The Glass Cone_No.89 Winter 2009

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Ronald Stennett-Willson

It
is with sadness that we report the death of Ronnie

Stennett-Willson, on 27 November last, at the age of 94. A full

obituary and an appreciation of Ronnie, and the enormous influence

he had on British glass, will appear in the next Cone.

The

Glass Cone
Issue No: 89 — Winter 2009

The Magazine of

The Glass Association
Registered as a Charity No. 326602

Chairman
Dr. Brian Clarke: [email protected]

Hon. Secretary
Alison Hopkins (secretaryaglassassociation.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

(membershipa,glassassociation.org.uk)

Committee
Paul Bishop (Vice-Chairman); Julie Berk; Roger Dodsworth;
Jackie Fairburn; Christina Glover; Judith Gower; Francis Grew;

Mark Hill; Valerie Humphries; Gaby Marcon; Janet Sergison;

Maurice Wimpory (Treasurer)

Website:
www.glassassociation.org.uk

E-mail news & events to newsa,glassassociation.org.uk

Printed by
Micropress Printers Ltd: www.micropress.co.uk

Published by
The Glass Association

ISSN No. 0265 9654
© The Glass Association 2009

VIIIM111111111F

The Glass Cone—Issue No: 89 Winter 2009
CONTENTS

Australian Indigenous Glass Art

Hyacinth Vases

Roman Cameo Vase Discovery

Glassmaker’s Corner: Tolly Nason

Paperweight Corner

Malaga Museum of Glass

Goblets Galore

The Glass association AGM

Hailware—appeal for items

`And Then There Was The Glass’.

A visit to Ireland (10th-15th September 2009)

by members of the Glass Association

GLASS ASSOCIATION EVENTS

As we go to press, Committee are putting together the programme for 2010
(and looking forward to 2011). Further details, and booking forms for

spring events, will be found amongst the inserts with this Cone.

Saturday 6 March
Chelmsford Museum and the Tunstill Collection
of

18
th

Century glass—a guided visit with
Anne Lutyens-

Humfrey,
Keeper of Art.

It
is hoped to have a supporting visit in the afternoon.

For full details see flyer or contact Janet Sergison-
01732 851663
[email protected]

Saturday 24 April

“Swedish Glass in the 20th Century”
A presentation by Geoffrey Lawson at St. Mary’s
Church Hall, Walton St. Mary, Clevedon, BS21 7BX

2:30 pm to 5 pm; cost £6

For full details see flyer or contact Valerie Humphreys-
01275 877861

valeriehumphreys(&btinternet com

Saturday 19th June

Visit to the exhibition at Frome of the work of the late
Frank Hudson, introduced by Pearl Hudson

Further details will be available in due course (Valerie Humphreys)

-Date to be arranged
“A celebration of cut glass from the middle of the
20
th

Century” – a presentation by Maurice Wimpory

at the National Glass Centre, Sunderland.

30-31 October
Annual General Meeting at Bristol Museum

April 2011
Visit to Veste Coburg in Germany

OTHER SIGNIFICANT EVENTS

Scottish Year of Glass 2010
For further details go to www.scotlandsglass400.co.uk
or phone: Shiona Airlie on 07722 431 987

Biennale & International Festival of Glass

Stourbridge 28-30 August 2010

For an up-to-date list of forthcoming events & exhibitions visit our
web-site
www.mlassassociation.orzuk/news.htm

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.

Membership & Subscriptions:

Individual: £20

Joint:

£25 Overseas (Ind/Jt): £28

Student:

£10

Institutional: UK £40; Overseas £50

Subscriptions are due on 1 August (for those joining May-July subs
are valid until 31 July of the following year)

Fig. 1
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s .Australian Museum Collections
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Sydney •

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Reproclucedfrom Songlines and Dreamings ‘
by the late Patrick Corbally Stourton, with

permission of the publishers
Flinders Island

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NEW SOUTH WALES

AUSTRALIAN INDIGENOUS GLASS ART:

A CONTEMPORARY MEDIUM FOR FLUID TRANSLUCENT DREAMINGS

One of many surprises

on our recent first visit to

Australia was discovering

exquisite art glass along side the
familiar bark panels, desert

paintings, and woodcarvings in

indigenous art galleries. On our

return home I could find only one

reference to modern glass

(Warburton Project) in recent
editions of books on Aboriginal

Art. So I searched the World
Wide Web and conversed with
participants to discover how

artists with such ancient traditions
were exploring a new medium. It
has also provided insight into the
cultural significance of the
imagery, which varies between

regions, tribes and clans.

The Australian art glass scene, as illustrated by the

membership of Ausglass, the National Art Glass Collection, Wagga
Wagga, NSW, and Canberra Glassworks, for example, is

progressive, dynamic and vibrant and benefits from the hybrid

vigour of its immigrants. Its international reputation is being
enhanced by recent contributions from indigenous artists.

History
European settlers introduced glass, along with ceramic

and metal, to the indigenous people of Australia. It contributed little

to the cultural life of societies that consisted primarily of small
groups of semi-nomads, but re-cycled glass rivalled stone for
ceremonial spear-points in the northwest. These beautifully finished

‘Kimberley points ‘
(Fig. 1)
were made by a technique, akin to flint

knapping, called pressure flaking, using a bone tool to fashion the

margins and point of the glass. They became sought after by
aboriginal exchange networks and as souvenirs, and are now highly

collectable.

In the 1960/70s, many modem materials and techniques

became available to indigenous artists, who were living in rural
settlements by then, or in the more urban environment of a multi-
cultural society. These new methods have revolutionised the

presentation of those parts of their heritage they wish to share with
the rest of the world. In particular, the production of permanent and

transportable illustrations of previously transient ceremonial

3
creations has provided cultural

enlightenment and spawned an

avid international collectors’
market, especially for paintings. It

is only in the last decade or so that

various indigenous communities

throughout Australia have
embraced working with glass,
which requires specialist
equipment and expert technical

demonstration, but the activity has

not always been sustainable in
remote locations.

Pictures and castings in

translucent glass have a different
light responsive resonance

compared to paintings and

carvings on the surface of board,

canvas, bark, rock, pottery or

timber. Unique visual effects can

also evolve during the fluid production processes, and both can
expand the creative possibilities available to traditional artists.

Subject matter
The cultural interaction with their environment and the

spiritual history of Australia’s indigenous groups is expressed in
their art through a combination of topographical and cosmic

‘dreamings’, traditional iconography and stylised figurative
representations of nature. Detailed interpretation of these precious

and frequently ceremonial images, which are passed on by the
custodian elders to succeeding generations, appears in the

accompanying bibliography. The modified expression of these
subjects, particularly by younger urban artists, often reflects and
comments on a wider experience of contemporary Australian life,

and indigenous motifs abound in modern Australian design. The
burgeoning, lucrative ‘Aboriginal Art Market’ provides unique

masterpieces, limited editions, and tourist, mass-produced,
somewhat caricatured items, locally termed ‘Airport Art’. It is not

without controversy, especially concerning authenticity, cultural

intrusion and insensitivity, the inclusion of foreign images and

styles, and attempts to rationalise its relationship to Western art

history’s critical values.

Organisation
Some artists work in community-owned art centres, whilst

others are based or work as visiting artists in commercial studios

that may not focus entirely on indigenous glass pieces. The rural

Art Centres usually employ commercially experienced coordinators
from outside the community, as those receiving government

subsidies are expected to produce revenue from their creative

activities. Much of the completed work is exhibited and sold

through a network of galleries and few end purchasers have direct

dealings with the originators. Pieces come with certificates of
authenticity but are usually unsigned. Fusing, slumping, painting

(enamelling), sand blasting and casting are the most frequently used
techniques, whereas glass blowing is in its infancy. Two groups

(Warburton and Wathaurong) make large glass panels and similar

architectural units as well as decorative objects.

The Glass Cone—Issue No: 89 Winter 2009

Fig.

r
2:
\
Two men hunting two goannas. Myra Lawson

Community Art Centres

Most community based projects have been inspired by

grant funded workshops, led by visiting experts who have
encouraged established painters and carvers to explore glass as a
vehicle for expanding their creative activities, whilst providing an
extra revenue stream to support their community. The experiences

of Kirstin McFarlane’s group with the Warlayirti Artists

Community in the Balgo Hills, WA, and Luna Ryan’s work with

the Tiwi Island artists, illustrate the rewards, practicalities and

complexities of successful intercultural collaboration.

The first community project, making architectural panels

and cast bowls, was started at Warburton, WA, in 1995, and still
flourishes as illustrated in a recent exhibition (2008) at the Mining

Hall of Fame in Kalgoorlie, WA. The Tjulyuru artists, initially

encouraged by Gary Proctor, now tell their stories in large, clear
slumped glass panels using foam cut-outs to create the required

voids during the heating of the glass sheets
(Fig 2).
They also make

coloured bowls and small platters, whilst younger artists are
experimenting with jewellery and computer wire inclusions.

