GLASS CIRCLE
NEWS
EDITORS
(David Watts
27 Raydean Road
BARNET, Herts. EN51AN
John Towse
25-27 Curtain Road
London, EC 2A 3PH.
No.36 December 1986
50th ANNIVERSARY ACCOMPANIES THE WINDS OF CHANGE
For most members the activities of the Glass Circle
Committee chug gently on, almost un-noticed apart from
an efficiently run and varied programme of lectures and
the ever-popular annual outing.
More recently the
Glass Circle Journal publications subcommittee has been
in almost continuous session organizing and monitoring successive issues of the
Journal.
In all these matters, as well as regularly taking the chair at
meetings, our president has played a central and active role.
But time
passes, anno domini takes its toll and with his move out to the country Robert
Charleston felt it was time to at least loosen his firm grip on the reins.
It is an understatement to say that the Circle has been lucky to enjoy the
dedicated service of such an outstanding and internationally distinguished
scholar of glass in all (well, almost all!) its aspects over so many years.
Perhaps his greatest gift has been to teach us the evergreen humility of
,
the
true student in understanding that knowledge is never complete and that there
is always more research to he undertaken and more work to be done.
Robert
would probably decline to accept that he put the Glass Circle on the ‘map’, but
it is undeniable that he has kept it there and, at the same time enhanced the
understanding and prestige of his first (inanimate) love, English glass.
Robert’s pade of life may slow, just a little, but will certainly not stand
still.
He has asked us to publicize his new address:
Whittington Court, Whittington, Cheltenham, Glos. GL54 411F.
where we are sure he will give a warm welcome to any member who happens to be
in the vicinity – always assuming, of course, that you catch him at home!
We shall continue to benefit from Robert’s unsurpassed depth of knowledge and
experience and he will chair at least some of our meetings each year.
Details of the administrative changes were announced at the Annual General
Meeting and are explained in the Hon. Secretary’s circular.
However, we would
particularly like to express our warm appreciation to retiring Honorary
Treasurer, Philip Whatmoor, who will continue as committee member, replaced by
Tim Udall who, as Acting Hon. Treasurer, has already been showing all the right
instincts of that unique breed.
Warm congratulations are also extended to
Cyril Weedon, who takes overthe responsible task of chairmanship of the
committee,
Cyril has had a long and distinguished career with the glass
industry and the Association for the History of Glass as well as with the
Circle.
It has been agreed that the 50th anniversary year should start with the 1987
season, the main feature of which will be two exhibitions.
One of these, to
be mounted at the Museum of London, is being masterminded by committee member,
Wendy Evans.
We understand that this exhibition, based round the history of
the Whitefriars factOry, is being expanded to include the fabulous Garton
collection which sees the light of day all too infrequently.
Additional
exhibits are being contributed by some members and anyone who has interesting
pieces that are thought might have Whitefriars associations should contact
Wendy at once.
There is also scope for contributing to the researching and
development of the exhibition, the main requirement being enthusiasm and a
willing pair of hands.
Glass Circle members are not renowned for being shy so
just make yourself known and get into the action.
Full details from Wendy
should accompany this circularization.
The other exhibition, at Broadfield House Glass Museum, is being devoted to
‘
wide-ranging display of members glass.
Called “Strange and Rare” it is
intended to introduce the public to the diversity of collectable glassware that
brings us together as a Circle.
We hope that the traditional areas of
drinking glasses will be strongly represented.
But the numbers of’tliose who
can afford such collections nowadays are limited indeed.
So it is intended to
extend the scope of the display to unusual items that excite amusement and
interest and may have cost the lucky owner no more than a few pounds.
As many
–
members as possible will be encouraged to display their treasures.
The
initial selection will be made on the basis of descriptions and, if you have
one, a photograph. Even a grotty photograph will be greatly appreciated at this
stage!
If you have a studio portrait that might later be used for the
catalogue, even better.
Full details of what to do are set out in the
Exhibition application forms enclosed with this circularization.
Other activities, still under wraps, are being planned for the Anniversary year
and will be unveiled in the fullness of time.
As our new Hon. Treasurer would
be swift to point out, this is not a time to let your subscription lapse!
TALES OF THE UNEXPEC1E0….
….CHRISTIE’S GLASS SALE
Undoubtedly the most important lots at
_this, the first Christie’s sale of the year
(held early June) were a group of six
engraved glass plaques, purchased
just
after the last war for
£50
in a provincial
Sale Room which sold for a staggering
£117000.
