vries,
The Industrious Rev-

olution: Consumer Behaviour and

the Household Economy 1650 to the

Present
(Cambridge, 2008); Max-

ine Berg,
Luxury and Pleasure in

Eighteenth Century Britain
(Oxford,

2005), pp. 17-193. Helen Clifford

“A Commerce with Things: The Val-

ue of Precious Metalwork in Early

Modern England”, in Maxine Berg

and Helen Clifford
Consumers and

Luxury: Consumer Culture in Europe

1650-1850,
Manchester and New

York, 1999, pp. 147-69.

13.
Royal Irish Academy, 4.B.31,
“Report on the Trades and Manu-

factures of Dublin,” 1834.

14.
Inventory of 10 Cavendish row,

made by owner George Cockburn
in 1763. Cockburn Papers, BL Ms

Add 48314

15.
Armagh County Museum, Blacker

Papers, ARMCM.5.1948, Day-

books of William Blacker, v. 6, p.

105, cited in Anna Moran “”lhe
Eye as Well as the Appetite Must

Be Car’d For’: Glass and Dining

in Ireland, about 1680-about

1830′ in Christopher Maxwell
(ed.)
In Sparkling Company: Glass

and Social Life in Britain during the

1700s,
Corning Museum of Glass,

Forthcoming.

16.
Cited in L. A. Clarkson, “Hospi-

tality, Housekeeping and High
Living in 18th Century Ireland,”

in
Luxury and Austerity,
ed. Jac-

queline Hill and Colm Lennon,

Historical Studies, v. 21, Dublin:
University College Dublin Press,

1999, pp. 84-105, esp. p. 86.

17.
Bishop Synge, Elphin, to Alicia

Synge, Dublin, June 5, 1750,
The

Synge Letters: Bishop Edward Syn-

ge to his Daughter Alicia Roscom-
mon to Dublin, 1746-1752,
ed.

Marie-Louise Legg, Dublin: Lilli-

put Press, 1996, p. 190.

18.
E. Charles Nelson “The Dublin

Florists’ Club in the mid eight-

eenth century”, 10, 2,
Garden His-

tory,
1982, pp. 142-48..

19.
Royal Irish Academy, Minute

Book of the Florists’ Society,

1746-66, Ms 24/E/27. The toasts
are listed on the first page of the
minute book.

20.
For further discussion of the use

of steam power in the Irish glass
industry, please
see:

Anna Moran,

“Technology and Innovation: Inter-
preting a Sketch of the Waterford

Glasshouse Drawn in 1823 by the

Architect C. R. Cockerell,” in
Glass-

making in Ireland: From the Medie-

val to the Contemporary,
ed. John

M. Hearne, Dublin and Portland,

Oregon: Irish Academic Press, and
Dublin: National Museum of Ire-

land, 2010, pp. 169-182.

Glass Matters Issue no.7 February 2020

NEWS

Triton and Horses
Following Bill Millar’s request for

comments on ‘sculptures’ in the Dud-

ley Museum Service Collection, this

is an updated version of an arti-
cle on the Triton & Horses sculp-

ture (BH4629) that appeared in The
Glass Cone, Issue 98, in Spring 2012.

rr he impressive glass sculpture
1 ‘Triton and Horses’, hand-

carved by Frederick Carder, was

donated to the Broadfield House
Glass Museum (BHGM) in June

2011 by the local Rotary Club of
Kingswinford and Brierley Hill. The

sculpture which, in its glory, was on
display on the upper floor of the

museum, was carved from a block

of dear glass, frosted over as a finish.
It is full of life and movement and

depicts the Greek god Triton driv-

ing a chariot pulled by three rearing,
cavorting horses riding through the

seas, apparently at speed, with waves
and foam breaking all around them.
In 1957, after reading an article

in the magazine
The Rotarian
about

the work of Frederick Carder, the
Rotary Club of Kingswinford and

Brierley Hill held a meeting in his

honour. A sound recording of the

meeting was sent to the Corning
Rotary Club that Carder had formed;

acting on this, Carder returned the

favour by offering them this glass

sculpture. At another special event

in Carder’s honour in 1958, the
Rotary Club was presented with

the sculpture. Having looked after

the sculpture for over fifty years

and loaned it to various museums,
in 2011 the Rotary Club decided to

present it officially to the BHGM.
On presentation of the piece, in the

presence of the Mayor of Dudley,
Rotary Club president Ann Davies

said: “I’m delighted it is going to a
good home where it will be looked
after and where people can come

and admire it for years to come”.
Frederick Carder (1863-1963)

of Stevens & Williams, and Har-
ry Powell of James Powell & Sons
(Whitefriars) are generally accept-

ed as having been two of the most

influential and innovative glass

designers of their times, yet Carder

had almost been written out of the

history of the West Midlands glass
industry and was only recently reas-

sessed and appreciated in the UK.
1
–
2

Born in Brockmoor, Frederick

Carder worked at his father’s Leys
Pottery earthenware factory in Bri-

erley Hill before attending the Stour-

bridge School of Art and the Dudley
Mechanic Institute, which gave him

the introduction to his glassmak-

ing career with Stevens & Williams

in Wordsley. There, working along-

side John Northwood, he was the
chief designer between 1881 and

1903. Following the death of the
elder Northwood in 1903, and due

to irreconcilable differences with
John Northwood II, Carder emi-

grated with his family to America.
The enmity was so great that Carder,
the creative designer of over 25,000

artworks of glass for Stevens & Wil-
liams, did not receive a mention in
John Northwood II’s book. Once in

America, he met fellow glassmaker
Thomas Hawkes and co-founded the

Steuben Glass Works in Corning,
New York, where he worked until
his retirement in 1959. In Ameri-

can glass circles, Frederick Carder’s
name is legendary: Steuben, even

when becoming a division of Corn-
ing Glass, having produced some
of the best designed glass in the

USA. There is a gallery of the Corn-

ing Museum of Glass dedicated to
Frederick Carder and Steuben glass,

featuring hundreds of his pieces.
3
‘
4

References

1.
Hajdamach, C., ’20th Century British

Glass’: Antique Collector’s Club. 2010

2.
Hajdamach, C., ‘British Glass, 1800-1914’:

Antique Collector’s Club. 1991
3.
Dimitroff, Thomas P., ‘Frederick Carder

and Steuben Glass. 1998
4.
Corning Museum of Glass, biography of

Frederick Carder.

C
lass Society member

Clive Richards, has

been collecting 18th C glass-

es over the past 20 years, he

has decided to open his pri-

vate collection to fellow col-

lectors – interested parties
requiring further details

on types and styles may
contact Clive via telephone
07943 304164 and or email
[email protected]

Down sizinga

Collection

Glass Matters Issue no.7 February 2020

LOVE TOKENS

GEORGIAN
love tokens

Neil Chaney

T
he Western Europeans of the

Georgian era were inclined to
artistry. With no Eastenders

or Coronation Street for entertain-

ment in the evenings, people enter-

tained themselves, their friends

and families with music, poetry

and conversation. The arts flour-

ished among those who could afford
the time to indulge in their flights

of fancy. Many painted or drew,

or penned poetry, prose and let-

ters. A few used glass to inscribe

messages and aphorisms, primar-

ily in diamond point. The engrav-

ing on these glasses tended to be
naïve and would often consist of
just a name and a date, inscribed

using a solitaire diamond from a
ring or other piece of diamond jew-
ellery. Recently, I was lucky enough

to pick up two glasses
(Fig./),

which

showed a higher quality of amateur

engraving and which tell a rather

touching tale of love and romance.