The Melbourne glass artist Kirstin McFarlane was one of

a group of experts who helped to establish a fused-glass studio in

the Warlayirti Artists Community (Wirrimanu), Balgo Hills, WA in
2001. Her magical account of these workshops and the subsequent

ones (2002), which created slumped glass versions of wooden
carrying baskets called coolamons, describes desert community life

850 kms north—west of Alice Springs and the practicalities of

introducing them to technology. Using Bullseye glass powders,

flits, stringers, rods (sliced to produce ‘dots’) and clear and coloured

sheets, the artists translated their famous paintings into fused panels

(Fig
3). Coolamons were made by allowing these panels to slump

Fig. 4: Pukumani Poles: Buffalo Horns

and Fighting Sticks. Jock Puau#imi
Fig. 3: Glass tile: Tjumpo Tjapanangka. Courtesy Belinda Cornish

through a ceramic mould and the subsequent curved glass was cut
into the oval coolamon shape using a diamond saw and the edges

polished. This initiative was supported by a grant from the
philanthropic Myer Foundation until 2006, but has since been
difficult to sustain and, according to Belinda Comish of Gecko

Gallery, Broome, WA, the artists are concentrating on painting. The
limited production of these pieces makes them highly collectable

for their creative vitality as well as their historic significance.

Dutch born Luna Ryan runs a glass practice at Australian

National Capital Artists studios in Canberra, ACT. In 2003 she was
invited to introduce glass casting techniques to the artists of Nguiu

on Bathurst, one of the Tiwi islands north of Darwin, where

Fig. 6: Cup and Vases.

Roseanne and Marie Ellis

Fig. 5: Vision offragile Eden series. Luna Ryan

The Glass Cone—Issue No: 89 Winter 2009

Studios

Indigenous artists make

glass objects with aboriginal themes

in urban studios and workshops,

often as joint ventures with the
commercial galleries found in all

major Australian cities and many
provincial towns especially in tourist
g

areas.

woodcarving flourished, and pottery techniques and kiln technology

had recently been acquired. The profound effects of this experience

and further visits in 2004 and 2006, as related by Ann Mc Mahon,
were similar to those documented by the Balgo group. It resulted in
friendship with Jock Puautjimi and collaboration on several joint

exhibitions (e.g. Mamana Mamanta 2007; 2009-10). Carved and

painted wooden Pukumani funeral poles are an essential element of
Tiwi culture and are part of Jock’s repertoire along with ceramics,

painting and printmaking. Luna’s guidance in mould making and

casting in glass has allowed him to explore new colours, and to see
into these poles revealing their inner life, with stunning and moving

results
(Fig. 4).
Similarly her contact with him and the Tiwi people

is
reflected in the iconography of her latest work which includes

kiln cast, recycled television screens
(Fig.

5).

Recycled glass was also used by Central Australia’s first

indigenous glass blower Tony Palmer at the Amoonguna Arts

Centre, NT. The painted and etched bowls, cups and vases
(Fig. 6)

decorated by local artists, such as Marie and Roseanne Ellis, who
were being trained in Venetian hot glass techniques, were first

exhibited at ‘Mwerre Alpeme’ (Good Return) Inaugural

Amoonguna Arts Festival, June 2008. This initiative has since
ceased with the departure of the coordinator Chris Simpson.

Wathaurong Glass & Art was formed in North Geelong,

Victoria, in 1998, to express aboriginal art in glass. It is a not-for-
profit commercial factory and not an Art Centre. All the staff are

aboriginal and the Warthaurong community benefits from the
proceeds. Mostly using kiln forming and sand blasting, it specialises
in architectural features such as windows, doors and partitions that

incorporate indigenous motifs, as well as decorative platters and

sculptures
(Fig. 7).
The company’s many prestigious installations

include a TV studio for the 2000 Sydney Olympics and it also

accepts non-ethnic commissions.
s

The Glassmob group
set !”

up by Paul Saunders, Sam Juparulia
and Summer Saunders (originally
as

Bonegilla Glass in 2000) based in
a

40-acre complex in Albury, NSW, is

a good example. They teach and

mentor local artists, and visiting *
artists such as the desert painter,
Dorothy Napangardi from

Yuendumu NT, and Rachel
Malthouse whose work uses totems
from tropical north Queensland. In

2007, in collaboration with Gecko
Gallery of Broome WA, they held
a

glass workshop for the Kudjina
community at Millijidde Station in

the desert 600kms south east of
Broome to explore the practicalities

of glass manufacture in another
remote location.

In addition to producing small, modest bowls, dishes and

platters, the group have created unique studio pieces such as
enamelled coolamons and shields depicting bush tucker and

traditional Wiradjuri stories by Robert Murray
(Fig. 8),

platters

exploding with colour illustrating bush tucker by Gay Baker, and

plates by Matilda Charles which depict the Bogong Moth and

Mugabereena meeting place
(Fig 9).

Glass poured directly from the
Fig. 8: Birik Water Spirit

Coolamon.

Robert Murray. Glassmob

Possum Skin Cloak 1.5m x .8i

•

Fig.
7:
ILathatirong Glass and Art

Fig. 9: Mungabereena plate. Matilda (Josie) Charles. Glassmob

The Glass Cone—Issue No: 89 Winter 2009

•

Fig. 14

Travelling

180 X 370MM

Fig. 13:
Goanna bowl.

Yibi. Studio 8 glass

The Glass Cone—Issue No: 89 Winter 2009
Water

180 X 370MM
Desert Water

180 X 370MM
MS 01 :

Campfires

furnace is manipulated in

its hot state by Rachel

Malthouse to produce the

protection shields
(Fig.

10)
and coolamons of her

Blue Ochre project. The

images are from her

ancestral home in
Atherton Tablelands near

Mareeba, QLD, and were

passed on to her by her
mother, the renowned

indigenous artist and

educator, Jennifer Herd.

The platters, message

sticks, dichroic jewellery
and coolamons/shields

made by the artists
represented by the True

Blue Gallery in

Fremantle, WA, are less
busy than Glassmob’s.

They use simpler, elegant

iconography to illustrate a single event such as campfires, travelling

or water on each piece
(Figs. 11, 12).
The platters can be used as

food trays and are also available with animal motifs.

•
•

. • •
More elaborate, multi-coloured animal images are

depicted on bowls and plates in the ‘Yibi Legends’ series
(Fig. 13)

offered by Studio 8 Glass, QLD. They are created using layered
lead-free, hand cut, coloured sheet and crushed glass, in

collaboration with local indigenous artist Yibi.

The multi-talented

Atictute artist, educator, and
champion of Aboriginal

development, Jenni Kemarre

Martiniello has added glass
objects to her literary, print,
photography and textile

work in recent years

(Kemarre Arts). Her wide
range of traditional subjects,

inspired by her Central

Australian ancestry, are
illustrated, using vitreous enamels, mostly on recycled glass panels,

plates and bowls
(Fig. 14: a candle
–
holder).
Her jewellery includes

Venetian styled glass beads.

Future evolution
Each July, to mark Aborigines’ Day, the National

Aboriginal Islander Day Observance Committee (NAIDOC)

organizes celebrations and public displays. In 2008, this
was

celebrated in Tuggeranong ACT, with an exhibition at the
Tuggeranong Arts Centre entitled
‘Postcards from the Referendum,

IndigiGlass 08’.
It was sub-titled ‘visions for new directions in

glass’. During the first residency of Aboriginal artists at Canberra

Glassworks, Jenni Kemarre Martiniello, Lyndy Delian, Renee
Smith and Belinda McDowell mastered techniques including

blowing, casting, etching and bead making. They used these new

Fig. 10: Mbarba

1)
42t1(2,

Shield. Rachel

River

180 X 370MM

•

•
•

MS 02 :

MS 03:

Campsite

Travelling

Hunters

skills to make pieces which reflected their feelings about the 1967
Referendum in which 90% of Australians voted to remove
references in the Australian Constitution which discriminated

against Aboriginal people. 27 of these works were acquired by the

National Museum of Australia to be part of their permanent
Referendum collection. Blown and cold worked glass piti

(coolamons) showcase their new found skills
(Fig. 15).
A

captivating film of this project is available on the Tuggeranong
arts

website. Following this success, 13 other indigenous artists have i
ll

held residencies at Canberra Glassworks . Ten of them exhibited
in

`Old Cultures, New Rituals; IndigiGlass 09′,
at Tuggeranong Arts

in December 2009.

River and Waterholes

180 X 370MM

10
11
7
11
:
q1
9
113C1

•
• ” •

River

180 X 370MM

Figs. 11 & 12: Glass Platters & Glass
Message Sticks. Trueblue Gallery

MS 04:

Emu Tracks

Fig 16: Enee, Meanee, Minee, Mo. Yhonnie Scarce. Courtesy of Museum and Art Gallery of the Northern Territory, Darwin

Yhonnie Scarce is a prize winning glass artist and was the

first indigenous glass blower in Australia (now joined by Tony

Palmer and the
IndigiGlass 08

group). She is doing a Masters

degree in Fine Arts by research at Monash University. On receiving

the Qantas Encouragement of Australian Contemporary Art
Award she gave an insight into her artistic objectives: ‘I try to
recreate objects from the traditional environments of Indigenous

people and present them in a way that is creative and pushes the
boundaries of what we consider to be art representative of

Aboriginal people. In my work I try to achieve the perfect balance
between the European artistic medium (blown glass) with

traditional Aboriginal concepts and objects’. This is well illustrated
in her interpretation of the derogatory rhyme
Enee Meanee Minee

Mo’ (Fig. 16).
As more indigenous students and those from multi-

ethnic backgrounds emerge from art education systems the

opportunities for new ways to express their traditions and culture

will appear. Let us hope some of them discover our pleasure in
glass.
Roger Ersser

Special thanks are due to Paul Saunders, Luna Ryan,

Jenni Kemarre Martiniello, and Belinda Cornish for sharing their

knowledge, and to the artists and their representatives, who retain

the copyright to their images.