They were the work of none other
than Caspar Lehman
(c.1563-1622).
This
brilliant glass engraver was employed by
the
great connoisseur, Emperor Rudolf and
he is credited with being the first artist
to apply the technique of wheel-engraving
to glass.
All six plaques were bought by
H.Hilloner, the Wilrzburg dealer. We
understand that Prince Albert gave three
similar plaques to the Victoria and Albert
Museum, which must now cause great
satisfaction; these are believed to have
come from a castle in Schleswig Holstein.
The sale, of English and Continental glass,
was very successful with only some 10%
unsold.
Comparisons may be invideous but
it appears that
lots in
the lower price
categories not only remained largely static
in relation to earlier sales, but demand
for them also seemed sluggish. Coloured
glasses have gained in popularity compared
with previous sales, amethyst appearing the
most popular. On the whole, the pre-sale
estimates of
most glass categories were
remarkably accurate, except for cordials
where demand led to noticably higher
prices.
Sets of several pieces and part services
were buoyant but decanters, unless
exceptional, were not greatly sought after.
Cameo’ glass was disappointing, several
pieces remaining unsold.
Rare English glasses were keenly sought; an
egg-knopped baluster, c.1705, estimated at
£1500-£2000 sold for 0000, as did a
two-coloured emerald green
wine
glass with
opaque white spiral thread stem.
A tartan
twist wine glass form the Joseph Bies
collection sold for £1100 against what was
surely an underestimate of £200-£300;
colour-twist wine glasses were generally in
demand.
A few Dutch-engraved goblets sold
within the estimatea.
Continental glasses in general appeared to
suffer slightly from the absence of dealers
from across the channel, yet most sold well
above their estimates.
For example, a
Bohemian composite ruby-glass part
table-service, estimate £1000£1500, sold
for £4200 while a stunning North Bohemian
blue overlay vase, engraved and signed by
Franz Zech -a masterpiece in any context –
sold for £4500 to an unknown telephone
bidder.
A minor sensation was created by
an” Historismus Portrait-Humpen”, enamelled
in colours with a portrait of Leopold
Rdmischer Keyser flanked by portraits of
the seven Electors, bearing the date 1662
but actually dating from c.1880(1!!) which
climbed up to, £9200 against the estimate
of
a mere £300-£400. Also, surely delighting
its vendor, was a late 19th century
enamelled armorial beaker and cover,
estimated at £150-£250 but running the
bidders up to £2800.
In the light of these surprising
differences our sympathy must go to the
cataloguer who has to face the unenviable
duty of having to provide guestimates for
what are, after all, unique art objects
while, at the same time, giving both the
vendor and the bidder cause for optimism.
A more predictable area was French
paperweights which closely followed the
estimates for most lots.
Finally, we must again comment on the
inexplicable reluctance te indicate, at the
time of the bidding, when a lot fails to
reach the reserve.
After all, the
information is readily available at the end
of the sale but by then it is tco late to
benefit either vendor or the potential and
hesitant buyer.
Perhaps so:eone can
reveal what purpose is served and for whose
benefit this transient secrecy is
maintained?
J.T.
SUMMER OUTING – SEPTEMBER 1986
When trying to give a resume of our annual summer outing one is tempted to
to compare it with the happy anticipation of nearly forgotten school outings in
one’s younger days.
Will the weather be„kind to us….will the masters give us
the pleasurable surprises .of previous years?
Reminiscences of happy surprises,
the delights of scenes not seen before, or long fOrgotten, tend to cloud our
expectations. We were not disappointed this year because we
.
were conditioned
to enjoy the day which remains unique in our Circle’s Calendar.
The primary objective was to visit the home of Mr and Mrs H.R. Wyatt at Fihdon,
Sussex, who inherited a substantial part of the collection of English glass left
by the, to glass addicts, ‘immortal’ Albert Hartshorne.
However, our coach had
first to take us through the most delightful parts of Sussex to “Ye Olde King’s
Head” Hotel in Horsham for lunch.
congenial company, good food and drinks
assured success for the rest of the day.
Next stop was Petworth House, one of the most important properties in the care
of the ‘National
.
Trust.
Petworth was created by Charles Seymour, 6th Duke of
Somerset.