The first of the two glasses

is a larger than normal double

series opaque-twist stem wine

glass, 16.2cm in height and dat-
ing from the middle of the 18th

century, c1765. The engraving is

later, probably from around 1794.
English lead glass of this period

lent itself well to diamond-point
engraving as it was less hard than

the soda glass produced by most

Continental glass houses of the
time. The rounded funnel-shaped
bowl
(Fig.2)

is engraved with a heral-

dic shield containing a balance scale
on one side

(Fig.3)
and the letters

`M.E. Vroome’ within a floral car-
touche on the reverse
(Fig.4).

between the two main elements of

the design are two small birds in
flight carrying flowers
(Fig.5).
The

letters `NLH’ are scratched into the

top edge of the foot
(Fig.6).
Con-

sidering it is from an amateur, the

quality of engraving is good, but

it does not compare to the quali-
ty of work from the professional

engravers of the period. The glass is

almost certainly a token of affection
or love from NLH to M.E.Vroome.
I am fortunate to be in pos-

session of the later, second glass,

Fig. 1
The two glasses. Pedestal and opaque twist stems

Glass Matters Issue no.7 February 2020

diamond-point engraved by the

same hand; the engraver has made
it out to ‘Maria Elisabeth Vroome’

who I assume to be the M.E.Vroome
detailed in the first glass.

This second glass is a late Geor-

gian, lead wine glass with ped-
estal-stem; it is of some stature,

standing 18.4cm high and dates
from the

beginning of

the 19th cen-

tury.

The

double ogee-

shaped bowl

(Fig.
7) has

been engraved
on one side

with a cele-
bratory cake

beneath a
chain held

by two flying

birds, set above two swords within

a cartouche of two oak tree branches

(Fig.8).
On the reverse is an armorial

showing two shields beneath a ducal
crown
(Fig.9);

one of the shields is

depicting a balance scale similar to

that seen on the first glass. Just

beneath the rim there is an engraved

legend which, I believe, reads
“25th
Jarig e Trouwdag van Nicolaas Ludolph

Hoevenaar en Maria Elisabeth Vroome

op den 13th September 1820”.
This

can be roughly translated from

the Dutch as
“25th
wedding anni-

versary of Nicolaas Ludolph Hoev-

enaar and Maria Elisabeth Vroome
on the 13th September 1820”.
The

bowl sits on a stem consisting of a

cushion knop above a triple annu-

lar knop above a six sided pedes-

tal and a basal collar. The stem

leads to a terraced foot. The letters

“NLH” are once again scratched into

the top edge of the foot
(Fig.10).

We were fortunate enough to

track down both recipient and

engraver of the two glasses using

online resources – my thanks to Chris

Stonell for her time spent in help-
ing track them down. A Maria Elis-

abeth Vroome married a Nicolaas

Ludolph Hoevenaar (NLH) in 1795

Fig. 6

Engraving of initials on the foot of the opaque twist glass

LOVE TOKENS

Fig. 2

Fig. 3

Bowl of opaque twist glass

Scales within cartouche on opaque twist glass

Fig. 4

Fig. 5

Name within cartouche on opaque twist glass

Engraved bird on opaque twist glass

Glass Matters Issue no.7 February 2020

LOVE TOKENS

Fig.
7

Bowl of Pedestal stem glass
Fig. 8

Pedestal stem engraving with celebration cake

Fig. 9

Pedestal stem engraving with shields

, -4 1^v,

.
Fig. 10

Engraving of initials on the foot of the pedestal stem glass

in Amsterdam at the age of 21. See

https://www.genealogieonline.nl/

genealogieen-vromen/I33411.php.
The two glasses were presum-

ably engraved by Nicolaas who was
sufficiently proud of his achieve-

ment to record his initials on the
feet. The first glass was probably

presented to Maria by Nicolaas as

part of his courtship of her. The

second glass proves the efficacy of
his suit: a tale of a successful love

match over a period of some thir-

ty years. A pleasing and romantic

tale of social history told in glass.

Two glasses that really should have
stayed with one branch of the family

and I’d be keen to hear from any of
our Dutch colleagues if there is an
easy way to trace their successors.

HISTORICAL

NOTES

The shields are probably those
of their two families – Maria was

the daughter of Hendrik Vroome

and Anna Elisabeth Alida Pool-
man, while Nicolaas was the son

of Adrianus Hoevenaar and Chris-
tina Magtilda Oortman. Maria

was born in Amsterdam on 28th

April 1774 and died in Veghel on

24th February 1855. Nicolaas was
born in Utrecht on 22nd May 1772,

served in the army as an adjutant in
the 3rd Hussars, and died on 17th

June 1846, again in Veghel. Maria
and Nicolaas were married on 13th

September 1795 in Amsterdam,
the second glass commemorat-

ing their 25th wedding anniversa-
ry on 13th September 1820. They

had one daughter, Christina Elis-

abeth, born on 30th May 1798 in

Zutphen, Gelderland. The Hoeve-

naar family tree can be found online.
Our Editor introduced these

glasses and their engraving to Kath-
arine Coleman MBE, one of the

UK’s leading contemporary engrav-
ers, to whom I owe the following

observations on the diamond point
engraving on these two glasses:
“The use of diamonds for point

engraving on glassware in the Neth-

erlands became a popular pastime

– if not a profession – among artists
in the 1680s such as Heemskerk,

(Fig.11)
and many others, coincid-

ing as it did with the development of
lead glass – much softer and bright-
er to engrave – and the increase in

the diamond trade from India to

Antwerp and the Low Countries.
The quality of such engraving was
far higher and less clumsy than on

these two Georgian glasses, suggest-

ing that the two in question here

are by an amateur with an inexpe-
rienced hand. The heavy splinter-

ing, especially on the curves, comes
from the engraver trying to use the

diamond like a pen rather than an
engraving tool, pushing the dia-

mond through the glass round

curves, rather than stroking it gently.
There are many examples of soli-

taire ring “graffiti” on windows and

glass from Tudor times onwards,

Glass Matters Issue no.7 February 2020
19

such as in

Fig.12 –
charming Tudor

window glass in the British Rooms
at the V&A. The facet cuts of such
solitaire rings are never really high
enough for manoeuvring on a glass

surface, being 110 degrees plus,

whereas the engravers of the 17th

Century onwards, who used points
professionally, would use diamond

chips mounted on gravers with more

acute angles of some 45-60 degrees,

allowing for more elegant curves and

delicate scratching/engraving. Exam-
ples also abound in the semi-amateur
engravings of the Jacobite glass-

es of the 1740s/1760s, as in
Fig.13.

The engraving of the ladies’ names

on the KitKat glasses are also con-

siderably more elegantly executed –
even if they were done with a solitaire,

which I think unlikely: more likely
commissioned by the admirer from

an engraver with a diamond scriber.

Fig. 13
Jacobite glass detail, courtesy Bonhams

and K Coleman
The romantic idea of the solitaire ring

engraver is nonetheless appealing.
The dating of this particular glass

seems likely to be correct and the
engraving genuinely of the period

suggested, though, as we know, the
engraving might have been exe-

cuted any time since then to this
day.” I believe the engraving to be

contemporary with the glasses.
Figs.1 to 10 are reproduced with

thanks to the Editor and are © of

the Editor and Neil Chaney of The

World is made of Glass Ltd’. Neil can
be contacted through his website

www.theworldismadeofglass.co.uk

LOVE TOKENS

Fig. 11

An
exquisite Heemskeerk glass, ca.1685,

Fig. 12

courtesy of the Rijksmuseum, Amsterdam

Graffiti on windows, Tudor, V&A Museum (photo: K Coleman)

Glass Matters Issue no.7 February 2020

Campbell, gallery owner and fine

art dealer, and Joanna Shellard,
Sam’s wife. The Preface, written by
Rollo, lists all those who have been
involved with Sam throughout his

life and helped with the book. It is

a `Who’s Who’ of the international
greats in glass. At the end he gives

special mention to Joanna and

acknowledges that the book would

not have been possible without her.