References
Aboriginal Art (1998):
Howard Morphy

Phaidon Press Ltd. London.

Aboriginal Art (second edition 2003):
Wally Caruana

Thames and Hudson. London. ISBN 0-500-20366-0
Oxford Companion to Aboriginal Art and Culture (2000):

S. Kleinert & M Neale (Eds);
OUP, Melbourne.

ISBN-10:0195506499; ISBN-13:978-0195506495

Songlines and Dreamings, Contemporary Australian Aboriginal

Paintings (1996)
Patrick Corbally Stourton.

Lund Humphries, London. ISBN 0 85331 691 0

McCulloch’s Contemporary Aboriginal Art; The Complete
Guide (2008).
Susan McCulloch and Emily McCulloch Childs

Australian Art Books. PO Box 2482 Fitzroy, VIC 3065,

Australia. ISBN 978 0 98044 942 6

The Australian Association of Glass Artists

www.ausglass.org.au

Balgo Glass: Kirstin McFarlane

www.craftculture.org/world/balgoglass.htm

Tiwi Glass: An Intercultural Collaboration:
Ann McMahon

www.craftculture.org/Review/mcmahon6.htm

Mamana Mamanta — Gradual Friendship.
Luna Ryan/Jock

Puautjimi
www.craflact.org.au/exhibitions/2007EX8G2

From Stone to Glass: Australian Museum Collections

www.amonline.net.au/collections/aboriginaUstone.htm

Art of Glass — Warburton Exhibition at Kalgoorlie 2008.
Rebecca Mclaren

www.abc.net.au/locaUstories/2008/08/12/233085.htm

Links
Amoonguna Arts: www.amoongunaarts.com.au

National Art Glass Collection
www.wagga.nsw.gov.au/html/426
–
national
–
art
–
glass
–
collection.asp

Canberra Glassworks: www.canberraglassworks.com.au

Glassmob: www.glassmob.com.au

Gecko Gallery: www.geckogalley.com.au

Kemarre Arts: www.kemarrearts.com.au

Kirstin Mc Farlane: www.kirstinmcfarlane.com.au

Myer Foundation: www.myerfoundation.org.au

Studio 8 Glass Australia: www.studio8glass.com.au

Tiwi Design: www.tiwiart.com.au

True Blue Gallery: www.truebluegallery.com.au

Tuggeranong Arts Centre: www.tca.asn.au/naidoc

Warburton Arts: www.warburtonarts.com.au

Wathaurong Glass & Art: www.wathaurongglass.com.au

Yhonnie Scarce

•

www.unisa.edu.au/art/undergrad/glass/yhonniescarce.asp

www.monash.edu.au/news/monashmemo/stories/20080625/glass

The Glass Cone—Issue No: 89 Winter 2009

Figure 1: Hyacinth vases in all shapes

and sizes, Daphne’s amber vase in the centre
HYACINTH VASES

Discovering hyacinth vases
I absolutely adore hyacinth vases. I first saw them in 1982

when I met my future mother-in-law, Daphne. She had hyacinths in

bloom indoors in February in special vases holding the bulb above
water with the roots growing into the water. I had never seen such a

thing and their scent was intoxicating. Daphne had (what I now

know are) vintage hyacinth vases: amber and cobalt vases in squat

bulbous shapes, also referred to as “Tye” (more below). I was
enchanted. I loved them. I wanted some. I had to have some but

there weren’t any for sale anywhere, new or antique. The early
1980s was a very grim time if you wanted to buy a hyacinth vase,

which are also called hyacinth/bulb/forcing/rooting jars/glasses/
vases. It was rare to see one at an antique shop, but
I
finally saw
vases. I was delighted I could actually buy more examples of the

beautiful cobalt blue vase Daphne had, but I still knew very little

about them and their history. Someone mentioned Tye to me and

said those were most sought after. Well I’d bought a couple of Tye

vases on eBay but the seller never even mentioned it, nor did I

know anything about Tye, such was our naivete. So just what is a

“Tye” hyacinth vase? It’s a moulded, not hand-blown, vase

stamped on the bottom: “G P Tye” in the centre and “Gt Charles St

Birmingham” around the edge, and because most vases are not

marked by a manufacturer this one has become famous. Some are

also stamped “1850”, the date of Tye’s first of two patents, the other

being 1852. A number of manufacturers, producing both moulded
and hand-blown vases, used Tye’s distinctive shape, and it became

some at a “junk” shop on Hayling Island, where Daphne lived,

called Reggie’s: three clear 1950’s vases
(one of them is in Fig. 1,

ringed).
Of course I bought those but it wasn’t until eBay 15 years

later that I found any more vintage vases. In the meantime new

hyacinth vases started to be sold again in the UK. I snapped up all I

could find—plastic, glass, different shapes and sizes—and tried
forcing hyacinths with varying degrees of success (see my tips for

successful forcing below).

Discovering antique
hyacinth vases

When I started using eBay I discovered antique hyacinth

The Glass Cone—Issue No: 89 Winter 2009
very popular, although Tye may have copied an existing shape.

Figure 2
shows a blue Tye vase (note the smaller rim) in the

middle, surrounded by other bulbous vases which were

manufactured from the 1850s until well into the 20
th
century with

slight variations in shape, size and colour, although the colours

shown: cobalt blue, amber, amethyst, green and teal were the most

popular, and are fairly common now on eBay. Tye’s innovation
was to include a metal support that could hold the stem when the

hyacinth flower got large and heavy and prone to fall over. Barr and
Sugden were Tye’s London agent and offered his vases in their

catalogue:

“Tye’s Registered Drawing-Room Hyacinth Glasses and
Supports. It is our duty to caution the public against the
vile imitations of Tye’s Registered Hyacinth Glasses.
Cheaper, certainly, the imitations are; but they are
wanting in that exquisite symmetry of form possessed

in so eminent a degree by those bearing Mr. Tye’s

registered stamp, while the decorations are vulgar in

the extreme.”
(See
Fig. 3

which shows a page from the

Barr and Sugden 1870 catalogue with Tye vases with
bulbs and then extending their use with flowers.)

George P. Tye
George Piercy Tye is famous for his hyacinth vase
designs but very little else is known about him. His

obituary in the Gardeners Chronicle (1 February

TYE.S REGISTERED DRAWING-ROOM HYACINTH GLASSES.

This illostniion is

to sh01. emir

and cleanlier Way, and might be more acceptable to the Curious o

the Fair Sex, who must be highly pleased to see a Garden Growing,
and exposing all the Beauties of its Spring Flowers, with the most

delicious Perfumes thereof in their Chambers or Parlours;
a

Diversion worthy the Entertainment of the most Ingenious”.
It

sounds like we have Furber to thank for popularising forcing bulbs

on water.
4a

[Rap, ao.1 Stegvto,,
tri
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Tyvs

REGISTERED DRAWING-ROOM IIYACINTN GLASSES AND

SUPPORTS.

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1879) does not even give his date of birth, nor does his entry in the ,

Dictionary of British Botanists and Horticulturists which describes

him as
“Die-sinker. Devised Improved Registered Hyacinth Glass c.

1852. Secretary Handsworth Floral and Horticultural Society”.

From 1855 to 1876 he is listed in White’s Directory Birmingham as

“Die & Seal Engraver, 107 Great Charles Street’.
He is not listed ,

in 1878, and in 1880 there is no listing for 107 Great Charles St.

However, in 1878 there
is: “Tye, George S. die sinker, press tool

maker and stamper and piercer, 41 Caroline Street’.
George Tye’s

son went into business for himself? Certainly it doesn’t look as if
glass was his main business. (Thanks to Mike Jee at the
Birmingham History Forum for the White’s Directory information).

History of hyacinth vases
Although there are a number of bulb vases in Dutch

museums, there are hardly any in UK museums and a

corresponding lack of information about their history. There may be

one hyacinth vase in one of the room displays in the Geffiye
Museum although I’m not certain. There are no hyacinth vases in
the Broadfield House Glass Museum. The Victoria and Albert

Museum has one hyacinth vase (or at least they think it might be) in

storage but there’s no photograph of it. The Museum of Garden
History has no hyacinth vases. John Smith (in his fantastic article in
a 2004 issue of the Journal about hyacinth vases) mentions a Tye
vase at the Birmingham Museum and Art Gallery which I can’t

wait to go and see. I think part of the problem here seems to be that
hyacinth vases do not fit neatly into a category. They are not the

typical piece of glass in a museum (often drinking glasses). They
are not furniture in a decorative arts museum, although something
of a piece of home furnishing. They are not exactly a garden item

although they are all about growing flowers.

So what do we know about the history of hyacinth vases?

