The Glass Cone_No.82 Spring 2008

The

Glass Cone
Issue No: 82 — Spring 2008

The Magazine of

The Glass Association
Registered as a Charity No. 326602

Chairman
Dr. Brian Clarke: chairmanAglassassociation.org.uk

Hon. Secretary
Yvonne Cocking, 14 Southfield Drive, Sutton Courtenay,

Abingdon, Oxon, OX14 4AY

(secretarvAglassassociation.org.uk)

Editorial Board
Bob Wilcock (The Glass Cone), Mark Hill (The Journal),

Yvonne Cocking

Address for Glass Cone correspondence
E-mail to [email protected] or mail to

Bob Wilcock, 24 Hamilton Crescent, Brentwood, Essex,

CM14 5ES

Address for membership enquiries & backnumbers
Pauline Wimpory, Membership Secretary,
150 Braemar Road, Sutton Coldfield, West Midlands,

B73 6LZ

([email protected])

Committee
Mark Hill (Vice-Chairman); Paul Bishop; Roger Dodsworth;
Jackie Fairburn; Francis Grew; Valerie Humphries;

Gaby Marcon; Janet Sergison; Maurice Wimpory (Treasurer)

Website:
www.glassassociation.org.uk

E-mail news & events to newsAglassassociation.org.uk

Printed by
Jones and Palmer Ltd: wwwjonesandpalmer.co.uk

Published by
The Glass Association

ISSN No. 0265 9654

The opinions expressed in the Glass Cone are those of the
contributors. The aim of the Editorial Board is to cover
a range of interests, ideas and opinions, which are not

necessarily their own.

The decision of the Editorial Board is final.

Copy Dates:
Spring:

21 January—publication late March

Summer:

21 April—publication late June

Autumn:

21 July—publication late September

Winter:

21 October—publication early January

Articles are welcome at any time, but please bear the above dates
in mind ifyou have an event you would like to be publicised.

Cover Illustration:
Vase, Kosta Glasshouse, c. 1900, Gunnar G: son Wennerberg,
Flared, etched & cut overlay;

H: 43 cm, D: 14.7 cm

Signed: Kosta G Wennerberg 114

Shown at the 1900 Paris Exhibition

Smdlands Museum — Swedish Glass Museum, Viixjo
Photo: Jurgen Ludwigsson
I am delighted to open this Cone with the first of three

papers given at the European Study Weekend in October 2007.

Gunnel Holmer’s paper gives a very informative overview of the
development of the Swedish glass industry, from the challenge of

the end of the 19
th

Century when Swedish glass was seen as well

made but lacking in imagination, to where it is today.

Future issues of the Cone will feature the papers of Job

Meihuizen on Leerdam Glass, and Sylva Petrova on Czech glass.

Czech glass is the subject of a major exhibition by one of

our members, Dr. Graham Cooley, “Hi Sklo, Lo Sklo” at the

King’s Lynn Festival. The Glass Association is running a special
event to coincide with the opening of the exhibition. Further details

are on the back page, and a booking form accompanies this Cone.

With the opening of a new glass fair in central London,

Reflect 2008, at the Glaziers Hall on 8 June, we have taken the
opportunity to have a brief look at the longest running fair, the

National Glass Collectors Fair at Gaydon in Warwickshire. The
spring fair is normally held in May, but do make a note that this
year it has had to be brought forward to 20 April.

We are still looking for a volunteer to compile a proper

events page for us. Meanwhile for up-to-date information, there are

some events listed on the Glass Association web-site, or you might

like to subscribe to Alan Poole’s excellent news-letter via:

www.dankleinglass.com/services/index.html

As we go to press, the sad news has reached us of the

death of Henry Fox. An appreciation will appear in the next Cone.

Bob Wilcock

,.
wa
rm

wel

cami
gneun
e

mber
s

Mr G Lawson

E. Sussex

Mrs P Metcalfe

Surrey

Dr E R Moerman

London

Mr & Mrs J Sinreich

London

Mr & Mrs C Hearn

Ontario

Mr D Encill

West Midlands

Mr J Pyle

Essex

Mr R Parkin

S Yorkshire

In Cone 81 we illustrated 3 wine glasses, only one of which was

genuine 18
th
Century.

Jeanette’s answer is that it is the one on the right. The one on the
left was made in 1930’s specially for the late Dr Emanuel’s father’s

collection, The metal is too bright, there are no striations or seeds or

bubbles, and although it has a folded foot, there is no pontil scar.

The air twist, although it looks quite good in a photo, has a similar
metal to the first, but the real give away is the foot. It has a rounded
edge which indicates it was made by

using a foot board and not from a sheared

blown bubble, thus giving a sharpness to
the edge. The third was made in a good

greyish metal has lots of striations, small

bubbles and seeds and a rough pontil
scar. Another clue is that when you look

down on the rims of the glasses, the first

2 are bright white, but the right one is

very dark.