Having visited Sam and Joanna a

few times during the preparations

for this book and seen the evidence
Fig. 1

Sam Herman working at London
Glassblowing, 2012 (page 108)

at first hand, I can only emphasise
Rollo’s words that Joanna “has
been the rock in Sam’s life for the

last 40 years as assistant, counsel

and support in all areas of his life”.
Special thanks are also giv-

en to Sylvain Deleu for his fabu-

lous images of Sam’s glass. They
are certainly some of the fin-
est photographs of glass I have

SAM HERMAN – A LIFE IN GLASS

Sam Herman

Book Review

Charles R. Hajdamach

D
uring the last sixty years

while the Studio Glass
Movement grew and devel-

oped and spread around the world,

it always amazed me that one of the

great omissions in the literature of

glass throughout all that time had
been a serious monograph about

Sam Herman, one of the great
protagonists of this revolution in

glassmaking. But when it did finally

appear in 2019, to say it was “well
worth the wait” would be a huge
understatement. Many in our world
of glass would only recognise the
name of Sam Herman as the per-

son who brought the philosophy
of studio glass to Britain in 1965

and transformed British glassmak-

ing for ever. The beauty of the new
book about Sam is that it opens

huge windows onto every other part

of his life and his achievements as a
painter, a sculptor and an educator

as well as a glass pioneer and a glass

artist. The content structure of the
book achieves this superbly well.
In his Foreword, the Marquis

of Queensberry provides a per-

sonal recollection beginning with
his first meeting with Sam at the

Royal College of Art, Sam’s impact
on the pedestrian and traditional

approaches to design by the great
Stourbridge glass factories, his

effect on the Ceramics and Glass
Department — not just glass, and

his offer to Sam of a research fellow-

ship. His comment that “appointing
Sam to work at the College was the
most important event in the study

and teaching of glass in this coun-
try in the last 50 years” sets the per-

fect tone for the rest of the book.
The two masterminds behind

the creation of this book are Rollo

Glass Matters Issue no.7 February 2020

SAM HERMAN – A LIFE IN GLASS

seen. They provide a visual treat

as near as possible to having
the actual pieces in one’s hands.
The brilliant idea to choose five

authors, who are close friends and

associates of the Hermans, to write

about separate parts of his career
provides the reader with a very

intimate and personal link to Sam

Herman not often found in other
monographs about glass artists.
Lucy Abel Smith, who wrote the

chapter on
The Early Years,
is an

art historian with interests in the
crafts who organises a Fresh Air

Sculpture Show with her husband
in the grounds of their home, has a

special interest in the Balkans and
Europe and founded the Transyl-

vanian Book Festival. She uses the
joint exhibition by Sam and the jew-

ellery designer and maker Gerda
Flockinger at the Victoria & Albert

Museum in 1971, her first introduc-

tion to Sam’s work, as the peg on

which to hang the personal history

and photos of Sam and his family,
beginning with the traumatic years
in Poland, then migration to Mex-

ico, another move to the United

States and New York, Sam’s various
jobs and his four years spent in the
US Navy, and fascinating snippets

such as his love of mountaineering.
Michael Boleyn, who wrote the

chapter on
The Birth of Studio Glass

1963-65,
was a fellow student of

Sam’s at the University of Wiscon-

sin and is himself a well-known
ceramic and glass artist. This is

another fascinating chapter as
Boleyn describes their experience

at Wisconsin under the guidance of
Harvey Littleton, with the technical
problems of a nascent department

where the students were not quite

sure what they were getting into
and there was no experienced glass-
maker on site to help. For example,

a newly installed melting tank did

not work very well as it was too

big and did not get the glass hot
enough, which made blowing a very

difficult job. But help was at hand

for the rookie glass blowers in the

shape of Dominick Labino. A vis-
it to Labino’s studio in Grand Rap-

ids was inspirational and restored
their enthusiasm and excitement.
His variety of different types of

glass furnaces opened their eyes to
new possibilities, while the range of

glass made by Labino, illustrated in

a photo of that visit, showed them
new forms and colours achievable

with small scale glass technology.

When the First World Congress of

Craftsmen was held in New York in

1964, Labino and Littleton and his
students set up a glassblowing stu-

dio which was available for use by

anyone from the participants from

46 countries. Herman and his fellow
students had started to initiate the
world-wide Studio Glass Movement.
Mark Hill, who wrote two chap-

ters:
The Studio Glass Pioneer 1965-

84
and
The Glass Artist,

needs no

introduction as he is a famous tele-

vision personality and broadcaster,

a glass collector (including a num-
ber of pieces by Sam), a leading
dealer in 20th century decorative

glass and author of a wide variety
of books on collectable subjects.

Mark’s two contributions form
the greater part of the book. When
one analyses the statistics of the

number of pages and photographs

devoted to each of the six main
chapters, it is easy to see that the

Fig. 2

Made in Lots Road studio in the early 1980’s,

reminiscent of some of his early work at the
RCA in the early 1970’s. (c/f front cover
picture). Private Collection

Glass Matters Issue no.7 February 2020

SAM HERMAN – A LIFE IN GLASS

main emphasis of the book, quite
rightly, is Sam’s glass oeuvre. Of the

145 pages devoted to the six chap-
ters, 95 are devoted to these two
chapters; of the 119 photographs

over the six chapters, 70 are of

glass mainly for the second of the

two chapters. In the first chapter,

Mark deals with the many diverse
personalities in Sam’s life, the rea-

sons for his moves to Scotland and
England – firstly to Edinburgh, then

to London and the Royal College of

Art – early exhibitions, his involve-

ment at Val St Lambert in Belgium,
his ground-breaking exhibition at

the V&A Museum, opening The

Glasshouse, his creation in Austra-
lia of the Jam Factory in Adelaide,

his return to Europe in 1979, and ending with ‘Reminiscences with

Erwin Eisch, 2017’. In the
sec-

ond
of his chapters, Mark revisits

some of the same places, such as

The Glasshouse and Val St Lam-

bert, but this time he considers the
technical aspects of the making of
each art piece, discussing appli-

cation of colours, trails and gath-
ers, shapes, iridescent effects and

how Sam developed them over his

career. At the Jam Factory his work

was influenced by the Australian
landscape and his colour choices
are earth greens and browns, while
shapes become dramatic and mon-
umental. Then in the section about

the Lots Road Studio from 1979-84

and the final section, Twenty-First
Century Work 2007-2017, Mark
conjures up images of Herman the

lover of glass – the material which

places him in that rarefied atmo-

sphere with other great glassmak-
ers in history such as Emile Gall&

At Lots Road Mark tells us that

Sam felt it was a “dream come true,
the first time in his life he was able

to do what he had dreamed about

at Wisconsin, his own private stu-

dio where he could make what he

wanted”. Ironically it was to be his
last studio. Mark lists the various

glassmakers and studios where Sam
worked between 2007 and 2017,
the most recent being Loco Glass

in Cirencester. Discussing the pros

and cons that Sam had to face, Mark
stresses that Sam’s work “resulted
in pieces that many see as among
the most successful, appealing

and mature examples of his work”.
Dr Greg Votolato, who wrote the

chapter
The Educator,
is a renowned

educationalist, a lecturer at the

Victoria & Albert Museum and
the University of Oxford, and has

written a number of books includ-
ing subjects such as 20th century

design and transport design. He

was former Professor of Design
at Buckinghamshire New Univer-

sity based in High Wycombe and
met Herman there when Sam was

a visiting tutor, working with him
throughout the 1980s. Votolato

stresses the two different elements
of Herman’s teaching style. On the

one hand he allowed his students

time and space and a creativity

which combined open-mindedness,

experimentation, risk-taking, inno-

vation and intellectual freedom.
But when it came to the critiques of
their work and their working meth-

ods, one former student said they
could be “cutting and gut-wrench-
ing. Sam practised tough love”. But

Herman’s high expectations were
there to help each student. Some

students took the easy path of

Fig. 3

Untitled,
2013. Blown glass 3&m. Private

Collection (page 111)

Glass Matters Issue no.7 February 2020

SAM HERMAN – A LIFE IN GLASS

Fig. 4

Open Handkerchief,
1991. Mild steel and glass,

65cm. Private Collection (page 138))

emulating Sam’s work but he was

a master at encouraging them to
find their own direction. That

approach by Herman meant that
the studio glass world very quick-

ly was populated by glass artists

working in a whole host of their
own developed techniques and

styles. He also impressed upon

his students the need for a busi-

ness acumen and for experience in

marketing, sales, dealing with the
public, exhibition display and per-

sonnel skills in the big wide world.
His creation of The Glasshouse

in Covent Garden helped many of

his students to make that transi-
tion from education to practice.
Michael Regan, who wrote

the chapter
Sculptor and Painter,

has a long career as an art cura-

tor and exhibition organiser, and
has worked with the Victoria &

Albert Museum, the Whitworth
Gallery in Manchester, the Arts

Council of Great Britain, Cana-
da House, and the Lightbox Gal-

lery in Woking amongst others.
He begins the section looking at

Herman’s early involvement with

sculpture, which remains Herman’s

lifelong passion. Leo Steppat, a
notable sculptor at the University

of Wisconsin, was a formative influ-
ence and introduced Sam to the
technique of welded steel. Regan
provides much useful information

about other sculptors who played
a part in Herman finding his own
three-dimensional language, and

likewise when he moves to discus-

sion of the paintings, there is much
useful information about artistic
favourites and heroes. Sandwiched

between the sculptures and the
paintings are the sculptures which

have fragments of glass with-

in them, which brings yet a new

approach by Sam in satisfying his
many artistic interests in a single

work. Having seen these sculptures
with fragments of glass in Sam and

Joanna’s home and being fasci-
nated by them, one of my lasting
impressions when visiting Sam’s

studio in the centre of Lechlade
a few years ago was seeing one of
these sculptures placed in a recess
halfway up the spiralling staircase.