His estate passed to the Wyndham family in 1750 and the 2nd Earl of
Egremont commissioned ‘Capability’ Brown to landscape the park.
This was done
with stunning.results – a vista of English landscape at its supreme best.
Appretiation of the beauty of the contents of the house was, however, somewhat
marred by the inaccessibility of many paintings which were hung too high or were
poorly lit.
In the Carved Room, which contains some of the best carved ‘walnut
furniture to be seen anywhere, the portraits were also framed in hand-carved
walnut or limewood.
This created a superb harmony in almost identical pattern.
:
somewhat reminiscent of
a
later vogue in decorative techniques.
Mention must
also be made of an outstanding cut-glass English chandelier, reputedly made.
about 1850, bung in the Marble flail, and the surprising find of a Tompion
‘long-case’ still keeping perfect time.
Climbing back into the coach we set off for our final destination – the
Hartshorne collection.
Needless to say this collection:has achieved a great
reputation in the minds of most collectors.
Albert Hartshorne’s tome “Old
English Glasses”; published in 1897, has become and, in spite of subsequent
corrections over,. wrong assumptions and datings, still is the unquestionable
‘
must’ for all lOvers of early English drinking glasses.
Whilst this contributor is ,unsure of the fate of numerous missing items,
beautifully illustrated in the original publication, nevertheless, fabulous is
the only comment which can be applied to what was_displayed in the cabinets of
Mr and Mrs Wyatt
row upon row of shelves tightly-filled with 18th century
drinking glasses.
It must be said though, and without disrespect, that a
reorganization of the glasses in chronological and-stylistic order would greatly
enhance their appeal.
The earliest part of the century was less well
represented than the middle and later periods.
However, the mid-century
products were all there.
Beilby wine glasses, mostly with white enamel twists,
sat next to a few coloured twists, some believed to be af,Continental origin (no
offence meant).
Alew outstanding cordials also gracedt
!
his collection of many
hundred specimens.’
One of the most pleasing pieces in the collection,
magnificently drawn in the original book, is of allegedly Bohemian. origin – a
rich, dark glass engraved with’the Prince of Wales’ feathers and the cypher F.P.
for Frederic, father of George III, and most importantly, beautifully cut in
England.’ Another cabinet was graced with items which appeared to have been
made at’the time of, if not by, George Ravenscroft.
Our President, who had briefly introduced us to the collection, thanked our
hosts for their most generous hospitality in inviting us and for providing tea
and refreshments. A lovely late summer’s day ended with total satisfaction and
fulfilment for all participants.
J.T.
GLASS OF THE RENAISSANCE
A few years ago, glass7making demonstrations were so rare On the ground that,
when arranged within conference programmes; they were eagerly attended
–
even
though few consisted of anything but a run-through of the basic giass-blowing
techniques.
Now such demonstrations are almost commonplace and probably few of
the participants at the Association for the History of Glass seminar on
Renaissance GlasS realized what was in store for them.
Indeed, even such
hardened observers as Ray Flavell, Glass Course leadei, and his two technicians
at the West Surrey College of Art and Design, whete the seminar was held, were
enthralled.
For once the lecture programme, which dealt with the context, typology and
academic debates about. Renaissance glass, played a subordinate role to the
workshop sessions held by Bill Gudenrath of the New York Experimental Glass
Workshop.
Everyone, including the lecturers – Robert Charleston, Francis Drew,
Suzanne Gaynor and Hugh Tait (the seminar organizer) – was more than happy with
the change of emphasis.
Bill Gudenrath demonstrated the intricate technical processes involved in making
such items as a dragon-stemmed goblet, a denticulate bowl with enamelled
decoration, a filigrano beaker with gOld inclusions and trapped. air bubbles, as
well as some ofthe preparatory stages (enamelled rod drawing etc.).
Few participants were aware of the technical difficulties which faced Bill
Gudenrath.
Instead of working with soda glass, as in New York, he had to
produce these pieces in lead glass which not only has different working
properties but also has to be continuously taked, unlike soda glass.
More
serious was the temporary loss of his special light weight blowing irons; these
were transported on an unscheduled mini ‘Grand Tour’ of Europe, courtesy of TWA,
with such stopovers as Madrid and Jersey airports.