ROM THE EDITOR

The Glass Cone—Issue No: 82 Spring 2008

SWEDISH GLA

I. Bowl, “Ducat Bowl’ /”The Czar’s Crystal
Kosta Glasshouse, 1897

Mitre-ground; H: 15.5 cm, D: 30.2 cm
2. Covered Urn

Simon Gate, 1925

Mould-blown, decor engraved

with the name “GRIPSHOLM”
and the monogram “WA”
H: 38 cm, D: 27 cm

S.• ORREFORS. 1925. S.Gate –

E. Weidlich. G. 356

Engraved by Emil Weidlich

Made for the Swedish- America
line’s Gripsholm

The art of glassblowing arrived in Sweden relatively late

compared to the Roman Empire, where it was brought to a high

degree of perfection in the early part of the Christian era.

Archaeological finds show that although drinking vessels and other

articles of glass did occasionally reach Sweden during this period

and the centuries immediately following the fall of the Roman
Empire, glass was regarded as an exclusive luxury. Early records

suggest that in the 14
th
and 15
th

Centuries sheet glass was

manufactured by monks, but secular glass vessels still had to be
imported and were extremely expensive.

There is no certain evidence for the manufacture of

hollow-ware in Sweden until the 16
th

Century, when the King

summoned two glassblowers — probably from Venice — to
Stockholm.

During the 16
th
and the 17
th

Centuries some twenty

glassworks were established in Sweden. The founders were

members of the nobility, and as the craftsmen were almost all
recruited from Germany or Venice, the glass was principally

German or Venetian in taste. More glassworks were founded during

the 18
th
century, and now the founders were often wealthy

landowners whose forests and farms produced wood for the

furnaces and food for the employees. Among the most important of

the new glassworks was Kosta, which was founded in 1742 and is

making fine quality glass to this day.

Almost one hundred new glassworks were founded in

Sweden during the 19
th
century. The great majority were founded

during the second half of the century and, from about 1870, are a

nice reflection of the Swedish Industrial Revolution. And whereas

during earlier periods the founders of the new enterprises had

almost always been members of the aristocracy or wealthy
landowners, after about 1850 it became common for the

glassblowers themselves to set up in business.

During the first few decades of the 19
th
century most

Swedish glass was manufactured in the English style; conical

decanters and wine glasses with oviform bowls were fashionable, as

were pieces of solid blue. The first cut glass was also introduced
from England and soon cutting had spread to jugs, decanters and

drinking vessels and was becoming ever more popular. In the
eighties and nineties, mitre-cut crystal based on English and

American prototypes was the height of fashion. Nevertheless, the

3
mainstay of production was still simple household wares, for by no

means everybody could aspire to a set of expensive crystal. Cut

glass could, however, be imitated for example by pressing, which

was introduced into Sweden in the 1830s. Designs were sought
chiefly in France and Belgium. New technical development

continued throughout the century, revolutionizing the glassmaking
industry: production increased immensely and prices fell, bringing

glass within reach of practically everyone. But although machines
had taken over many aspects of manufacture, the ancient craft of the

glassblower still lived on, and it was this that during the closing

years of the 19
th
century enabled Swedish art glass to flourish as it

did.

“The products of the Swedish glass manufacturers can no

doubt compare with their foreign rivals as far as the clarity and

strength of the actual material is concerned. What they lack,

however, is a sense of new design; they have no imagination. In this
respect, it would be desirable if our glass factories were to imitate

the method adopted to such advantage by the porcelain factories,

that is, they should stir up an interest in their products among artistic
circles.” Thus wrote a critic of the Swedish glass shown at the
Stockholm exhibition of 1897.

The comparison was almost certainly with the Art

Nouveau pieces displayed at the same exhibition, and more
particularly with those by the Frenchman Emile Gana.

Kosta was the first Swedish glassworks to take the

criticism seriously, and in 1898 employed. Gunnar G:son
Wennerberg to design a range of new models for the World Fair in

Paris in 1900. Inspired by Galle, Wennerberg produced a number of

exclusive wares in overlay technique
(see the front cover).
His art

glass represented only a small percentage of the company’s overall

production, yet his brief stay at Kosta was important: for the first
time, the services of an artist had been employed by a Swedish glass
firm. Although artists were by then more than willing to experiment

with new designs, the glass put on
display to the public was still

almost always of the old, cut

variety. After some years,
however, the critics’ call for
innovation in Swedish glass

gained an audience. This was
largely due to the efforts of the
Swedish Society for Industrial

Design and through whose

agency, set up in 1914, artists

were to be employed at some of

the glassworks.