Barr & Sugden’s Illustrated Autumnal Floral Guide from the 1860s

notes:
“The cultivation of the Hyacinth in water came into fashion

in England as far back as the year 1734. Since then its charming

flowers, delightful fragrance, and easy culture, have secured for it
the most favoured place among our domestic plants; its name is a
household word associated with the most early recollections of

childhood; while its period of bloom, marking the retirement of the
dark days of Winter before the cheering influences of Spring,

connects it with the most hopeful and pleasant associations of life.”
So what happened in 1734? I assume they refer to
“A Flower-

Garden for Gentleman and Ladies”
from “The Flower Garden

Display’d” by Robert Furber, published in 1734. He experimented

with forcing flowers in soil very successfully so, he writes,
“I

thereupon, resolved to attempt as early Productions, by the Effects

of Water only, that is without Earth, which would be a much neater

9
It was though almost a hundred years after Furber started

his forcing that dedicated hyacinth vases were produced, in the late
18
th
Century (Furber used cork to hold the bulbs up), the earliest

being the tall chum shape (see
Figure 4)

with shallow cups,

prominent kick-ups and snapped off pontils common of hand-
blown glass of the period. Cobalt blue was the most popular colour

although they were also made in green and amethyst. The cups

started off quite shallow and later became larger and deeper. Since
then there has been an enormous variation in vases with a myriad of
shapes and sizes, the common features being a cup at the top to hold

the bulb above the water and enough room in the vase for the roots

to develop fully (see
Figure
5 for a range of vase shapes, sizes and

colours from Victorian to modem).

Who used the antique hyacinth vases I love?
If the Victorian catalogues are to be believed, everyone!

Forcing was a pastime shared by “the
wealthy and lower

classes”
(Mrs. Loudon’s
“Gardening for Ladies”,

1843).
“The

Hyacinth, from its beauty and ease of culture, has obtained

complete and universal acceptance with all classes. As an in-door

plant it may be grown in many ways, and in vessels of almost any

The Glass Cone—Issue No: 89 Winter 2009

Figure 6

HOOPER A P0. SEEDAMEN, •DV7IIT 0..011gN.

ORNAMENTAL SPECIALITIES.
/Oh GROWING RULES AND OTHIR PLOWER/I

HYACINTH GLASSES.

4
0

4 6
worts a

Co.
samalaw, covicyr caRtax, tosios,

ETRUSCAN
HYACINTH

VASES.

utd

adapted for growing bulle

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in Wats.

No.
Per

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with black trachtE.,

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6 0

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with white

gatm
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7 0
Taint? No. 2.

TRIPLETS.
Each—R. d.

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ground, nirrly

decorated

7 6

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decanted

6 0

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6

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3 6 3 6

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TILL(A.1 enamel ground, sea green, yellow, sod ‘Auk, i
4

punted wit/s flowers

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Photograph of a group of patterns may br WO for Inspoetion, returnable within

or If kept, 3s. sack.

TRIPLE STACIE= 01.43110.

Clew colon” as above, is M. each, N. ed. per pair.

HYACINTH IOPP0111.

Per /Shape Na A k pads. j For Shame 1, 3, 3, 4. 64. per doe. For Td

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ORNAMENTAL, d Arilai NETS,

&C.

SQUARE SUSPENDER

NEW RUSTIC JARDINET FOR

St.11

for Foos, Rolla, to.

BULBS OR FERNS.

or elopnt .
it

64., 9dadt,

Diameter., 12„rwh,
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14•ins.A, 8.. 6d.

Other oath les In the same more, sue!,

these Pots, Roaparniers,

ilee hr. •

uarden or Conserrotory Seale, Los/tat/on of Oak Smug., 10… 04. each.

IAREDIRTII

1711710AR WARN. From Rs. sorb.

IARDINITII IN WIDORWOOD. 17.. 6d.

7 0

The Glass Cone—Issue No: 89 Winter 2009
cheerful by its smiling presence, and fragrant by its sweet

odour. It is not difficult to account for this universal
adoption of the Hyacinth as the queen of indoor flowers.

Its superlative beauty is such as to elicit an epithet of
admiration from the most indifferent; couple this with the

fact that it may be grown by the most inexperienced, and

under almost any circumstances, and it may be easily

understood why it is that the broad acres of Haarlem are

so brilliant with Hyacinths in the month of May, and the

importations of their bulbs into England amount to tens of
thousands annually.”
(Another Hooper catalogue, early

1860s).

How to force hyacinths using hyacinth vases
Sadly my mother-in-law passed away and I inherited her

hyacinth vases, as no one else in the family had the
interest or patience to put them to good use, and you do

have to have patience and be organised to force hyacinths:

1.
buying the bulbs in August,

2.
preparing the vases and putting them in a dark

cool environment in September,

3.
checking them regularly for 3 months and

4.
bringing them out into the warmth and light in

December or January.

But one is rewarded magnificently for the work when
you

have those flowers in bloom in the middle of winter and the house
is filled with their intoxicating scent. The stand of hyacinths had

visitors stopping in their tracks in the Pavilion at Chelsea this
year

when the smell of hundreds of hyacinths in bloom hit them. Sadly
the person on the stand knew nothing of forcing them using vases.

The two keys to success with forcing hyacinths are the
dark, cool environment, and
waiting until the bud is fully

out
of the bulb before

bringing the bulbs into the

heat and light. A friend gave
me an old fridge to put in my

cellar so I can ensure the

temperature is correct for the
cold period. This may be
essential in the future with

climate change as we cannot
rely on cool weather in the

autumn. Further information

Please see my web site for

more information and
images of hyacinth vases:
ww.hyacinthvases.org.uk.

I’d love to hear from anyone

else who collects hyacinth

vases, especially images of

their vases which I could add

t to the site for everyone to
enjoy.

Julie Berk
10

description that are capable of containing mould, sand, moss or

water.”
(Hooper & Co, Seedsmen, Covent Garden, London

Autumn Catalogue, 1874, see
Figure 6
for some of the hyacinth

vases they sold). Much appreciated in urban areas in the 19th

century:
“In the most confined streets of London the Hyacinth may

be seen blooming as magnificent4, as if surrounded by all the
advantages of the open country, and displaying ungrudgingly for

the delight of its city cultivators charms which most other plants,

even though indigenous to our own soil, cannot be induced to
reveal”
(Barr and Sugden’s Guide, as above).
“Of all ‘household

flowers doubtless the Hyacinth is the most important. It is grown
everywhere, and by almost everybody; indeed, so great are its
claims upon the flower-love of the public, that there is scarcely a

house or home which has not, at one time or other, been made

In October last Bonhams specialists announced that they

have identified a magnificent Roman cameo glass vase which may,

they claim, be the most important of its kind in the world. Chantelle
Rountree, head of antiquities at Bonhams, said: “It is of major

international importance. Academically and artistically it is

priceless. Scholars will be evaluating this find for decades.”

The vase dates from between late 1s` Century B.C. to early

1s
t
Century A.D and stands 33.5cm high. Only 15 other Roman

cameo glass vases and plaques are known to exist today. These

very rare vessels were highly artistic, luxury items, produced by the

Roman Empire’s most skilled craftsmen. They are formed from two
layers of glass — cobalt blue with a layer of white on top — which is

cut down after cooling to create the cameo-style decoration.

Items of this kind were produced, it is thought, within a

period of only two generations. They would have been owned by
distinguished Roman families. Until now, the most famous example

has been the Portland vase, held by

the British Museum. This is smaller,
standing at only 24cm high. It
is

also missing its base and has been
restored three times.

The recently identified

vase is also more complex than
others of its kind, being decorated

with around 30 figures and a battle
scene around the lower register. By
comparison, the Portland vase has

just seven figures.

Bonhams experts believe

that this magnificent artefact could
rewrite the history books on cameo vases. Unlike the Portland vase,

it still has its base and lower register and will therefore add

significantly to the archaeological understanding of these vessels.

Bonhams are quoted as saying that “there is no doubt

about its authenticity”, but, in co-operation with the present owner

of the vase, are carrying out detailed research into the historical

background of the vase and its miraculous survival, as well as into
its more recent history and chain of ownership. The research will

include chemical analysis of the glass, and study of the engraving

technique, to see whether the vase came from the same workshop as

the Portland Vase; initial indications are that it was not engraved by

the same skilled craftsman. There will also be study of the
iconography: mistakes or anomalies could indicate a forgery.

The vase was presented publicly for the first time at the

18
th
Congress of the International Association for the History of

Glass in September. The presentation created huge excitement
among delegates, who were drawn from

the world’s leading museums and
cultural institutions.

They, and we, are eagerly awaiting the

results of the research, and the

restoration of the vase (incredibly, some

of the glue used in the current assembly

of the vase has been coloured blue

simply with a felt-tip pen!). If its
authenticity is established, it really will
be
the most important piece of glass in

the
world, and the sky is the limit when

it
comes to auction!

The Glass Cone—Issue No: 89 Autumn 2009

GLASSMAKER’S CORNER: TOLLY NASON

Occasionally, an artist emerges who is instantly

recognisable as a major talent. One such is Tolly Nason, a glass

artist and photographer who has been making a name for herself in
the last year.

I first briefly met Tolly Nason around five years ago when

I visited Layne Rowe’s then studio in Knebworth, Hertfordshire.

1
She was experimenting with sandcasting in a bucket, as I recall.

A few years later in 2007, we attended a combined show

by Layne and Tolly which they held at her studio, The Ark’, in

Abington, just south of Cambridge. The exhibition was entitled
`Ray of Light’ and included glass and photography. Tolly, as the

photographer, had taken images of Layne’s work and included them

. , in the exhibition. Visitors could see and hold a piece of Layne’s

°w work and then look at Tolls photographic interpretation of the
same piece. It was at this exhibition we first saw examples of
Tolls pate-de-verre work which has become central to her glass

art.

It was an evening which left a lasting impression on me. I

have long admired Layne Rowe’s work, but here was another glass

artist who was very obviously going to make her mark.