Despite these anxieties
Bill Gudenrath produced exquisite thinly-blown vessels, fascinating everyone
with his evident skill and mastery. As one glass historian summed up as the
weekend came
to
a
close,
it
was
“Sheer
bloody . magic!”.
Patricia L. Baker
Editor’s note: many Glass Circle members already belong to the Association for
the Histoiy of Glass but those wishing for information should contact either
Hugh Tait or Cyril Weedon.
ONLY THE BEST FOR ROOM AT THE TOP!
In mid-November the illustrious .firm of Asprey’s opened their new “Top Table
Room”.
To celebrate this they have mounted a prestigeous exhibition of work
from St Louis, France’s oldest and most inovative glass house, founded in
Lorraine in 1764.
As might be expected the exhibition was thoroughly
researched, Asprey’s being giVen access to the St Louis Crystal archives.
We
are told that there will be on show several priceless items which have never
before left the factory, and, altogether, there, will be over 100 antique items
illustrating the history of French glassmaking from 1800-1940.
Contemporary
products will be for sale, some of which follow patterns used for over 200
years.
Hopefully, on sale before the exhibition closes (on December 24th) will be the
new book on St Louis glass by Mr Ingold, former Managing Director of the St
Louis factory.
This is his first book
–
on the history of French glassmaking to
be translated into English; the price should be about £25 00.
5
EXHIBITION OF ENGRAVED GLASS e THE GTILD OF GLASS ENGRAVERS – OCTOBER 1986
First impression of the now annual exhibition of the Guild is one of a definite
improvement in both originality of idea and skill in execution. This is in no
small measure due to the :introduction of an examination which sets the standard
required of a craft member.
The venue.itaelf, Leighton House in Knightsbridge,
was somewhat dis
appointing and not helped by the absence of car parking
facilities and uninspired surroundings.
Once inside, one had to work hard with the catalogue.
Pieces by the same
artist were not always shown together, nor was there any obvious classification
in terms of technique or the type of blank
.
used.
Accepting that all these
dificulties are an ongoing problem, and that in general the organizers cope well
with a difficult task, perhaps the most obvious requirement is for large
–
clear
labels to help correlate exhibit and catalogue.
This is, after all, a strictly
commercial enterprise selling not just most of the exhibits on display –some at
pretty high price’s – but also the services of the artists involved.
The always tricky problem of effective lighting, especially of stippled glasses,
was much better handled than in previous years.
Simon Whiatler showed four
stippled pieces, one of them, ‘Cloudburst’, depicted clouds,rain
–
and scenery in
dramatic contrast; another, ‘Old Age’, using steel point, impressed as a moving
piece of sheer poetry.
Rather different but equally impressive in its own way
was ea stipple engraved block beautifully executed by Jenny Hill-Norton entitled
‘The Church Children’, probably inspired by photographs.
A most attractive
piece, ‘the White Dress’ engraved in. diamond point on a comport by Pixie Rizvi
also’showed great originality in choice of subject.
Another appealing exhibit, combining diamond point with the flexible drive to
give
.
the unusual effect of stippling, was Jaques Ruijterman’s paperweight
Listening, Watching,
Watching, Pondering’.
Two striking portraits in tungsten carbide
point engraving by. Tony Gilliam were-‘Thomas More’, an attractive goblet, and
‘Edmond Halley% another goblet of astronomical interest with a list of the past
and future datesoof the Comets appearance within our orbit.
Wheel-engraved pieces were exhibited by only five out of some 62 artists, Peter
Dreiser being, as we have come to expect, outstanding, particularly with his
environmentally concious ‘The Price of Energy’ and ‘Rain Pius Sulphur’.
Katherine Coleman with ‘Fish’, her finely engraved teleost decorating a finger
bowl, Alison Kinnaird with ‘Sea Scape’ on a double-cased disc, Denis Mann and
John Anthony Price, were the only other exponents of this art.
Price, in
addition to his bottle and tumblers, wheel-engraved with ‘Garden of Wonders’
(based on the anatomical drawings of Leonardo da Vinci) also showed two fine
panels with Herons engraved by a combination of sandblast, acid, •stipple’ and
diamond wheel.
His was the only display involving acid etching but
sandblasting – Alisdair Gordons’s ‘Antartic Moon’ on a laminated cube was a fine
example – is clearly growing in popularity, particularly now that cabinets are
available for home use at a modest price, although the compressor takes up the
space of a large alsatian and is about as noisy!