Without the skills of the

craftsmen who made the glass,

however, the artists would never

have been able to realize their
ideas. When the master blower

Knut Bergqvist at Orrefors

developed “graal” — a technique
in which the coloured pattern is

enclosed in a casing of clear glass

— he had in mind the early overlay

pieces mentioned above. The
artists Simon Gate and Edward

The Glass Cone—Issue No: 82 Spring 2008

4. Vase

Orrefors Glashouse, 1950s
Edward Hald, 1938

Fish graal;• H• 16.3 cm, D:
10.5 cm

S: ORREFORS Graal Nr 170
K Edward Hald
II
3.

Goblet

Orrefors Glasshouse, 1919; Simon Gate, 1919
Graal H: 26.2, D: 19.2

S: SGraal Orrefors 19 KB n:801/2 IIW
Blown by the master Knut Bergqvist,
Etched by Heinrich Wollman

Hald, who were taken on by Orrefors in

1916 and 1917 respectively, designed

unique graal pieces that were much

acclaimed in Sweden and in Norway. It

was not until the Paris exhibition of
1925, however, that Swedish glass was

to gain international recognition. There it

was noted that Orrefors had developed a

wide range of pieces executed in thin,

exquisitely engraved glass. At the

exhibition, visitors were able to admire a

number of such pieces by Gate and

Hald, produced with the assistance of

skilled teams of blowers and engravers.
Gate’s engraving frequently features

groups of nubile women rendered in a
style nicely offset by Hald’s more
delicate, more narrative approach. There

was little doubt that Orrefors had
become the leading glassworks in
Sweden.

But in Europe, a new style had

been born, and this was Functionalism.

In Sweden it was first introduced to a

wider public at the Stockholm exhibition
in 1930 and soon began to exert a strong

influence on architecture, furniture and
recognized as the ideal opportunity. Here

Edward Hald presented the “fish graal”,

while Edvin Ohrstrom showed new

“Ariel” wares which at the time were

among Orrefors most interesting pieces.

By the late thirties, goods manufactured
in Sweden had acquired an excellent

international reputation, and the products

of the Swedish applied arts industry in
particular were referred to as “Swedish
Modern, a movement towards sanity in

design”. In other words, the prospects for
continued export success looked bright –

until, that is, the advent of the Second
World War. In spite of difficulties during

the war, however, some art glass was

still made. Among the new designs were

Sven Palmqvist’s “Kraka” bowls,

produced by Orrefors.

After the end of the war, the Swedish

economy boomed. With wages

increasing and the standard of living

steadily rising, the demand for everyday

articles and luxury products grew apace.
The role of the designer became even
more important, and a line of

contemporary pieces was shown at great

interior design. Glass styles changed too. Gone was the delicate

refinement of “Swedish Grace”; instead, glass vessels became

heavier and more practical, their thick walls setting up intriguing

new optical effects. The engraved scenes which had hitherto

covered large areas of the glass gave way to a decor of discretely

positioned ornamentation which stood in strong contrast to the

unadorned glass around it. During the run up to the Stockholm

exhibition, many competent artists and designers were attracted to

the Swedish glassworks. In 1928, for example, Vicke Lindstrand

was taken on at Orrefors, where his early production includes

painted glasses and vases in undulating crystal, often decorated with
an engraved underwater motive. In 1929, Elis Bergh, began his long

career at Kosta, designing bowls,

vases and tableware in a
restrained yet supremely elegant

style. Hugo Gehlin, who began at
Gullaskruf in 1930, soon won

acclaim for his imaginative free-
blown glass and painted decor. At

Eda, meanwhile, Gerda

Stffimberg had been producing

simple, polished pieces with a

pleasing decor since 1927.

The thirties, though marked with

deep recession, were for many

glass firms a decade of intense
experimentation and one in which

several of smaller companies

succeeded in creating their own,

unique profile. By now it had

become essential for the glass
manufacturers to exhibit their

wares on a international scale, and
the Paris exhibition of 1937 was
exhibitions both in Sweden and abroad, for example at the Milan

“Triennales” in the 1950s. International exhibitions were important
factors in once again drawing attention of the world to Sweden as a

producer of exclusive handcrafted and industrial wares. In 1950, at

Kosta, Elis Bergh was succeeded by Vicke Lindstrand, who
undertook a long series of experiments with form, colour and

technique. Sculptures, heavy crystal vessels vigorously cut and

engraved, free-blown pieces and table-ware for both the festive

occasion and everyday use bear witness to the extraordinary

versatility of this remarkable artist. Some years later, in 1958, Mona

Morales-Schildt also arrived at Kosta, where she became known for
her elegant pieces executed in a ground under- and overlay

technique known as “Ventana”.