In February 2009, Tolly decided to exhibit her glass at the

Cambridge Glass Fair. I was very pleased to receive her

I
application. Her display was very well received by the public. It

was fresh and different. Throughout most of the day her stand was
surrounded by people both looking at the display and waiting to talk
to her about her work.
Whilst much of her work is free-flowing and

imaginative, she also loves to replicate in glass parts of an extinct

natural world. She has in the last two years made a series of cast

Dodo and Great Auk beaks. All are accurate representations with
the measurements taken from museum exhibits. She has now taken
this side of her work to a new level.

Her work also made an impact on other exhibitors with

its refreshing originality. Adam Aaronson, who was also exhibiting

at the show, took her
‘Whimsicals’

range to Sofa, New York, where

they were snapped up by American collectors.

These fragile pate-de-verre pieces appear too delicate to

touch. They differ in colour, shape and size and are ideal for
collectors to put together their own arrangement.

Tolly’s consuming

interest in the natural

world has heavily _
influenced her art. In the

medium of glass this can
be seen in her

pate-de-verre

‘Whimsicals’
and
‘Ice

Bowls’
that look like

melting ice.

Fig. 2: Ice Bowl

Her combination of

the image of a delicate and fragile coral growing out of the solid
rock on a seabed. In this series she is exploring the relationship of

the living with the non-living and how they become intertwined and
glass in her

‘Living Rock’
range is particularly striking. They evoke

interdependent.

pate-de-verre and cast

The
Glass Cone—Issue No: 89
Winter 2009
Tolly has recently completed her biggest and most

important exhibition yet: ‘Seeing the Light: Finch by Finch’ at the

University Museum of Zoology in Cambridge, as part of the

Darwin 200 year anniversary festival. Tolly had long wanted to

stage an exhibition of finch beaks as part of the 2009 Festival but
only got the go-ahead when the Director of the Zoological Museum

was able to see her work when she exhibited for the first time at the

Cambridge Glass Fair in February.

For this self-funded exhibition she cast the beaks of

fourteen Galapagos finches in striking red glass. They are 20 times

actual size, and were displayed in a line on lit plinths across the
lower-ground floor of the museum. The finches were integral to

Darwin’s Theory of

Evolution, and these cast

finch beaks provide

artistic

introduction to
the science of
Charles

Darwin.

Fig. 4.•

Dodo beak

(amber)

•

5:
Tally working

0/7 a
clay mould

Fig. 6: Rubber mould

The process

Initially Tolly took

photographs, accurate measurements

and used scanning equipment to help

scale the beaks proportionately. She
examined the finches held by the

Zoology Museum, Cambridge, and the

Natural History Museum in Tring,
Hertfordshire. She also had to visit the

Natural History Museum in New York
to study the Mangrove Finch, as we do
not have a specimen in this country.

A clay ‘original’ was made

from all the data collected for each beak.

Once the clay had hardened it

was used as a positive to make a rubber
mould which enables multiple castings.

This involves creating a complex two-
part mould in plaster around the original

and the two halves of rubber are poured

through holes in the plaster.

When both halves were cured, the clay was removed and

the mould cleaned and fitted back together ready for the next stage.

Wax was then poured into the rubber mould. The larger

beaks can take up to forty hours to cure. Some of the moulds were

then so weighty that a small crane was brought in to move them
from one position to another.

The positive wax beak then needed working to perfect. A

plaster/silica mould was poured around the wax with a sprue’
added to the positive to allow enough room to stack the glass. Air
holes were also added to undercuts using wax or clay to make sure

the glass could reach all areas.
The wax positive was then steamed out

and any residue carefully removed.

The amount of glass needed was
calculated and the mould carefully

stacked with glass.

The kiln cycle was calculated and the

mould then put into the kiln for between

four days and five weeks depending on

the size of the cast Most of this time is
spent on ‘annealing’ — cooling the glass

down very slowly to reduce any stress.

The cast was then ‘de-moulded’ and

once it had reached room temperature
could be cold worked. The sprue was

removed using a saw or angle grinder

and the surface meticulously cold

worked. This involved the use of seven
different grades of diamond abrasives in

the form of an air-tool or hand-pads
followed by a final polish where

required. This last process can take

several days per cast to achieve the

desired effect

The project was massively ambitious for a relatively

inexperienced glass maker. Tolly managed, in the four months

allocated, to complete a project for which she really should have
been allowed around a year. When asked in an interview what is her
favourite piece from those she has made, she replied: “It has to be

the Galapagos finch beaks because of the sheer amount of work –
physical labour as well as mental ache! I knew I was being

overambitious, so Pm very pleased it’s worked out”

In the same interview Tolly was asked “If you weren’t a

glass caster, what other medium would you like to try?” Her reply

was: “I don’t know what I don’t try! I’d quite like to try precious

metal casting. If I hadn’t become an artist I would have liked to have
been in wildlife research spending most of my time in a tropical

rainforest somewhere…”
Tolly does not see herself as a glass artist She sees herself

as an artist who is currently working in glass. She has worked and

Fig. 7: ‘Seeing the Light: Finch by Finch’ at the
University Museum of Zoology in Cambridge

The Glass Cone—Issue No: 89 Winter 2009

continues to work in film and her degree is in textiles. Her

unconventional training and love of the natural world has allowed

her to create glass art that is refreshing and original.

A question that arises is what happens to art on the scale

of the Galapagos finch beaks when the exhibition is over? In this
case, Tolly informs me that she has sold several of the beaks. The
largest and the smallest have gone to Princeton University, New

Jersey, U.S.A., where they will be displayed in the foyer of the

Biology department. They are to be shown in a specially built
cabinet alongside information about Peter and Rosemary Grant’s

Kyoto Prize for their work on the finches. Peter and Rosemary
Grant, who are the world authorities on the Galapagos finches, saw

Tolly’s exhibition during the Darwin Festival and thought they

were spectacularl

There should be a place for at least one finch in our

Natural History Museum!

Paul Bishop

PAPERWEIGHT CORNER

New Type of Chinese White
Although most paperweight collectors will probably have

a few examples of Chinese weights in their collection, building a
collection of Chinese weights is not something that most would

contemplate. However there is one variety of Chinese weights that
in recent years has become quite sought after and today is quite

difficult to find: I am talking about what collectors call ‘Chinese
Whites’
featuring the 1930s era American style coach with a background of

mountains and a setting sun,
(Figure 2)

and a well-recorded weight

I featuring a clipper ship and Chinese warriors. The sizes of the

weights vary from miniature to magnum. On a recent visit to a
local gift shop that specialises in imported products we spotted

some flat domed weights with designs of birds, butterflies, shells

and a starfish set upon a thin white base. Were these what they first

appeared to be? Closer inspection confirmed that they were made

Thought to date from the 1930s this type of weight

comprises a white glass base on top of which are painted scenes

usually featuring flowers, birds, butterflies and the like painted in

typical Chinese style.
(Figure 1)

The technique involves the use

of heat-resisting paints which are not destroyed when the painted

base is encased in clear glass in the same way as the normal

millefiori or lampwork weights. Closer inspection of the painted
design will often show crizzling of the paint where it has been

affected by the heat of the molten glass of the encasement. There

are some more unusual designs that turn up, like the weight
of glass and the label on the base confirmed that they indeed were

made in China but instead of a painted picture like the earlier

weights these appear to employ the use of a heat resisting transfer
resulting in a much finer design. Like the original weights the base

is still white but this time is a very thin layer and the edge at the

junction of base and dome has been hand ground to remove any
roughness. The butterfly weight
(Figure 3) is
two and a quarter

inches in diameter and the bird weight
(Figure 4)
four inches in

diameter. The technique of using a transfer is nothing new having

been used for some years by the Italian weight makers on the island

The Glass Cone—Issue No: 89 Winter 2009
14

#•1 r; et/

Herts

Surrey

Cumbria

Middlesex
Essex

Hertfordshire
Lincs
Sussex

London

W Glamorgan
Somerset
Bucks

Worcs

Suffolk

Mr P Griffiths

Mr&Mrs D Barker

Mr S Cook

Mrs P & Mr S Fisher

Mrs P Holt

Mr W I Millar

Mr A Townshend

Ms C Hood

Mr A Radford

Dr A T & Mrs C P Mc Connell

Mrs J Doughty

Miss A Lutyens-Humfrey

Mrs V Glasser

Mrs G Wing

15
The Glass Cone—Issue No: 89 Winter 2009

come o new mem

ers

of Murano to produce such weights as those featuring the signs of

the zodiac, hot air balloons and pictures of cats, dogs and horses

(Figure 5).
It has been documented that Whitefriars Glass

also experimented with the same technique and a well documented
example features a picture of a ginger cat. My weight
(Figure 6)

similar in shape and size and features the usual Whitefriars button
formation on the underside but the subject is a bit different in that it

is a lady clad in Georgian style clothing. Memories of those who
worked at Whitefriars indicate that their manufacture seems to date

from the mid 1970s but how many of these type of weights were

made remains a mystery. From the few that have turned up to date it
is obvious that they were not made in large numbers. For further

information on these and other non-millefiori weights produced by

the company see the article by Dave Webber called
The Other Side

of Whitefriars
published in the PCA

Annual Bulletin
for 1997.

Richard M. Giles

MALAGA MUSEUM OF GLASS:

MUSEO DEL VIDRIO Y CRISTAL DE MALAGA.