The surprise of suddenly seeing it
as one turned up the staircase gave
one that ‘shock of the new’ as if the

triangular glass fragment, present-

ed at the highest point of the work,
was offered as a highly treasured

votive offering from another era.
Sadly, the text in this final chap-

ter suffers by the inclusion of too

many ‘Pseuds Corner’ art-speak

terms. When talking about Her-

man’s glass Regan feels it “enables

the spectator to discover light as a

`trans-optical’ reality”. His last sen-
tence of this chapter, now referring
to the paintings, reads “Humanistic

certainties are replaced by some-

thing closer to the anguish of Exis-

tentialism. The joke can be bleak”.
The book is completed by some

very useful appendices on Chronol-
ogy, Selected Exhibitions since 1966,

Selected Work in Public Collections,
a Selected Bibliography, detailed
histories of The Authors, and what

will be especially useful to collectors,
museum curators and auctioneers,
a section on The Making, Signing

and Numbering of Glass Pieces.

In the past, rather than giving lec-

tures about his work, Sam has pre-

ferred to talk about his ideas and
philosophies in discussion panels or

interviews. One of the most nota-

ble was his interview with Graham

Cooley and Mark Hill, which was

published with the title Sam
Herman

– Father of British Studio Glass
in Vol-

ume 8 of The Journal of The Glass

Association in 2008. More recently,
in 2019, Sam took part in a discus-

sion panel with Paul Woods, his for-

mer colleague at the Royal College;

Karlin Rushbrooke, a fellow glass

artist; and myself, as part of the
International Festival of Glass at the

Ruskin Glass Centre in Stourbridge.

Only one or two of these interviews

have been recorded or published

but now, with the publication of

Sam Herman,
not only the bibliog-

raphy of the literature on glass has

been corrected but this magnificent

book has brought many to the sud-

den realisation that we have lived

through a period alongside a fasci-
nating and inspirational polymath.

Various authors; ed.
Rollo Campbell, 2019

Published by Lund Humphries
ISBN: 978-1-84822-325-7

Glass Matters Issue no.7 February 2020

BONHAM’S AUCTION

Bonhams’ Fine Glass and British Ceramics sale:

Knightsbridge 20 November 2019

Dr Jim Peake

T
his 385-lot auction includ-

ed 134 lots of glass. In an

age when online bidding

has dominated the auction world,

it was encouraging to
see
a room

almost full for the duration of the

sale; this generated healthy com-
petition among both private and
trade buyers, contributing to a sale

total in excess of £868,000, with

the glass bringing in well over half a

million. The sale centred around 57

lots from an unnamed private col-

lection, which had a strong focus on
Dutch engraved glass from the mid-

18th Century. The highlight of this
was an important armorial goblet
engraved with the three-mast-

ed 44-gun warship the ‘Boeken-
roode’
(Fig.1),

bearing the Roos

family coat-of-arms to the reverse,

allowing it to be accurately dated
to circa 1747-50. Measuring an

impressive 25cm in height, it came

with impeccable provenance from
The Drambuie and the Sir Robert
Lorimer collections, no doubt con-

tributing to a final price of £13,812
(estimated at £5,000 — 8,000).
The prices realised for the more

familiar Dutch engraved light bal-
uster wine glasses were variable

and reflected condition. Several
of these glasses had minor chips

or had been slightly re-polished

at the footrims, making them
more affordable. Perhaps the most

admired of these prior to the sale

was a pair of light baluster glass-
es dating to circa 1760
(Fig.2)
and

respectively inscribed `De Negotie’
(Trade) and `De Zee-vaart’ (Navi-

gation) within banderoles to the
bowls, which brought £3,562 (esti-

mate £1,500-2,000). Two glasses,

arguably attributed to the most
renowned of all Dutch glass engrav-

ers, Jacob Sang, included one

engraved with a ship and anoth-

er inscribed ‘AL WAT ONS LIEF
IS’ (Everything Which is Dear to
Us), both circa 1760 in date. They
respectively achieved modest prices

of £1,402 (estimate £1,200-1,800)

and £892 (estimate £800-1,200),
reflecting resin-filled chips to the

foot of the former and an exten-

sive stem repair to the latter.
The collection also included

eight good colour twist wine glass-
es dating to circa 1760-65. The

more typical of these achieved less

than £1,500, primarily reflecting

a change in collecting habits and

LEFT Fig. 1

BELOW Fig. 2

Lot
31

Lot 34

Glass Matters Issue no.7 February 2020

BONHAM’S AUCTION

FAR LEFT Fig. 3

Lot
66

LEFT Fig. 4

Lot 84

a growing concern among collec-
tors, centring on the difficulty in

distinguishing between English

and Dutch examples. It is now

generally acknowledged that lead

glass was produced in The Nether-
lands as well as in England and may
have even been made there prior
to its introduction in England.

While Dutch colour twist glasses
are in many cases as good as and

sometimes even better than con-
temporary English examples, they
remain less desirable from a collec-

tor’s standpoint, and this provides

an unprecedented opportunity to

acquire such pieces at an afford-

able price. The two best examples
included an attractive ‘Tartan’
colour twist glass
(Fig.3),
and an

engraved ‘Christmas Ribbon’ glass,

which respectively brought £2,550
(estimate £1,500-2,000) and

£3,312 (estimate £2,500-3,500).
This was followed by the Basil

Jefferies Collection, which com-

prised 21 lots, spanning balusters,
Jacobite engraved glasses, colour

twists and Beilby enamelled pieces,

together with more standard wine

and cordial glasses. While pric-
es achieved for Jacobite engraved

glasses in recent years have been
variable, a very rare Jacobite
colour twist wine glass
(Fig.4),

dated to circa 1760 and engraved

with a rose and moth, achieved
£9,437 (estimate £3,000-5,0000),

indicating that this is very much

a buoyant market. Strong pric-
es were also achieved for a large

mushroom-knopped heavy balus-

ter goblet, 23.1cm high, dated circa

1710 (estimate £6,000-8,000), and
a rare Beilby polychrome enamelled

wine glass
(Fig.5),
dated circa 1765

(estimate £3,000-4,000), both sold
for £7,562. Lot 72, a very good

example of a cylinder knopped

LEFT Fig. 5
Lot 88

Glass Matters Issue no.7 February 2020

LEFT Fig. 6

Lot 72

BELOW Fig.
7

Lot 7

baluster cordial glass
(Fig.6),
esti-

mated at £2,500-3,000, was bid
up to a hammer price of £4,600, a

sale price with premium of £5,312.
Arguably the most unusual glass

in the sale was a very rare, trum-

pet bowled, Williamite enamelled

wine glass dating to circa 1740-60,

standing 11.6cm. Understatedly
inscribed ‘THE GLORIOUS MEM-
ORY OF KING WILLIAM.’ in white

enamel beneath the rim, it is per-

haps the only known Williamite

glass with enamel decoration. It

sold for £3,812 (estimate £2,000-
3,000). However, the highlight of
the early glass was undoubtedly

a very rare Dutch engraved royal

armorial goblet and cover engraved

with the profile portrait of Charles
II of Spain
(Fig.7),

with the crowned

arms of the Emperor to the reverse,

which allowed it to be precisely dat-
ed to 1665-68. With its distinctive

slender multi-knopped stem and
ring finial, this goblet belongs to

a rare group of glass attributed
to the Southern Netherlands. It

generated fierce bidding both on
the telephones and online, realis-

ing £35,062 at the fall of the ham-
mer (estimate £8,000-12,000).
The piece de resistance came
BONHAM’S AUCTION