At Orrefors Edward Hald and Edvin Ohrstrom continued

their work with unique objects. Sven Palmqvist and Nils Landberg

were meanwhile producing designs for both advanced art glass and
more simple, everyday wares Palmqvist in particular is
remembered for his functional

“Fuga” bowls manufactured by a

centrifuge technique and his

sophisticated “Ravenna” pieces
developed from “Ariel”.

Landberg, who mostly produced
everyday tableware at Sandvik,

also designed art glass for
Orrefors, and among his most
interesting pieces were the

elegant “Tulip glasses”. At the

same time Ingeborg Lundin
brought new ideas to free-blown

glass and produced polished,
engraved designs that were a

radical departure from the

traditional Orrefors style. The
5. Vase, “The Apple”

Orrefors Glasshouse, 1957
Ingeborg Lundin, 1955

Free-blown, underlay technique
if 37 cm, D: 35 cm

S.• Orrefors Expo 32-57

The Glass Cone—Issue No: 82 Spring 2008
4

smaller glass firms, like Boda, Flygsfors and Johansfors, also

started looking for fresh approaches. Erik Hoglund, who arrived at

Boda in 1953, struck out boldly, creating robust designs featuring

encapsulated air bubbles and a variety of cast-on decorative

elements. At Flygsfors, Paul Kedelv was bringing out his aptly

named Coquille, a range of colourful, gracefully undulating vessels

that was to prove immensely popular. Johansfors had taken on

Bengt Orup, whose production ranged from popular glass dinner

sets to pressed wares and unique glass sculptures.

In the sixties bold young artists enthusiastically started

blowing and teasing the glowing material into the most fantastic
shapes. There was total freedom! The tone was set by Boda, whose
leading designer, Erik Hoglund, was a constant source of inspiration

for his younger colleagues. At Kosta, Ann and Goran Warff began

experimenting with uncooled glass, which in their Brava series,

they allowed to solidify into dishes and bowls more or less at
random. Monica Backstrom at Boda was not averse to “polluting”

the hitherto “inviolable” crystal with tacks, tinfoil and wire, while at
Pukeberg, Eva Englund created sculptures by “clicking” the molten

glass, and thought nothing of designing a bottle in the shape of an

old exhaust pipe. The new designs were noted — and much
discussed — by interested visitors to numerous exhibitions. Side by

side with the young “revolutionaries” worked artists whose

approach to glass was more conservative.

6 Vase

Boda Glashouse, 1960s; Erik Hoglund, 1960

Flared, with seals; if 26,5 cm, D: 25.4 cm
S: Boda H 767/275

A few years later, with the international tableware market

becoming increasingly tough, and, facing cut-throat competition
from cheap imports, the Swedish glass factories were forced to

become mechanised simply in order to survive. Still the artists came
to devote most of their time to hand-blown glass, for although there

were undoubtedly advantages to be gained from products made
en

masse,
Sweden’s best competitive weapon was still excellence of
design, coupled with

traditional
methods of craftsmanship. For

those artists unwilling to go the way of commerce, there was, in fact
a way out. This was the “Studio Glass” movement. In 1968
Asa

Brandt had opened a studio where she produced glass to her own

designs — an idea which had originated in America and which
Brandt brought to Sweden via London, where she had trained. A

few years later Ulla Forsell followed suit, opening a studio in
Stockholm. Soon quite a number of artists had set up on their own,

revelling in their total freedom to experiment. Similar developments

were taking place abroad, and the studio artists would meet at

international exhibitions and conventions to swap experiences and

discuss new ideas.

7.
Vase

Afors Glasshouse; Ulrica Hydman-Vallien, early 1970s
Free-blown, flared, painted; H: 15.5, D: 14.5 cm

S. Boda Afors Unik 110 Ulrica

Swedish glass of the eighties and the nineties was a

veritable kaleidoscope of form and colour, largely because the

factories and the studio glass artists by then had developed a range

of new techniques. At Orrefors young artists like Anne Nilsson and

Erika Lagerbielke were now designing pieces elegantly capturing

the spirit of the times, and contrasting strongly with more formal
crystal of earlier decades — which, however, was still being made

with consummate skill by the designers of the previous generation.
At Kosta, for example, while Goran Warff was reflectively
exploring the innate qualities of pure transparent crystal, Ann
Wahlstrom, and Gunnel Sahlin were producing colourful wares

designed with verve and panache. In nearby Afors, Bertil Vallien

was concentrating on his monumental sand-cast sculptures, often in
the form of elongated vessels charged with symbols, while Ulrica
Hydman-Vallien tried something new with her own unique style of

painting on glass. Monica Backstrom at Boda, finding inspiration in

the themes of modern times, designed a series of stackable bowls

and ashtrays of shiny foil glass in the form of rocket nose cones.
Her colleague Kjell Engman, also at Boda, adopted a more playful