The newly-opened

Malaga Museum of Glass is
housed in an 18
th
Century house

just outside the line of the
mediaeval walls of the city, in the

area in which the Arabs built their
pottery ovens. It occupies one side

of the Plazuela Santisimo Cristo
de la Sangre, opposite the church

of San Felipe Neri. Over the years
the fabric had deteriorated to such

an extent that the
municipality was bent on its

demolition, and several

years of negotiation were
needed to save and restore
it. It finally welcomed the

public on 1 September

2009.

The Museum

contains a private collection

of decorative domestic art

Eastern

mostly inherited or collected

Mediterranean

by the partners in the

oinochoe

‘ endeavour, Gonzalo

Fernandez-Prieto, Steven Sprague and myself. Essentially the

furnishing is such as may be found in a Spanish noble house. The

furniture, mostly dating from the 18
th
and 19

th
Centuries, comes

from various parts of Europe, much of it from France and Great

Britain. The walls carry a series of family portraits dating from the
17
th
to the 20

th
Centuries. The general theme in the placing of the

various objects has been to follow developments in domestic
furnishing over the past three centuries.

The Museum’s main collection of glass is placed on the

first floor of the house, as far as possible in its historical context, and

so maintains the appearance of a home as much as that of a
museum. The tour of the main floor starts in the library which is lit
by a pair of Baccarat chandeliers. The earliest pieces in the
collection are also in the library and come from the eastern

Mediterranean — first what is often labelled as Greek, followed by
Roman and then early Islamic glass.

The theme is taken up again by representative pieces of

17
th

Century Facon de Venise, Bohemian and Spanish glass.

However the strength of the collection is in glass from the 18
th
to

the 20
th

Century. First comes a collection of 18
th
Century English

drinking glasses, documenting the development of lead crystal from

simple balusters to engraved and facet-cut glasses, housed in an 18
th

Century Dutch cabinet.

Alongside this is a smaller
collection of the fine
engraved and gilded glass

of La Granja, the royal

palace a short distance to

the north of Madrid. The
dining room of the
Museum centres on
a

Wilkinson dining table
and Wedgwood china of around

1820-30, with complementary
early 19
th
Century glass.

In some contrast, the next room

contains 19
th
Century pressed

glass mostly by Sowerby, and a
collection of decidedly grander
Stourbridge intaglio and cameo

glass. The tour route then passes a
cabinet of late 19
th
and early 20
th

Century Whitefriars glass
designed by Philip Webb, TG

Jackson and, especially, Harry

Powell. The next room has
collections of Galle, Lague and

Val Saint Lambert glass as well as
Monart, Vasart and Strathearn
pieces. The final drawing room
houses a beautiful eighteenth

century La Granja chandelier as

well as — perhaps strange

bedfellows – Whitefriars vases by Hogan, Wilson and Baxter, and

European, mostly Czech, vases. As one leaves the main museum
floor there are further cabinets of post-war Whitefriars glass mostly

by Geoffrey Baxter and a cabinet of Scandinavian vases, with
representative pieces from a selection of the main designers for the

well-known firms including Kosta Boda, Orrefors, Iittala and
Holmegaard.

La
Granja,

Emil Galle, and Stourbridge

The ground floor of the house provides space for

entertainment of various kinds — from string quartets to flamenco

dancing. It also houses our collection of English religious,
institutional and domestic stained glass, with pieces manufactured

by Swaine and Boume, Whitefriars (designed by J Blackford),

AL Moore, and Curtis, Ward and Hughes (designed by George
Parlby) and Shrigley and Hunt (designed by Carl Almquist).

The Museum is currently open from 1 lam to

7 pm from Tuesday to Sunday, and the charge for adults is 3 Euros,

with reductions for children, pensioners and groups, the latter being

advised to book in advance. Up-to-date details are to be found on
our website www.museovidrioycristalmalaga.com, and we are
contactable by telephone 0034 952 221949 or e-mail
museovidriomalagaAgmail.com.

Ian Phillips

Façade and main

entrance o Museum

The Glass Cone
—
Issue No: 89 Winter 2009

GOBLETS GALORE

Peter Adamson made that move

from a collector in 18
th
Century glass to well

known dealer a number of years ago, when
early retirement left him the time to indulge in

his first & second loves — his wife Debbie and
his glass. The drinking glasses that “stuck”

with him and became his passion and major

collection were large goblets: English &
Continental, some engraved, others of glorious
design with sparkling grey metal. All a joy to

hold, behold and from which occasionally to

drink.

Peter was persuaded to show his

collection at the recent glass fair in Cambridg
e

what a stunning show the two cabinets of large

goblets made in the entrance! Leaving out the
discussion on whether “Newcastle” style glasses

were really all made in Newcastle and thus English,
there was one cabinet of 18 Continental glasses and
one of 32 English glasses.

When asked which goblets were his favourites,

Peter replied that he always found that very difficult to

answer, as all had “something or other” that made him
decide to add them to the collection, “though there are some,

which for various reasons I can select for special mention”.

From the Continental goblets the first he selected

was no.C2 in the exhibition, a massive ceremonial

goblet c1680, probably from the Netherlands
(Fig. 1).
This thinly blown, low lead content

goblet measures an impressive 121/2 in. without
its lid, and with its lid (which is soda and not original), 161/2 in.

“What I admire most in this piece is the skill that was obviously

17
required to create such a large item with

superb proportions and presence,

notwithstanding the fact, that when full, its

wonderfully spiked and gadrooned bowl has

a capacity of just over 2 litres”. Goblets of

this huge size were probably used at functions

such as marriages and would be passed

around for use in toasts.

His second was no. C16 in the exhibition, ‘A

Lauenstein Erotic Goblet’, c1750
(Fig.
2).

Standing 9 in. tall, this goblet in the English

heavy baluster style is excellently engraved with

a woodland scene, the composition being of a

hunting gentleman and a lady holding his gun!!

The lengthy script in Old German, engraved

around the rim of the bowl loosely translates to,

“We love the fingers under the Oaks and Firs,

cocking (!!) the hunter’s gun.” Peter added, “much

more so than English engraving at the time, the

continentals were very fond of producing ‘naughty

glasses’.” Not of lead glass, the pointed round funnel

bowl over a teared knop, over a teared inverted baluster

knop, with a high domed and folded foot is a typical

example from the Lauenstein Glasshouse.

His last selection from the continental glasses was no. C17

(Fig.
3). Designed to deceive, this glass is a composite,

constructed from 4 different parts, all roughly from the
same date c1680, though from different n
countries: the bowl is Bohemian, the stem

English lead glass, the bottom knop and foot

are also in lead glass but from different

glasses. Peter informs us “I was informed at the time of acquiring

this glass that it was put

together by a prominent

continental dealer for the
purpose of having some
fun with both collectors

and fellow dealers: for the
collectors it was shown as

an example of what you
must watch out for when
collecting those glasses
which look like very
interesting

early

examples, and that every
item must be examined
very carefully before

purchase. It was also on

-4.

display without a price

ticket and to this dealer’s
surprise, many visiting

dealers, in their haste to

get a price without
carefully looking at the
piece were momentarily
led to believe (by

themselves) it was a rare
and interesting item, only

to be slightly embarrassed

The Glass Cone—Issue No: 89 Winter 2009

Fig.

on further examination to discover its true

identity as ‘The Glass That Never Was’.”

I also enjoyed the form of no. C1 with its

vibrant fruit & vegetable engraving on a
large

conical bowl over the most wonderfully massive

quatrefoil/propeller knop stem I’ve ever seen
(Fig. 4).

Glasses C5 through to C9, with their multi-knopped

stems, were a tribute to the skill of the glassmaker, whilst

no. C11, a Norwegian glass dated c1770, has a finial to the
cover, reminiscent of the Lismullen Cup, gifted by William

III in 1690 after the Battle of the Boyne, some 80 years
earlier, a glass that some of us had just seen in the Ulster

Museum, on the Glass Association’s recent trip.

Not to show any favouritism, Peter also chose three

glasses from the English cabinet. This was difficult, with such

a variety of glass on display; large Newcastle goblets,
engravings by Sang and Wolff; unusual bowl shapes and

those showing that perfection of 18″ Century design.

First choice was no. E5. A superbly

engraved Friendship goblet and cover, probably of

Newcastle origin, c 1 760
(Fig. 5).

The glass is

engraved by Jacob Sang, possibly Amsterdam’s

finest wheel engraver of the 18
t
h Century. This

superb glass, carrying
exceptionally fine

engraving of clasped

hands emerging from
clouds with a crown above

and with cornucopia on
either side, also includes a

verse from Dirk Smits

poem of c1740 translated

here as: “If you value
it’s a testament to the great skills of the

blowers of the day. It needs no further

embellishment in the way of engraving or the

addition of lumps or other frills. It’s a superb,

simple, but very well made goblet.”

Lastly, Peter chose a glass that he calls “a

classic”
(Fig.

7). “No. El° for me is an example of

the finest quality glass, from the very best period, a

91/4 in. Heavy Baluster Goblet, c1710/15, superb in

every aspect; construction, form and metal all being of

the very best quality, a glass that I think speaks for

itself.” With it’s large round funnel bowl, resting on a

huge triple annulated knop, a short plain stem section over

a basal knop and a folded conical foot, it is presented in a
wonderfully bright fiery metal.