Glass Matters Issue no.7 February 2020

BELOW Fig. 6

Lot 107 cameo plaque in its case

BONHAM’S AUCTION

BELOW Fig. 7
Lot 108

__1111111111111.1w
in the later glass section,

which included two import-
ant Stourbridge cam-
eo pieces, both by
the renowned artist
George Woodall and
both with family

provenance. They
had formerly been
on permanent
loan to Broadfield
House Museum
of Glass, and

subsequently
in storage since
its closure in

2015. The first

of these to go

under the ham-
mer was an oval

plaque commis-

sioned in 1913

(Fig.8),
finely

carved with the lyr-

ic poet Sappho play-
ing a lyre in an archaic
Greek landscape. Pre-

sented in its original
fitted traveling case, it achieved

£50,062 against a published esti-

mate of £40,000-60,000. Following

this was a late 19th century vase
owned by the artist himself, depict-

ing the myth of Fielea and Ariston

and titled
‘The Origin of Painting’

(Fig.9).
After a lengthy bidding bat-

tle between the telephone and the
room, it sold for £206,312 and set

a new world record price for a piece
of English cameo glass; the previ-

ous record having been for
‘The

Attack’,
a cameo glass plaque by

Thomas and George Woodall sold

by Bonhams in 2013 for £169,250.

Dr Jim Peake is ‘Specialist in

Glass and British Ceramics’ at Bon-

hams Auction house in London. The

price estimates noted above do not

include the Buyer’s Premium; the

sale prices achieved are the ham-

mer price plus the Premium. The

next sale of Fine Glass and British
Ceramics will take place at Bonhams,

Knightsbridge on 20 May 2020.

Glass Matters Issue no.7 February 2020

EILA GRAHAME – COLOURED GLASS

Coloured Glass in the Eila Grahame Collection

Dudley Museums Service

Bill Millar

first report on the Eila Gra-

hame collection featured
n Issue 1 of
Glass Matters

in January 2018 and David Bur-
ton’s article on the Eila Grahame
bottles appeared in thae first and
recent issue of
The Journal of the

Glass Society.
The inventory, which

accompanied the collection and was
originally produced by Ella, has now

been used to accession all the glass
items using her description notes.

This article looks at the coloured
items in the collection, using Eila’s
inventory descriptions as the main

element of the descriptors for each.

Added notes are printed in
italics.

As you might expect of a dealer,

her descriptions are more subjec-

tive than those a museum curator

would use. However, where Eila has
used words such as ‘highly import-

ant’ they must not be dismissed as

a dealer talking up her stock, as her
knowledge of glass, eye for qual-

ity and willingness to invest in

the best were clearly formidable.
The trio of James Giles decanters
BELOW Fig. I

“330.A highly important pair of Bristol

blue glass decanters decorated by James
Giles.The decanters of shouldered form

with vine leaves and grapes in gilt entwin-
ing the necks in a downward movement,

with exotic trees and on each decanter 2

advancing birds in different poses. On the reverse gilt sprays of flowers and smaller

motifs decorating the reverse.The origi-
nal stoppers of cut vessica shape gilt with

vine leaves and grapes.
Cl 760 (condition

of gilding brilliant).”

Heights
24.6, 24 & 24.6cm.

Glass Matters Issue no.7 February 2020

Fig.1 –
accession numbers

BH5231a, b & c – were recorded as a
pair in the inventory, reference num-

ber 330, with no mention of a third
decanter: just one of several anoma-

lies in the inventory. However, the
detail of their manufacture and deco-

ration leaves no doubt that they orig-

inated from the same workshop and

were reunited nearly 250 years later
by Eila who presumably purchased
them in two separate transactions.

Andy McConnell has almost certainly

illustrated the same three decanters

in his two books on decanters. In the
first issue of 2004,
The Decanter, An

Illustrated History of Glass from 1650,
page 145, plate 205, he shows a pair

of decanters, identical to BH5231 a

& b, which he notes sold for a record
price of £4,200 in 1968. In the sec-

Fig.3 (from left to right)
“342.A mammoth blue glass gilt all over

with flowers and insects and a large

pheasant in the centre. By James Giles,

c 1760.” Height 27.3cm.

“284.A rare blue glass tumbler of
cylindrical form, richly gilt by James Giles,

the sides decorated with a view of a

factory, almost certainly the Bristol Glass

Works, the rim with a gilt border 4Y2”

Height I 0.5cm.
“270.A rare Bristol blue glass decanter of

shouldered form , decorated in burnished

gift with word “Claret” in an elaborate
cartouche of vine leaves and grapes, cut

spire stopper similarly decorated, but the

peg not ground to
fit
the neck, c 1765.
Eila

had written 1865.
(The gilding in fine con-

dition) by Giles.”
Height 22cm.
and issue of 2018,

The Decanter,

Ancient to Modern,
page 117, item

11, he shows a decanter identical to
the third of Eila’s, accession number

BH5231c, which he notes sold for

£15,200 in 2004. It is worth noting
that in 1968 it was possible to buy

a detached house for about £4,200!
The photographs at
Figs 2a & 2b

show the numbering system used to
match the stoppers with the decant-

ers at
Fig 1.
The cuts on the rims of

the decanters appear to be under the
gilding. The craftsman responsible

clearly knew his Roman numerals,

but when he used them – to para-
phrase Morecambe & Wise – he did

not necessarily use them in the right

order. This method of marking the
decanters and stoppers, while effec-
tive, looks to be somewhat brutal.

However, I handled the decanters sev-
eral times and did not notice the cuts

until they were pointed out to me.
The three articles at
Fig.3
are just as

stunning as the first three decanters.

EILA GRAHAME – COLOURED GLASS

BELOW (BOTH) Figs.2a & 2b

Cuts
on the lips of
the decanters
and the base
of the pegs of the stoppers

used to match
stoppers

with
decanters.

Glass Matters Issue no.7 February 2020

BELOW Fig.5

“298.A rare partridge-wood tea caddy lined in red leather containing 2 compartments

holding a cut amethyst sugar bowl and tea caddy (chipped), Bristol c 1775.”

Height Box I 7.3cm, Caddy with
stopper
I 4.5cm, Bowl I 4cm.

EILA GRAHAME –

COLOURED GLASS

RIGHT (BOTH) Figs.4a & 4b
“273.A very rare pair of Bristol green
decanters of shouldered form,the bodies

facet cut all over; (one decanter cracked)

the original stoppers with scalloped edges
and convex diamonds, c1765 (Exhibited
in the exhibition of glass at theV&A) No
328.” Height
24.8cm,

Also attributed to James Giles, the
quality of the decoration is simply

outstanding. The mammoth glass,
BH5236, is rather special given its

size and rarity. Eila’s description can

be augmented by explaining that it

has a rounded funnel bowl with faint
reticulated moulding to the base; it

also has an incised twist stem, scallop
cut foot and unpolished pontil. The

tumbler, BH5229, is equally special,

although it is dwarfed by the immen-

sity of the mammoth glass in the
photo. Given the lack of large chim-

neys on any of the buildings illus-

trated on the tumbler it is difficult

to support the idea that this is the

Bristol Glass Factory. Perhaps this is

yet another anomaly in the inventory

and we have, conveniently, matched
this tumbler to wrong description.
The final item in blue glass, also

shown at
Fig.3,
is a claret decanter,

BH5230, attributed to James Giles.
Less flamboyant than the decant-

ers at
Fig.1, it is
still important in its

own right. The stopper is too large
for the decanter and was presum-

ably switched at some point with

another in the same set. Some col-

lectors might have had the peg of
the stopper ground down to fit the
decanter, especially as neither the

decanter nor the stopper has been

numbered. It is to Eila’s credit that

she retained the truth and histo-
ry of the item and did not attempt

to maximise the item’s value.
The green, facet cut decanters

shown at
Fig.4,
BH5281a & b, are

particularly rare. A review of pub-

lications failed to find illustrations
of anything similar in this colour.
The boxed tea caddy and bowl

with key (BH5289a, b, c & d) at

Fig.5
completes the list of British

glass items in this article. The dam-

age Eila refers to includes the caddy

Glass Matters Issue no.7 February 2020

EILA GRAHAME – COLOURED GLASS

Fig.6 (from left to right)
“345.A single green glass vase

with ribbed body, gilt metal

mounts, 17th C.” Height I
8cm.