The Glass Cone—Issue No: 82 Spring 2008

8. Vase,

–
Seasnair

Kosta Glasshouse, 1996
Ann Wiz’hlstrom, 1996

Free-blown, flared, applied decor

H: 56 cm, B: 21.5 cm

S: 8AWAUN 964002 Kosta Boda. Ann
Wa hlstrom Unique/Ann Wahlstrom

approach, producing sculptures of
glass that might, for instance, take
the form of giant pencils. Among the

smaller glass firms were Skruf, that
deserves particular mention,

receiving a number of awards for the

work of the designer Ingegerd
Raman, while at Mileras, Mats

Jonasson won international acclaim
for his cast and engraved animal

sculptures. In the 1990s the sector

was further enriched. Artists and

artisans from various glass works

and kilns used many different

production techniques, such as casting, centrifugal casting, fusing

and slumping, which are just some of the alternatives to traditional

methods. New and audacious combinations of glass with
stone,

metal, ceramic, fabric and other materials were adopted both for

one-off pieces and everyday objects.

Today there are 11 glass works in Sweden – Orrefors,

Kosta, Boda and Afors belong to the Orrefors Kosta Boda AB

group, and Skruf, Johansfors, Malera s, Nybro, Pukeberg and
Reijmyre are independents. The market leader is Orrefors Kosta

Boda AB, which markets its own products under the Orrefors and

Kosta Boda brands, the first still distinguished by elegant, exclusive
crystal in modern style, while the latter is more associated with a

variety of colour and freedom of artistic expression. The designers’

studios are often close to the production area in the glass works,
allowing them to follow the production processes and discuss these
directly with the craftsmen who make the moulds, blow the glass

and carry out the cutting. The high prices of precious glass, and
change in consumer tastes are increasingly persuading the glass

works to focus on production completed in the kiln. This change
most affects the engravers and cutters, whose numbers have

dropped considerably. Mechanised production is also used

alongside handcrafting, and one of the techniques that has taken on

greater importance is centrifugal casting.

9. Bowl, “Cheers”

Ulla Forsell, 1978;

Own Studio, Stockholm, 1974-

Photo: Anders Qwarnstrom

A
n
Iir

The Glass Cone—Issue No: 82 Spring 2008
According to The Glass Academy, the product made by

studio kilns

is now defined as ‘glass from a small workshop, where one or more

artists take charge of all stages, from design to production,

marketing and selling. These artists actively work the glass but may
also delegate some stages of production to assistants or specialists’.

The use of glass as an artistic expression is common to all, and in
various ways they have helped develop the various production

techniques.

In Sweden young people are now very interested in the

design of glass and the number of enrolments in courses has
increased considerably in recent years. The education offered by

The College of Arts, Crafts and Design is always highly regarded,
as is that of the glass schools in Orrefors and Kosta, and there are
numerous university courses. Not all the students will become

actively involved with glass, but some will probably be taken on by

the glass works or they will set up their own studios. If we want
Swedish glass to maintain its position on the international market in

the future, we also need young creative talents in this sector.

Gunnel Holm&

Senior Curator

Smilands Museum—Swedish Glass Museum, Vizjo

All items illustrated are from the Snuilands Museum—Swedish
Glass Museum, Viixjii, and the photographer is Jorgen Ludwigsson,

except where indicated

10. Sculpture, “Cathedral”

Ingalena Klenell, 2003; Own studio, Edsbjörke, end of 1970s
Photo: Ragnar laenell

There are also a

certain number of

studio kilns that
have nothing at all

to do with

industrial

production. About
75 of the studio

glass artists belong

to
The Glass

Academy, a forum
for art glass that

provides
information,

inspiration and

knowledge.

NEW! GLASS

WORTH

Smalands Museum — Swedish Glass Museum, Vaxjii
Some seventy independent glass practitioners have

donated more than 200 objects, worth millions of kronor, to a new

permanent exhibition that will be opening at Smalands Museum –
Sweden’s Museum of Glass in Vaxjo on 24th May, 2008.

This generous donation has been made possible through

cooperation with the Glass Academy and will constitute its own

section of the Museum’s permanent collection, “Six Centuries of
Swedish Glass”. Now, at last, the Museum of Glass can give a long

awaited account of the entire history of Swedish glass.

Besides illustrating the growth and development of the

studio glass movement and studio glass since the sixties, the

exhibition will show glass produced by contemporary craftsmen

alongside objects by artists and designers who express themselves

in glass.

The exhibition will also include many exciting objects that

will get visitors wanting more. For example, among the items on

show will be
Asa
Brandt’s experimental, chained “Free the Bowls”

dating from 1978, Zandra Ahl’s tights-and-chain “Vase”, and

Gunilla Kihlgren’s “The Princess’s Boudoir” from 1991, which

with its neo-Baroque design idiom heralded a new approach to
glass. Also included in the exhibition is a film showing Anna
Viktoria Norberg’s “Seventeen Minutes” performance.