For readers of The Cone, no. El 4 will be familiar,
having appeared in issue 83, summer 2008. Peter is
still trying to discover a definitive meaning for the
inscription ” THIS IS FOR THE SECOND

FAULT’ over the engraving of two
churchwarden pipes, broken in two places.

I could not complete this overview without a
mention of the other Friendship goblet on

display, no. E5a
(Fig. 8),
a

superb example of stipple
engraving by David Wolff;

showing three cherubs on
clouds — quite a rarity. This

goblet, now passed on to

another collector, had been in

the Drambuie collection prior

to Peter’s and Lord

McAlpine’s before that

tender, noble friendship, Then fill me to the brim, Drink
me empty and refill me, And thus hand me to your

friend.”

“Retaining its original cover probably makes

this a unique survivor, as no others engraved by Sang

with this poem, have survived with their lids and only
around 6 or so other glasses, engraved by Sang with

this poem, have been found.”

Secondly, Peter chose a goblet, not in his

possession anymore, but kindly loaned for the
exhibition, no. E6
(Fig. 6). ”
For me, this ‘cup

bowl’ goblet with its wonderful simplicity of

design and superb execution by the maker,

standing 11 in. tall and being a glass of 2 piece
construction, is so successfully produced that

The Glass Cone
—
Issue No: 89 Winter 2009
For admirers of the 18

Century baluster goblet, the

colour of the metal and the simplicity of form please the

eye, where the weight of the metal and feel of the glass in

the hand completes the pleasure; for me, no. E7 is all of
that, with its solid based round funnel bowl over a round
knop and short baluster section over a folded conical foot
(Fig. 9).

I
was also delighted to see in this company, a perfect

drawn trumpet goblet over a teared plain stem on a
folded conical foot — E22
(Fig. 10),
a glass so

basic, yet a “must have” in a collection of 18
th

Century glass. Other examples of honeycomb

moulding and engraving were a delight to the
eye.

We thank Peter Adamson for the use of his

Fi. 9

Fig. 10

library photographs, all of which were taken by Athelny

Townshend. We also thank the current owners of C4 in the

continental section and E5a, E20 and E29 in the English section an
Mr M Evans for E27 and Ms L-a.Vemon for E6 in the Englis

section, for their permission to show their glasses.
It has not been possible to mention all of the glasses

nor print all of the photos. The complete catalogue of th

collection will be found on The Glass Association’s website:
www.glassassociation.org.uk. This article has been written b

Brian Clarke
in discussion with
Peter Adamson

THE GLASS ASSOCIATION AGM 24 OCTOBER 2009

Given this year’s concerns about the future of Broadfield

House Glass Museum suitably the AGM was held in Stourbridge at

the Bonded Warehouse. There was a very good attendance at
around seventy members, which boded well for the day’s events.

Encompassing the AGM there were three talks, which

were given by Charles Hajdamach, Richard Giles and Stephen
Pollock-Hill, followed by a visit to the exhibition
20
th
Century

British Glass
being held to accompany the launch of the book

under the same title.

The day began with Charles Hajdamach giving an insight

into his newly published book
(which will be reviewed in the next

Cone)
and the thought processes behind it„ whilst discussing who

Charles considers the most important three designers of the period
in question, and in so doing gave an interesting insight into the man.

We discovered that Charles had a lifelong love of poetry,

which dovetailed well with his choice of a piece of Galle glass in
the form of a hand, not unlike the image of the hand taking
Excalibur into the lake, indeed this was one of the analogies that he

chose for the piece. He became particularly interested in Basil
Bunting whilst taking his fine art degree, and wrote his dissertation

on the sculptor Constantin Brancusi whose work pares things down

to the essential form. Charles linked this into folklore and music

which he asserted affects one’s decisions.

Then followed a tour through various designers and

craftsman who exhibited a social conscience, from George Woodall
and

his work
“The Armenian Girt’

through to vessels by Peter

Dreiser, whose work questions what we are doing to the world.

Others included were Dillon Clarke, Peter Layton and Keith

Cummings.

Returning to the beginning of the century, Charles made

the point that Stevens & Williams were a highly important
company contributing to the design of glassware, beginning with

Frederick Carder who, until fairly recent times, had been much

maligned for leaving these shores for the USA. He believes that

Carder’s position within British glass needs to be re-established as
one of the greatest designers.

In common with Harry Powell, Carder travelled

extensively; both visited museums to gain inspiration, culminating

in the production of superb Art Nouveau designs. Later in the

century, Keith Murray was to become the only British designer of

glass to win a Gold Medal. This was in 1933, for his freelance work
for Stevens & Williams, only a year after he had begun what was to

be a seven year association with the company. Like Tapio

Wirkkala, a later recipient of a Biennale Gold Medal, Murray was a
prolific designer in a number of disciplines – ceramics with

Wedgwood, and Silverware for Mappin & Webb.

Murray’s designs in glass pre-empted an experiment in

glass design that culminated in two exhibitions, at Harrods in 1934,

and British Art in Industry in 1935. These were stimulated by what

was seen as a need for the introduction of artists into the design

91
1111
n

The Glass Cone—Issue No: 89 Winter 2009

special reference to Broadfield House Glass Museum. The latter

was hinted at with Stephen’s strong initial statement,
“It
is essential

that we record our past and heritage to stimulate and educate the

future.”

Stephen told us that he had known the working sites of all

the major Stourbridge manufacturers, Webb, Webb Corbett, Stuart,
Stevens & Williams, and Tudor Crystal, in addition to knowing

both Geoffrey Baxter and Frank Thrower well. Thus he was in a

unique position to tell us all about the subject under discussion.

A map of British glass manufacturers 1900-2000, past and

present, was highly illuminating and emphasised how few
companies still existed.

After a preamble Stephen then explained that he had

broken down the reasons for the decline and closure of so many

firms into an astonishing 17 reasons. These ranged from the

obvious, ‘traditional attitude towards production and design’,
combined with ‘insularity’, and ‘lack of R&D investment’ through

to a ‘failure to create an Industry Identity’ and the ‘total lack of
understanding by the British government of the importance of a

healthy British industrial base’.

Stephen discussed the relevance and importance of each

point in some detail; the significance toward the current situation of
Broadfield House Glass Museum was inescapable, especially when
Stephen went on to share his thoughts on that subject. The talk

ended on an upbeat note with positive suggestions for funding the

upgrading of the museum for the future, including sources such as

the Olympiad, the EU, Lottery Funding and something that many
had not considered — charities, such as the Leverhulme Trust.

This talk made one think of the possibilities and the

importance of saving this particular part of glass heritage, and

amply illustrated Stephen’s initial statement.

Finishing on a high point left us all in the right frame of

mind to adjourn to Broadfield House to see the new exhibition and

to meet Charles Hajdamach with copies of his new publication.

Thanks are due to all three speakers for their interesting,

illuminating and thought-provoking talks and to members of the

committee who the organised this very successful event on behalf

of the Glass Association.

Nigel Benson

HAILWARE -APPEAL FOR ITEMS

process, in the same way as in Sweden with Simon Gate and

Edward Hald. Stuart & Sons worked with a number of modern
British artists to achieve this, and their work was exhibited at both

exhibitions.

Charles then took us through the effect of these ideas on

post-war glass companies and designers, from Webb Corbett and
Irene Stevens to Thomas Webb and David Hammond; John Luxton

and Stuarts to Geoffrey Baxter and Whitefriars. This dovetailed
nicely into an exploration of the influence of Scandinavia on British
glass, with the work of Frank Thrower for Darlington, Alexander

Hardie-Williamson for Bagley’s and Ravenhead, Domhnall
O’Broin for Caithness and Ronald Stennett-Willson for Lemington

and Kings Lynn Glass.

Finally, engraving was examined, beginning with John

Hutton and his role in creating the screen at Coventry Cathedral.
Charles advised anyone who had not been to prioritise a visit — it

would be well worth while! Touching on the work of David Reekie,

who Charles regards as one of the greatest studio glass makers, and

whose work exemplifies social conscience in the tradition of
Hogarth, he then moved onto Sir Lawrence Whistler emphasising

his links to poetry, notably the goblet
“Leave the door ajar”,

which

was engraved 29 years after the poem was written. Charles’ last
comments included advice to go and see St Nicholas Church in

Morten, Dorset, where all the windows are engraved by Whistler.

Charles was followed by Richard Giles, a GA member

since 1988, who used part of his comprehensive collection of
paperweights, spanning 180 years, to treat us to a tour through their

progression through the 20
th
Century. Richard’s talk will be a major

feature of the next Cone, so we shall move on to lunch, which was

very copious!

We returned for the AGM, at which the minutes of last

year’s meeting and the 2008-9 accounts were accepted. Paul Bishop

was voted in as Vice-Chairman as a result of Mark Hill standing
down through heavy commitments elsewhere, and a new Secretary,

Alison Hopkins, was elected. These were the only changes to what
has become a successful and effective committee.

The next Journal was outlined, along with the intention

that it will be returned to a bi-annual publication. Apart from
discussion about a number of well-attended meetings throughout

2009 there was news about projects that the GA was undertaking

through the committee.

Approaches have been made to the lenders of items to two

exhibitions in order that they may be recorded and placed onto the

GA website. Both co-incidentally cover the work of James Powell

& Sons, the first being the whole of the collection assembled for

Blackwell this summer, and the second from a one day exhibition
held at the Cambridge Glass fair on the Whitefriars.com stand. This
concentrated on the lattice items made in the late 1920’s and 1930’s

and for this exercise will be extended to add in other examples.