“29 I .A German late 16th C

green glass pilgrim’s flask of

flattened form mounted in gift
metal.The screw-on stopper

forming a pierced trefoil design,

the sides enclosed by elaborate
cartyd mounts with rings (chains

missing) over a plain collar and

foot in metal. 10.25″ high 5″ wide
across the body (see similar piece
on cover of G Savage’s book).”
Height 26.6cm.
“346.A green glass ewer with lip,

handle and foot mounted in metal

gift. Late 17th C.”
Height I 3.2cm.

“344.A
pair of European glass vas-

es mounted in gilt metal, 17th C:’

Height I 0.5cm.

stopper, which has suffered signif-
icant damage to the peg area and

a chip to the rim of the caddy, but
this does nothing to detract from
the attractiveness of these items.
Eila described the remaining items

shown at
Fig.6,
BH5282, BH5309,

BH5306 & BH5307a, and at
Fig.7,

BH5307b & BH5308 as continental.

What little literature exists on the
subject concurs with this attribution.

The brightness of the gilding belies
their considerable age. These items

are far beyond my knowledge of 16th,

17th and 18th century glass, so I will
not attempt to add anything to the

original descriptions provided by Eila.
I must acknowledge the assistance

of Tim Mills whose considerable
knowledge of glass and its literature

of the later periods was invaluable

in producing this article. Tim also
provided the additional descrip-

tion for the mammoth blue goblet

Fig 7. (from left to right)
“344.A pair of European glass vases mount-

ed in gilt metal, 17th C”
Height I 0.5cm.

“347.An amber glass bottle with gift metal

handles and foot, late 17th C:’ Height
21.7cm.

I have included item 344, BH5307b in this
photo, even although its pair; BH5307a is

included in Fig.6
to
provide scale for the dif-

ffiring sizes of the continental items.
BH5236 and researched the litera-

ture and spotted the numbers — that

I’d missed – on the decanter necks

and stoppers shown at
Figs.2a & 2b.

If you require
any further in for-

mation on the items described in this
article I will be only too happy to assist

by e-mail. [email protected]
The items can be seen if you are

able to visit Himley Hall, King-

swin ford. For enquiries please

e-mail [email protected]

Glass Matters Issue no.7 February 2020

BATH-OIL AND PERFUME

ARYBALLOI
and the bath rituals in

Roman times

Part
1

Author: Hans van Rossurn
English translation: Theo Zandbergen

O
ne should not bring bath

oils to the public baths

in a glass container as

these can break and cause injury.

(Derekh Erezt Rabbah – 160 – 220 CE)

T
he above advice by the Jewish

scholar was probably not wide-

ly followed. The glass contain-

er undoubtedly referred to aryballoi,

which was exactly the type of contain-
er frequently used in the Roman ther-

mal baths. The word thermal stems

from thermos, meaning warm. Ther-
mal baths were complexes with warm

and cold baths more or less like our
modern saunas or baths. Massages

were also available, perhaps using the

[fragrant] oils brought from home.

The baths were quite important to the
Romans as these were not only facil-

ities to get rid of dirt and grime, but

also meeting points for discussions,
making deals or debating politics.

The baths played an important social
and business role. Large bath com-
plexes have been unearthed, similar

to the one in Heerlen in the Nether-

lands, the largest one in the Lowlands.
During Roman times the arybal-

los was an indispensable accoutre-
ment for visitors to the baths, who
carried the aryballos from home

with a small attached handle or with

a bronze chain and stopper. Enter-
ing the baths, at first one would go
to the apodyteria, the respective
changing rooms for female and male

visitors. The smaller baths usually
had only one apodyterium and used
different opening hours for females

and males. The clothes were careful-
ly stored away,
(Fig.2)

and the visitor

then went to the caldarium,
(Fig.3),
a

space with a temperature of approx.
40° C. and a humidity of around

80%, resembling our saunas of today.

Then to the plunge pool, called the
alveus, and from there one went to
the sudatorium, the sweat room,

comparable to our modern steam
rooms. From there one could go to

the tepidarium, a room with a mod-
erate temperature, and also see the

masseur, handing him the aryballos

with the fragrant oils brought from
home, which could then be applied.
TOP Fig.1

Roman Bathhouse (Thennae) in Bath (UK)

ABOVE Fig.2
The room to store the clothes neatly away

The masseur would disperse some

sand over the oily body followed by
cleansing using a strigil,
(Fig.4) –
a

scraper made of bronze, steel or glass

– to finish the cleansing process, the
body acquiring a pleasant aroma

from the applied oils. To complete

Glass Matters Issue no.7 February 2020

BATH-OIL AND PERFUME

Fig.3

One of the baths in the Thermae complex

the visit to the baths, one then vis-

ited the frigidarium, the cold room,
there having been enough time in
the whole process to socialize. One

would then get dressed again and go
on his or her way. This cleansing rit-
ual was followed for some centuries

and ended somewhere in the 4th cen-
tury
CE,
probably due to the influ-

ence of Christianity. The thermal

baths, like the one in Heerlen, were
often related to the Roman fortifi-
cations. Those combined facilities

often led to larger settlements and

thriving communities. The presence
of troops, the fortifications and the

security, accommodated trade and
the development of agriculture and
other associated businesses. During

the four centuries of the existence
of the baths at Coriovallum, Heer-

len, many thousands of aryballoi
had been used by the visitors to the

baths. Without doubt, many of the
aryballoi suffered
damage and were

broken into piec-
es, as not all the

visitors followed
the wise words

of Rabbah. How-
ever, fortunately

many were saved

as the happy col-

lectors can attest.

As aryballoi also
had a kind of

“show-off” func-

tion, all kinds of

Fig.5Aryballos, ceramic

Late Corinthian,

7th century BCE. The
Kelsey Museum of

Archaeology, University

of Michigan (USA)
Fig.4

Set of two bronze strigils with carrying ring;

collection Hans van Rossum. Roman Empire;

1st century AD; H = ca. 20 cm

forms and shapes developed.

THE STORY BEHIND THE ARYBALLOS
No known glass form from antiquity

equals this flask, unless it could be
the oinochoe, a pitcher, sometimes

with a spout often termed ‘trefoil’.

The earliest examples of aryballoi

go back to the Egypt of the 18th
dynasty (1550 — 1292 BCE). The

term aryballos was originally used
for a ceramic spherical oil jar of the

7th century BCE,
(Fig.5).

This term –

a Greek derivation – being used when
in the Greek and Hellenistic period
the jars were formed through the

glass-forming technique called ‘core

forming’,
(Fig.6).