In a special project room adjacent to the permanent

exhibition, the Museum will be creating a forum for current events

in the shape of small, temporary exhibitions. In addition, the
Museum will provide information for students and researchers and

will illustrate contemporary trends through such activities as talks,

seminars and workshops.

The Museum’s objective is to become a living centre for

glass in all its forms, to stimulate the development of the glass
industry and to become a meeting place for the many different

players in the world of glass.

The form of the exhibition was suggested by Tom

Hedqvist, principal of Beckmans College of Design.

“Stiletto heel size 36 ”

Asa
Jungnelius, 2005; Active since 2004, own studio, Stockholm

Kiln-cast; H: 21 cm, B: 16 cm
S: ASA
JUNGNELIUS 2005

Asa
Jungnelius 2005

Photo: Jorgen Ludwigsson
Glass Summer 2008!

Smalands Museum — Sweden’s Museum of Glass in

Vaxj8 invites you to Glass Summer 2008, when a whole variety of
exhibitions will be taking place. Numerous exciting pieces will be

on show — everything from astronauts and soaring kites to a pair of

stiletto heels! In the project room, objects by Benjamin Slotteroy

will be on show at the Glass Dialogue.

On 24th May, “What Glass Smells Like”, an exhibition of

works by
Asa
Brandt, will be opening in the Museum’s big

exhibition hall. Brandt is one of the leading pioneers of the
international studio glass movement. It is now exactly 40 years

since she opened her glass studio in Torshalla, where she both
designed and blew her own glass, making her the first European

glass artist of the modem studio glass movement to have a hot shop

of her own. Since then, she has continually reinvented and
rejuvenated her approach to glass and has shown her works all over

the world. Her range is exceptionally broad, spanning everything

from colourful objects for everyday use to large-scale public

commissions.

To impart knowledge and inspiration and arouse curiosity

in glass, the Museum’s educationalists have put together a project

entitled
Glasklart — en pedagogisk resa in i glasets vdrld

(“Crystal

clear — an educational journey into the world of glass”) and created

a unique meeting place for children and young people.

Installation, “The Princess’s Boudoir” Gunilla Kihlgren, 1991
Made in Konguro, Stockholm, Nuutajdrvi Glasshouse,

and Gullaskrufs Glasshouse
Photo: Nicklas Fransson

7
111

n
111111t
ANL

The Glass Cone—Issue No: 82 Spring 2008

gSSMAKERS’ CO

A couple of years ago, I went to “Art in Action” at

Waterperry House near Oxford. This has to be the premier arts and

crafts event held annually in the UK. The vast majority of

exhibitors demonstrate their particular expertise be it : cello making,

silk embroidery, horology,

sculpture or pottery. Glass is well

represented with engraving, bead

making and glass blowing all
being demonstrated. E&M Glass –
Ed and Margaret Burke
(Fig. 1)

were one of the two hot glass
concerns demonstrating and I sat
fascinated watching an excellent

demonstration. I next met Ed at

one of the Gaydon Glass fairs and

broached the subject of visiting
him at his base in Wales to

compile a profile. Ed was

agreeable and after many attempts

we were able to agree a mutually
convenient date.
Ed enrolled on a glassmaking course at Stoke — it was here that he

met Margaret who was also on the course. Margaret was from the
Wirral and had come to Stoke after a Foundation Arts course

specialising in glass. At the end of the course at Stoke they both

ended up applying for the same

job! – making wine goblets at
Lindean Mill in Scotland with

David Kaplan. Ed got the job
although Margaret maintains she

was the better glassmaker at that
time!

I
. I A and Margaret

2. General
workshop view

view

I
“f
year later in 1984 Ed and

Margaret moved to London to the
Glasshouse Studio where Ed

honed his skills under a collective
of makers including Stephen

Newell, Simon Moore, Annette

Meech and Catherine Hough. He
recalls that the flat they were

renting was costing more than he

was earning from the Glasshouse
Studio but luckily they could use

the Studio during his time off to make their own
items to sell and make ends meet. This made him

realise that here was a goal in life — to one day have their own glass

studio. Ed then moved to south London to work with Anthony
Stern where his improving skills were put to greater use. The first

step towards the dream came when Ed was invited by Simon
Moore to join him at the newly formed Glassworks

London Ltd studio as one of the craftsmen. By now,
he and Margaret were married and

this ‘big break’ and the increased

salary that came with it meant that
Margaret was able to give up work

and instead join Ed working on

engraving in the cold glass

department.

When their first son Charlie

arrived in 1987, the time seemed

right to move out of London

especially when the Brixton riots
flared up not far from their home.