By far the bulk of the exhibits used the dental drill, or a similar commercial
engraving tool, for which a bewildering array of cutting tips are now available
for all sizes of work.
To illustrate that size is no limitation Philip Lawson
Johnston’s exploited the diamond drill to depict the magnificent head of ‘Asian
the Lion’ on a large panel – quite the most conspicuous item on show.
Anther
large panel, by Shirley Palmer, combined drill and coloured collage to capture
various phases. of glass blowing in
a
most attractive way.
David Peace N.B.E.
also used the drill to to show his supremacy in lettering, although it must be
said that most of,the calligraphy in evidence was of a very high standard.
An interesting aspect of the exhibition was the trend towards unusual-shaped
blanks, effectively exploiting optical illusions and three-dimensional efects.
Curves, corners, transparency and colour were all taken advantage of to a
greater or lesser extent.
The search for the right combination of subject,
blank andemethod of choice presents an Unending challenge to the engraver.
The
high
.
professional standard of workmanship in this exhibition is to be applauded.
It does, however, merit greater consideration in the aspects of display.
GLASS BOOKS FOR CHRISTMAS
Undoubtedly the resistance piece of the rather thin crop of glass books for
Christmas is the new edition of Bickerton – An Illustrated Guide to 18th Century
Drinking Glasses – relating to which all members should have received a coloured
leaflet with
the
last circular.
It is not cheap at £45.00 but if you can
afford to collect from this period then it will riot make too big a dent in your
pocket.
As A stocking-filler the diminutive version by Shire Publications is
worth a thought.
Of the specialist texts the incipient volume on the history of St Louis glass,
mentioned elsewhere in these pages, is sure to be a good read. Unfortunately we
have no further information about it at present so if you are interested give
Asprey a ring and ask for the Top Table Room.
The authoritative text on Glass Engraving by Peter Dreiser and johnathan
Matcham, which was out of print for some time, has had a third (I believe)
reprint and with clear diagrams, beautiful illustrations and lengthy historical
backgrounds to the various sections gives an insight into the subject that is as
rewarding to the general reader as it is to the budding artisan.
Entirely new is ‘Glass Engraving: Lettering and Design’ by David Peace,
acknowledged authority on this subject.
He examines the history of letter
forms, techniques of glass engraving and the delights and problems of lettering
17:ra
–
s’s77
.
317a every conceivable aspect.
The influence of Eric Gill,
immortalized
–
by the Gill Sans alphabet he created for the London Underground, is
given special consideration. Presentation glass, heraldry and windows are all
covered and a feature of the book are 37 analytical drawings embracing both
historical engraved glass and many of the 84 examples of the author’s work that
are illustrated.
Published by Batsford it is excellent value at £14.95 (plus
£1.50 p+p if you order direct from the publisher at 4 Bakers Mews, London, W1M
1DD).
•
Finally, for something to thumb through after the Christmas pudding has been
reduced to a few amorphous crumbs on the dinner table, you should lock out for
‘Antiques: Traditional Techniques of the Master Craftsmen’.
It embraces a
diversity of aspects of woodworking, glass making and decorating, ceramics And
metalwork.
Under the steely editorship of Elizabeth Drury the text deals
fairly explicitly, if not too deeply, with the technology and chemistry
underlying the various processes.
Your scribe produced the text for the
sections on glass and enamelling, and a demanding experience it proved to – be,
hemmed in by the design constraints of ‘this type of ‘coffee table’ production.
I also had some influence, although not total control, over the profusion of
black and white and coloured illustrations.
The value of the glass section
(more than a quarter of the book) must be left to the judgement of others but I
certainly found that other sections, in which I originally had only a marginal
interest, were both enjoyable to read and highly educational in content.
It is
published by Macmillan with 224 pages, size 8.5 x 11 inches, price £15.95.
D.C.W
BEILBYS ORBIT IN APOLLO!
Some omemberv
o
will remember the fascinating paper read to the Circle last
December
by
Simon Cottle on the subject of “The Other Beilbys: British enamelled
glass of the eighteenth century.”.
This has now been printed in Apollo
(October 1986).
In accordance with the high standard of that journal it is
profusely illustrated in colour as well as black and white.
Simon explains and
updates almost all that should be known about this famous family, their work and
the effect of their innovative efforts.
GHa prs
YIMEITYYMY
ew THYMYYYMY1
War!