The description

aryballos then became a generic
term for spherical-formed (bath)

oil containers in Roman times.
However, a Roman aryballos can

also be seen in different forms and
shapes, such as semi-circular, squat,
bi-conical, or even hexagonal. In

all cases these containers are called

ampulla olearia, or aryballos. The
early free-blown examples came

into existence in the 1st century CE
from glass-production centres in
the Eastern Mediterranean region,

in the coastal areas of Syria and

Palestine. These can be recognised
by their relatively long necks and

Glass Matters Issue no.7 February 2020

ABOVE Fig.6

Aryballos, core-formed,

collection Nico Bijnsdorp.
Eastern Mediterranean,
possibly Rhodes;

6th — 5th century BCE

LEFT Fig.7

Aryballos, collection
Elisabeth & Theo

Zandbergen. Roman

Empire; second part 1st

century CE; H = 7.6,
D = 4.7 cm; W = 25 g

BATH-OIL AND PERFUME

handles made of a glass thread in a
contrasting colour. As far as is known

there are almost no intact objects or

fragments unearthed in the Syrian-

Palestine region. The assumption

is therefore that the monocoloured,

bicoloured and polychrome aryballoi

were made for export to the other

areas in the Roman empire which were

dotted with thermal baths. In that
early period, one should mainly think

of the settlements and cities around
the Dalmatian coast. That’s also the

area where finds have been reported
of early type aryballoi, especially

the polychrome ones. The same can

be said for Northern Italy and its

bordering areas, for Switzerland, the

Aegean area, the Crimea and other

areas in Asia-Minor. From this, one
could conclude that in Northern

Italy and neighbouring regions,
manufacturing centres were active,
producing at least the polychrome

variation of the early Aryballoi,

(Fig.7).
One could postulate that

those manufacturing centres could

very well have been created by Syrian
immigrants during the first half of
the 1st century CE: immigration has

happened throughout time. These
colourful variants were created, let us

say, from the years 20 to 30 of the 1st
century with the summit around 50

CE. This production would have rather
quickly ended around 70 CE, after

which period hardly any polychrome

glass was produced. That could very
well have been caused by the invention
of the metal blow pipe and very much

simplified methods in glass working,

and is thus a form of standardisation.

It’s also quite possible that
polychrome glass went out of fashion.

Yes, ‘all times have times’, so even
then one could steal the show with

something new like a “bling” aryballos.

APPLIED GLASS COLOURS
Concerning the colours of the ear-
ly forms of free blown aryballoi, one
could say that many of those were

generally in cobalt blue and amber
colours, sometimes in combination

with opaque white embellishments

Glass Matters Issue no.7 February 2020

BATH-OIL AND PERFUME

BELOW Fig.8
Splashed aryballos, collection Hans van Rossum.

BELOW Fig.9

Eastern Mediterranean or Italy; 1st century CE;

Aryballos, collection Elisabeth & Zandbergen. Probably Rhineland;

H = 6.5, D =
4.5

cm; W = 26 g

2nd centuty CE; H = 5.0, D = 8.2 cm; W = 91 g

(Fig.8).
Much rarer are the aryballoi

in the so-called ‘splashed-glass’ man-
ner. This splashed glass, either in

bi-chrome or polychrome, is created

by placing differently coloured glass
chips on the marver, a perfectly flat
piece of stone, then rolling the hot

glob of glass over those chips, incor-
porating them into part of the total

gather of glass. The glass mass is then
further blown out into the form and

size chosen by the glassmaker, fol-
lowed by another rolling on the marv-
er. One really could show off with such

a colourful aryballos. With evolving
techniques fully utilising the poten-

tial of the metal blow pipe, the form of

the aryballoi and their colours became

more or less standardised – most of

the objects were made in bluish-green

glass,
(Fig.9).
This colour is more or

less the result of the ingredients that

were used and the impurities in them,
such as iron oxide in the sand that was
used. Anyway, a certain blue-green
colour can be indicative for a specif-
ic production region. Glass objects
manufactured in the Rhineland do

have a somewhat different and typi-
cal bluish-hue called in German “blau-

lichgriin”. That bluish-green colour

is a variant on the more common
bluish-green colour of Roman glass

originating from the Eastern Medi-
terranean area. Early on, glassmakers

had already discovered that it was
possible to decolourise glass by using

e.g. manganese. However, in that
time it was a cumbersome process;
despite this, many glassworkers in

the workshops in Cologne and Alex-

andria used that technique. The extra
effort could be minimized by using

extremely pure sands like quartz.
However, it should be said that very
few of those clear glass objects sur-

vived. The early glassmakers also
discovered that adding metals to the
mix of ingredients resulted in differ-
ent colours. Adding silver gave a yel-

lowish hue to the end product, or the
addition of cobalt gave a strong blu-
ish colour. Most of the time, the core-

formed aryballoi have a

strong bluish colour in
the base material. The

other vibrant colours

are just marvered in. For

aryballoi of a later date,
formed with the met-

al blow pipe technique,
the bluish colour is quite
rare. The University of

Pennsylvania Museum

has a very rare opaque
blue aryballos with

Fig.lOAryballos,
collection

Hans van Rossum. Eastern

Mediterranean, probably Asia

Minor; 2nd century CE;
H= 7.3 cm, D= 6.9 cm; W = 64 g
white handles and a decoration of

ground rings in the body of the object.

The first part of the 1st century CE
is especially characterised by the
use of a variety of different colours;

however, as that century progresses

less vibrant colours become
en vogue.

One sees the simple bluish-green
and later on the yellow-green – olive

colour — emerge,
(Fig.10).
For the

Rhineland the previously men-

tioned typical bluish-green objects
remained the prevailing colour.

DIFFERENTLY SHAPED ARYBALLOI

Most of the time the thick-walled

aryballoi have a spherical shape, but

Glass Matters Issue no.7 February 2020

BATH-OIL AND PERFUME

BELOW Fig.11
Miniature aryballos, collection Hans van Rossum. Probably Cologne;

1st century CE; H = 3.2 cm, D = 2.4 cm; W = 14 g
BELOW Fig.12

Aryballos, collection Joop van der Groen. Eastern Mediterranean;
1st-2nd century CE; H = 7.3 cm, D = 6.3 cm; W = 52 g

many other forms are known. As

mentioned before, squat, bi-con-

ical and even hexagonal forms are
known and the dimensions also vary
quite extensively. In the Bonn area

aryballoi have been found with a
height of 21- 24mm. Perhaps these
miniatures were additional grave

gifts with a more symbolic mean-
ing,
(Fig.11),
because this kind of

format is impractical for use in the

thermal baths. A height of 50mm

is quite normal. The museums

Fig.13

Aryballos, Windmill Collection.
Probably Asia Minor; 2nd century CE;
H= 14.4 cm, D= 10.2 cm
of Tongeren (Belgium), Amiens

(France) and the French Departe-
ment de la Seine-Maritime show

many examples of these. The most
common height of the aryballoi is

between 60 and 80mm. However,
objects of much larger size, up to

200mm are known
(Figs.12 & 13).

Editor: This introduction to Arybal-

loi has been provided by a group of our

Dutch members, who are specialist col-

lectors of Aryballoi. Hans van Rossum
has written a complete story, which has

been printed for the group in Holland,

Theo Zandbergen was in touch with us
and offered an English translation, along
with many photos of Aryballoi

provided from the collections of

the group members. This is an

edited version, agreed by Theo.

The article is being present-
ed in two parts; Part 2 will be
printed in the Glass Matters 8.

GLOSSARY OF TERMS USED IN

THE ANCIENT ROMAN BATHS

Aryballoi
(singular – aryballos)

A small spherical or globular flask
with a narrow neck, used to con-
tain perfume or oil used in bath-

ing. Origin in ancient Greece.

Thermos
An ancient Greek term, meaning
warm, hot, boiling or glowing.

Heerlen

A city in the SE of the Nether-
lands, close to Maastricht.

Thermae Coriovallum

A Roman bathhouse at Heerlen,
circa 40 CE. With a museum.
Said to be Holland’s best
preserved Roman building.

Apodyteria
(singular – apodyterium)

Cubides or shelves in a room to store

away dothing while bathing.

Caldarium
A
hot and steamy room in a Roman

bath complex, with a hot plunge bath

and heated by a hypocaust.

Sudatorium
From verb `sudare’ = to ‘sweat’. A hot

steam room with a ‘hot air bath’ to
induce sweating. You could also be

immersed in heated sand.

Alveus
A hot bathing pool (plunge pool), or
plunge bath in the caldarium

Tepidarium

A room warmed by radiant heating

Strigil (ancient Greek = strigilis).
An instrument of metal, bone or
wood used to scrape away dead skin
and oil after the baths.

Frigidarium

Cold baths. A cold pool of varying
size at the Roman baths. Was often
kept cold by using snow.

Oinochoe

A green / blue vessel used as a
Greek wine or water jug.
Made of glass or ceramic.

Ampulla olearia
A bottle of oil. An oil bottle – aryballus.