Margaret’s dad found the old

bakery for them in the tiny village
Tallarn Green near Malpas in the
Wrexham area and after being

interviewed by villagers, to ensure they were not property

developers, the family moved into the bakery. It took 6 — 8 months

to convert into a glass studio but eventually the great day arrived

when, as E&M glass, they melted the first tankful of metal. Ed
recalls that they then stood back, looked at the furnace, looked at
each other and wondered what to make and how to sell it !!!!

Ed and Margaret were initially helped by timing – in the

mid ’80’s art galleries in the UK were enjoying a boom – and E&M

glass were soon busy supplying many galleries. Ed also was

teaching one day a week back at his old college in Stoke. However,

the UK gallery boom soon turned to bust and in the early ’90’s Ed
and Margaret realised how serious it was getting with two or three
of the galleries they were supplying closing each week!

Ed and Margaret live in

an old converted bakery right on the English/Welsh
border, literally, as the border line is about 20 yards
from his property! The old bakery shop now serves as a display area

and the bakery is used for the glass studio, ancillary rooms and
upstairs a design studio. I arrived, coincidently, along with the

Health and Safety inspector, and so while Ed was busy with him
discussing the woes of the Welsh rugby team,

Margaret showed me around the glass studio. This is
approximately 1000 sq feet,

housing a 100kg capacity tank

furnace, 2 glory holes, annealing
kiln, two chairs and all the usual

glass making sundries.
(Fig. 2)

The tank furnace has a

recuperator which uses the waste

heat from the furnace to heat the
incoming air. This reduces the fuel

used considerably – a very

necessary saving, as given their
remote location, the only fuel

option is Propane gas. Even with
the recuperator, the gas has to be

recharged every 7-10 days. Ed

uses around one ton of K glass

cullet — a lead free crystal imported from Belgium – every month.

German Kugler colours in both stick and powder form are used and

the rod colour is melted in a small ceramics kiln. As well as the

glass studio there are ancillary rooms for finishing and sandblasting

Once Ed had finished with the inspector, I learnt from him

that he had started in glassmaking by accident. He was on a Graphic
Design course at Sunderland college when he was walking past the

door of the hot glass studio. He was amazed at the noise from the
furnace, the excitement of the glassblowers and the hypnotic effect

of the white hot glass — needless to say, he went in through the door

and the rest as they say is history!

The graphics design aspiration was quickly shelved and

The Glass Cone—Issue No: 82 Spring 2008
8

4. Who says glassmaking isn’t a spectator sport !

Luckily the American art glass market was still buoyant

and the Crafts Council had money available to promote British

crafts abroad. Ed managed to secure funding for E&M Glass to

attend five prestigious trade shows — the first four of these produced
little interest but the fifth and fmal one succeeded and a deal was

struck with two major international chains. Ed recalls that once
these two groups had started stocking their glass, it was not long

before others came knocking at the door.

The situation rapidly got out of hand as, despite having

twelve glassworkers working for them, they were being swamped
by the orders. Ed tried managing the situation, by sub-contracting

an outside firm to do some of the work. Even then they were

working around the clock and at weekends. It clearly was not what
they had intended for their rural glassworks! Ed said that he

realised that to maintain their dream, drastic measures were called
for. So he increased the product prices sharply and this had the

desired effect. Order volumes have now settled down to a point

where they can manage with just two glassworkers Sue and Sara

who have been with Ed and Margaret for 13 and 10 years
respectively.

E&M glass sells through their excellent web site at

www.emglass.co.uk. They have a database of glass collectors and

also undertake commissions. They have a contract with the Four
Seasons hotel chain to supply all their quality glassware and with

another firm to supply curtain rail finials. Around 5% of their output
is paperweights — mainly low end abstract designs which sell well at

the shows. 10% of their output is commission work and the rest

retail and contract work.

In addition to these outlets, Ed and Margaret are different

to most glassmakers in that they demonstrate hot glass at major arts
and craft shows throughout the country in all weathers.
(Fig 3)

3. Sunny weather not guaranteed!

Most of the shows are organised by “Living Heritage” and this year

E&M Glass are scheduled to attend 30! Their demonstrations are

very popular
(Fig 4),

but just imagine transporting a portable

furnace around the country towed behind the motor home they use

for accommodation!

Ed recalls the problems he had getting to one event at

Gatcombe park. He turned on his trusty sat-nay in the motor-home

and followed the instructions of “she who must be obeyed” and was
lead down a narrow road that was closed due to flood damage. By

the time Ed was stopped by a bather the road was so narrow that

there was no hope of turning around so he had to unhitch the
2 tonne trailer, reverse the motor-home ‘A mile, turn it around and

back up to the trailer. Next Ed had to turn the trailer round, a job

which normally takes 3 or 4 people — on his own it took Ed
20 minutes! Thinking nothing else could go wrong (how wrong he

was!), Ed switched his sat-nay back on and eventually neared
Gatcombe Park — the sat-nay then directed him down a tiny lane

that was covered in wet leaves — over a small canal bridge and then

the road started to climb vertically ! Needless to say with a 2 tonne

trailer and wet leaves it wasn’t long before the grip was lost and the

motor-home and trailer started sliding backwards towards the canal.
Ed ended up having to call out the AA to extricate him from his

precarious position. The full story of this adventure is in Ed’s blog

which is accessible from his web site — well worth reading!

Ed has a rare talent as a very accomplished demonstrator

as I discovered at “Art in Action” I was particularly impressed by

the running commentary Ed gave whilst making the various pieces.

5. Ed working a large blue platter

The Glass Cone—Issue No: 82 Spring 2008

Whilst these shows generate a lot of sales, they also give Ed and

Margaret the opportunity to talk to the public about their love of

glass. They both feel that there is no point in doing this unless their

products are affordable, so keeping prices within reach is an
important driving force in their dream.

After the “Art in Action” show one year, someone wrote

to Ed saying “have you ever thought about writing a book about
glass making”. Ed said that the idea grew on him, especially when it

turned out the person who wrote to him was a commissioning
editor! The result “Glass Blowing — a Technical manual” was

published in 2005 and even if you have no pretensions to becoming

a glass worker, I can highly recommend the book for the
photographs it contains of their output and glass being worked.

In terms of design, Ed takes his inspiration from the

Welsh hills whilst Margaret finds hers in the countryside around the
studio and in primitive art. Their signature pieces are large platters,
Ed blows the platter then Margaret decorates it.
(Figs. 5 & 6)

Designs tend to be organic and evolve over time — such as changing
a design by the incorporation of silver and gold leaf. The final

element of the design process is slotting it into a price bracket which

sometimes involves minor changes to the design. Pricing is based

on the % of a days work the item takes to make.

Ed and Margaret now have three children — Charlie the

eldest has just started a fine arts degree with emphasis on the use of

art in therapy, Tim is 14 and the youngest Josh is 5. Josh, who has

Downs syndrome, has just started at the village school and I met
him after school — Ed says he is always keen to wander off into the
countryside around their home so everyone keeps their eye out for

Josh. At the shows he is keen to help Ed with the demonstration!

Ed is an accomplished folk musician playing the

mandolin. Music is a constant companion in the studio — Ed likes
anything from Moby to Mahler whilst Margaret confesses to a
liking for James Blunt! Margaret finds it harder to get away from

glass and really enjoys designing and making glass jewellery. When

they can get away from the Studio its usually to take their sailing
dingy to the Welsh lake district and go sailing on the nearby

Colemere lake .
Many thanks to both Ed and Margaret for such an

enjoyable visit.

Derek Carter

(Figs. 1, 3 & 4 – Ed Burke; 2, 5 & 6 – Derek Carter)

Art in Action, one of the UK’s longest running and
finest arts & craft festivals takes place on
17-20 July

2008.
Visitors can learn or buy from the artists who recreate their

studios in one of the many Art in Action marquees.

More than 200 artists and craftsmen from around the

world will take part in
Art in Action 2008.
There are marquees

which bring together practitioners of the same discipline and others

which bring together artists from the same culture: Painting,

Sculpture, Drawing and Printmaking; Ceramics, Calligraphy and

Illustration, Glass, Metalwork and Jewellery, Nature in Art,

Textiles, Woodwork and Art of Asia.

Art in Action has always provided practical classes for

adults and children in a number of disciplines. In 2008, adult classes

will be organised and run by some of the most established art

schools and societies in the country including the Guild of Glass
Engravers. There are classes for children and young people.

A key focus this year is the hot glass tent, where there will

be two glass blowing hot-shops demonstrating techniques including

graal, as well as flame working and glass sculpture. The Studio

Glass movement in the UK is vibrant but as an art form it’s not well
known, something that Art in

Action is set to remedy. Glass

artists participating or exhibiting

are listed in the panel.

For more information visit
www.artinaction.org.uk
or
write
to

Art in Action

Waterperry House, Near Wheatley
OXFORD OX33 1JZ
Martin Andrews

Frances Binnington
Sarah Blood

Ed & Margaret Burke – E & M Glass
Katharine Coleman

Diana East

Amanda Glanville

Amanda Lawrence

Peter Layton – London Glassblowing
Ed Iglehart
Claudia Phipps

Felicity Scholes

Dora Schubert

Roger Tye Glass
Anthony Wassell

Michael Ruh

Julie Anne Denton
Michelle Keeling

Ema Kelly

The Glass Cone—Issue No: 82 Spring 2008

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