Glass Matters Issue no.7 February 2020

WHCmog and BGF

White House Cone museum ofglass

I
n November last year, Graham

Knowles, chairman of the British

Glass Foundation (BGF), informed

the Glass Society that much work
`behind the scenes’ had been car-

ried out to progress the formal-

ities to fit out and open the new
museum of glass (WHCmog):-

•
Working with the chartered sur-

veyor on getting the best rent-

al agreements with the tenants

•
A major fundraising initiative

with a sub-group headed by Will
Farmer of Fieldings Auctioneers

•
All the preparatory details to

enable the Heritage Fund grant

•
All the preparatory details

for a new membership

scheme and patronage

Then, on February 5th, Gra-

ham was delighted to inform
us of the following news:-
“We have this afternoon received

`Permission to Start’ from the Heri-

tage Fund (formerly HLF) following
our grant application for £980,000 to

convert the former Stuart Crystal site

in Wordsley into a world-class facili-
ty and new home for the renowned

Stourbridge Glass collection.
I thought you would appreciate

a note in advance that we have now
reached this important milestone.

The Heritage Fund (HF) has granted
this funding towards the internal fit-
out of the museum, but before releas-

ing the funds and giving Permission
to Start, they obviously needed cer-

tain documents in place, including

signed leases and a ‘Charge over the
property’; we have raised £238,000
in matching funding, which was

also a requirement. Now that we

have Permission to Start, we will go
out to tender for a design team for

the internal fit-out of the museum

and will also shortly be advertising
for a Museum Director for a peri-

od of 3 years, whose salary will also

be covered by this grant funding .
The opening for the White

House Cone museum of glass is
July 2021. Exciting times lay ahead.

I would like to thank you

for your support which has

been very much appreciated by
myself and my fellow Trustees.
With very best wishes, Gra-

ham Knowles, Chairman”

British Glass Foundation (BGF)
The British Glass Foundation is an

independent enabling body bringing
together all relevant glass and cultur-

al organisations and private individ-
uals, in a common aim to protect and

save the glass, archive and technical
collections formerly held at Broad-

field House Glass Museum, to ensure
their future display to the public,

their continuing access for research

and their on-going promotion.

www.britishglassfoundation.org.uk
The BGF was founded in 2010, fol-

lowing revelation of the imminent clo-
sure ofBroadfleld House Glass Museum,
which finally closed its doors in 2015.

The grant from The National Lot-

tery Heritage Fund, together with

funding raised from other sources,

will transform the space inside the
new museum building, enabling

exciting and innovative displays with-

in the ground and first floor galleries
– exhibiting items from the nationally

significant glass collections. Envis-

aged are permanent displays charting
the history of the people, products

and processes associated with glass

production, a flexible activity and

learning space for schools, semi-
nars and talks and various com-

munity-led events and workshops,

along with the hot glass blowing stu-
dio . A temporary exhibition space

will also allow more of the collec-
tion to be shown, as well as items

from other museums and galleries.
Graham Knowles has further said:

“I am delighted for the people of Stour-
bridge and the wider community that,
thanks to the Heritage Fund, we now

have the resources to finally complete
the ‘People’s Museum’. I am particu-

larly grateful to Dudley Metropolitan
Borough Council (DMBC), who remain

a key player in our plans and I want

to thank project partner Ian Harra-

bin MBE, Managing Director of Com-
plex Development Projects Limited, for

his generosity, which will ensure that
the new museum is sustainable in the

long term for future generations and
to acknowledge the substantial sums
received from ERDF (European Region-

al Development Fund) – £2.15m, and

Black Country Local Enterprise Part-

nership Growing Places Fund – £1.3m,

which provided funding for the build-

ing work”. (See the BGF website).
DMBC, the custodian of the

world-famous Stourbridge Glass
collection under the title of Dudley
Museums Service, has now arranged

for the glass collection to be trans-

ferred to the BGF for 125 years for
display in the WHCmog. A 125yr

lease of the building has also been

transferred to the BGF through
Complex Development Projects Ltd.

Glass Matters Issue no.7 February 2020

Contemporary

Glass

Society

… become part of a vital
contemporary glass scene

join us www.cgs.org.uk
contact [email protected]

Mang,’ I amb All The Rage Carrie Fet
.
,,, l phatr 5Nrt,00
EVENTS

GLASS
SOCIETY

London Meetings
at the AWG

Held in the Gradidge or Masters room
at the ArtWorkers’Guild, 6 Queen

Square, London WC I 3AT

W
e meet at 6.30pm for light

refreshments, with pre-

sentations starting at 7.15pm.
The charge for Glass Society mem-

bers and members of related soci-
eties is £15 payable on the night.
Everyone else will be asked for £20.
Please let the Meetings Organis-

er, Anne Lutyens-Stobbs, know via

email ([email protected]) if you

wish to attend one of the meetings.
Please also notify her if you are

willing to co-host @ £20. If you, or

someone you know, have a glass
topic you feel passionate about, do

get in touch, we are always seek-
ing interesting new speakers.

Thursday 12th March 2020
Katharine Coleman, MBE,
‘Mod-

ern European Glass Engraving.’
This

illustrated presentation will intro-
duce the exhibition, curated by Dr

Sven Hauschke, the Director of the
Kunstsammlungen Veste Coburg

and the European Museum of Mod-

ern Glass (EMMG), who has invit-

ed the Glass Engraving Network
to show at the EMMG at Roeden-
thal, from early April until Novem-

ber 2020. Sven kindly offered to

ship all 150 pieces (by 45 engravers
from 12 countries) from its previ-
ous display in Finland and exhibit

them at his museum. Katharine is

an internationally renowned glass
engraver based in London, teaching

at Morley College, Corning Museum
of Glass and Bild-Werk Frauenau.

www.katharinecoleman.co.uk

Thursday 14th May 2020
Patricia Ferguson, Will present new

information on richly coloured Chi-
nese paintings on mirrored plate glass,
exquisitely mounted in fashionable
European giltwood frames, which

furnish the interiors of many English
country houses, such as those at Shug-

borough in Staffordshire, the seat of
the Anson family. Patricia Ferguson is

the National Trust’s external advisor
on ceramics and has published widely

on patronage and collecting in Britain.

Tuesday 30th June 2020
Nigel Benson, A well-known fig-

ure in the glass world, informs us

that he has additional images, pre-

viously not shown, that will help

augment his talk on James Pow-
ell & Sons and other UK manu-

facturers of Arts & Crafts glass.

Tuesday 19th November

Jonathan Clarke, Conserva-

tor and maker of Stained-Glass,

will be discussing his work.
(Fur-

ther details to follow in GM8).
Thursday 17th December

Andy McConnell, joining us again
by popular acclaim, is presenting

his overview of 5000 Years of Glass.

Glass Society visit and Study day
Monday 20th April

Dr Francesca Vanke FSA, Senior
Curator – Norwich Museums, Keep-

er of Fine & Decorative Art is host-

ing the Glass Society on a study day
to view their newly bestowed collec-

tion of 18th century glass and oth-
er glass in storage. A guided tour of

the Museum is also being arranged.

Save the date. Our joint chairman,
David Willars will be emailing

the membership with full details.

National Glass Fairs

Held at National
Motorcycle

Museum, Birmingham, B92 OEJ.

Junction 6 of the M42

www.glassfairs.co.uk
Discuss, learn and collect with

your glass friends and dealers.

Sunday May 10th

Sunday November 8th

International Events
We are giving a first call to our

membership for interest in a Glass

Society trip to visit glass museums

and collections in either France or

Italy in 2021. Gaby Marcon, who

arranged our previous tours
to
Ita-

ly, USA, Sweden, Ireland, Bavaria

and Spain for both the Glass Asso-
ciation and the Glass Circle has

offered to organise this next event.
INTERESTED? then email

[email protected]

Apologies
In
GM6 on page 4, `Chihuly

at KEW’, the title misspelt

Dale

Chihuly’s

name.

In GM6 on page 31, the contact

email address for Nigel Benson unfor-
tunately became hyphenated. His

email address is [email protected]

and he still wishes to hear from

members who have an interest in
joining in on the Glass Identifica-

tion project with the National Trust.

Glass Matters Issue no.7 February 2020

c.”4.

1
•
4
1

.17—

Promoti.wo the vwderstotwoti.in,0 avvd orppreciatioK,
o-F

glass

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