There was open discussion concerning a contribution to

the Dan Klein Memorial fund in support of Northlands, and to give
a prize in support of the Biennale being held at Stourbridge in 2010.

Additionally, there was an announcement about the sponsorship of
Daniel Howells to research into gold glass in late antiquity, with the

undertaking that this will provide an article for publication.

After the AGM, the last talk was given by Stephen

Pollock-Hill of Nazeing Glass and was a thought provoking treatise

on
“The Reasons for the Decline in the British Glass Industry”
with
Nigel Benson has been researching the work of the

company
Hailwood & Ackroyd,
who made glass under the names

Hailware, Hailopal
and
Hailcris.
Little is known about their glass

production, other than a few marked items. Since so few pieces are

recorded it would seem a good idea for members to let him know if

they own a piece so that it can be recorded. It would be useful to
know the type of glass ware, its dimensions and the mark(s) used.

Other information also gratefully received! Many thanks.

Please contact Nigel on 07971 859 848 or e-mail

nbenson@,20thcentury-glass.com

The report on the
Bonhams Modern and Contemporary Glass

sale in Cone 88 (Pp. 6-8) was written immediately after the sale.

There was considerable post-sale activity with the result that

virtuali), all of the works from the invited artists were sold, and

many more of the earlier lots. We understand that a further sale is

contemplated in the not-too-distantfinure.
BW

The Glass Cone—Issue No: 89 Winter 2009
20

KiTillawhitmey giving

her presentation

The glass-domed conservatory at Ballywalter House
`AND THEN THERE WAS THE GLASS’.

A VISIT TO IRELAND (10
TH

-15
TH
SEPTEMBER 2009)

BY MEMBERS OF THE GLASS ASSOCIATION.

Introduction
The fine autumn weather, sunlit countryside, stunning

architecture, and welcoming hospitality, enhanced the pleasure of

seeing and handling the best of Irish glass during the Glass
Association’s trip to the Emerald Isle. We should definitely visit our

cousins more often.

Belfast and the north
Our first visit was to the Ulster Museum where
Kim

Mawhimiey,
curator of Applied Arts, gave an enthusiastic,

knowledgeable, and beautifully illustrated presentation on the
collections. Traditional pieces, reflecting Irish glass making history,
include 350 drinking glasses, decanters from numerous Irish
although a tour of the building revealed spectacular display spaces,

the glass was still to be unpacked. A strong food and drink theme (a
familiar component of GA trips!) will feature in initial exhibits.

We also met Dr. Joseph McBrinn of Queen’s University

and accompanied him to the adjacent campus. He discussed 20
th

Century Irish stained glass history, mentioning pivotal figures such

as Wilhelmena Geddes, Harry Clarke, and their disciples, whilst we
viewed the war memorial window by Joseph Nuttgens as a prelude

to other site visits on the following day.

The sun was setting over Strangford Lough as we drove

to Ballywalter Park, Newtownards, whose history and architecture

was explained by Lord Dunleath, during a champagne tour of his

imuncila iu,

A Water’
. Ord
Criital
bowl and an Irish cat-glass candlestick

glassworks, and the monumental Marquis of Bute bowl and stand

(1790). The modem collection has impressive examples of Czech
and other European studio glass together with more recent pieces by

artists such as Keiko Mukaide, Rachel Woodman and Louise Rice.
The major renovation of the Museum was nearing completion and,
magnificently restored family house. Meanwhile, his wife and Kim

opened the well stocked glass cabinets and placed significant 18
t

and 19
th
Century Irish pieces on tables for us to examine. Feeling

the weight and edges of the often heavy and deeply cut bowls,
decanters, jugs and glasses, one appreciated the Irish contribution to

the golden ages of ‘British’ lead crystal

glass making. A dinner, of mainly
local produce, including a culinary first

—the Ballywalter duck burger, was

served in the domed conservatory.
This palace of reflective, imperfect

toughened glass panels, shallow pool

and shelves holding an extensive
collection of pelargoniums and

streptocarpus in full flower, almost
eclipsed the glass collection.
The next morning we returned to Co.

Down. We approached
Karl

Harron’s
studio in Loughries down a

country lane, and surprised the artist

who was searching for his errant
cockerel! This pastoral scene did not
prepare us for either his highly

The Glass Cone—Issue No: 89 Winter 2009

A beautiful engraved

Georgian toothpick
holder

Platter by Karl Harron

organised, hi-tech, cutting edge studio, or the breathtaking beauty of
his signature, ‘reactive glass’, slumped bowls and plates. He

described the meticulous selection of glass compositions, inventive

manipulation of the processes and fine control of the kiln and lear
programmes required to create his unique matt, translucent,

porcelain-like masterpieces.

We then made a short trip to St. Mary’s Church at

Comber to meet stained glass maestro
David Esler
and view his

recently completed Cistercian Window. A combination of

traditional and local historical references, the theme of this vibrant

multicoloured piece is unity and light. It came alive as the bright 1
sunlight streamed through it onto the floor of the south transept of

the church. We followed David back through Belfast and out to his
new studio near Antrim. He gave us a presentation of his portfolio

which included restoration and commissions for both public and

private clients. His colourful, personal storytelling interpretation of
his commissions draws the observer into the subject and new

elements are revealed on repeat viewing.

After a hearty lunch we returned to Belfast and were
guided around the
stained glass of St.
Anne’s Cathedral

(1899) by Joseph
McBrinn.

explained that the

windows still
required detailed
cataloguing. Several
from the1920s were
provided by Powell

and

Sons

“UN i

La Mon Window by
David Esler

David with his wife
and daughter in

their studio

The Glass Cone—Issue No: 89 Winter 2009
(Whitefriars). Edward Marr’s Sanctuary windows (1976) and the

Ambulatory windows by various artists, were particularly fine.

We moved on to the Castlereagh Civic and

Administrative Offices. The building was opened in 2000 and has
an atrium covered by a multicoloured glass dome, which

incorporates elements of the Council’s Crest, and 2 Memorial

windows in the Council Chamber, created by David Esler. Yet
again, they sparkled in the evening sunshine.
The La Mon

Window
is dedicated to the 12 who died from a terrorist bomb at

the La Mon House Hotel in 1979 and the other window
commemorates all the other innocent victims of terrorism within the
Borough. Both contain elements of lyrical nature, quiet compassion

and healing, characteristic of David’s work.

Our one opportunity to engage with Belfast City was

during an evening walking tour of unique historic pubs, landmark

buildings and the modem shopping centre. The atmosphere of
optimistic regeneration was also present in our chic, recently

opened Fitzwilliam Hotel where we rounded off a typically
crowded GA day, with a relaxing dinner.

Dublin and the south
`When the continuous line at the edge of the road turns

into a broken one, we have crossed the border’ announced Brian,

our driver, as we travelled south past rolling countryside and

through patches of autumnal Celtic mist. Our visit to the giant

Guinness Storehouse was a boisterous introduction to Dublin. Our
reward, for surviving this heaving, noisy, coffee-grinder full of

tourists experiencing how Guinness is produced, came when rising

to the 7th floor Gravity Bar for a complimentary drink and a
panoramic view of the city. A peaceful lunch in the Brewery Bar,

on the floor below, restored our equilibrium and heightened our
desire to see some serious glass.

A short journey across the river to the home of the

Decorative Arts and History section of the Museum of Ireland at
Collins Barracks satisfied that need. There are over 4000 pieces in

the collection of Irish, American, and

European glass dating from the 1 8
th
to

20
th

Century. There is also a modest

collection of Irish and Irish-related

contemporary works. Audrey Whitty,

the curator, directed us towards the
outstanding examples, especially the

stars of the Belfast, Cork, Dublin and

Waterford factories and instigated

probably the most informative
discussions of the whole tour.

Fortunately those not being exhibited

are displayed in the reserve collection
rooms, where choice glass pieces were
displayed together with porcelain,
metalwork etc. in related

groupings.

Our base in Dublin was Buswells Hotel, which is a
Georgian gem of quirky corridors, staircases, half
landings, characterful, irregular bedrooms and ornate

public spaces, close to Trinity College. After a short

rest, we travelled to Beaufield Mews, Stillorgan, for a
browse around the antique shop followed by dinner in
the
adjacent restaurant. Both are owned by Glass

Society of Ireland member Jill Cox.

YOV

~NFNAMI
®
®
tionffll

Imagimupww
n

mlimuir

tirar411112MMIT
I

kffuntwz
i

ggemaa

, Killian Shurmann

in his upper studio
gallery
Chandelier in the

Provost’s House, by
unknown maker

Innorial seal with harp
Sunday’s adventure started with a visit to the stable yard

studio of
Killian Schurmann
in rural Woodtown Park,

Rathfarnam. Since his initial training as a scientific glassblower,

Killian has mastered almost every glassmaking technique during a
long, itinerant and restless international career. He generously

displayed examples of his jewellery, blown bottles and vases, cast

sculptures and recent panels together with experimental pieces and
illustrations of public and private commissions. The ethereal, fluid

colour swathes of his multi-layered, translucent glass panels

reinterpreted the concept of a window. It is hard to think of a
contemporary artist with a more complete and versatile command

of the medium. Leaving before we had exhausted our questions,

and his rich vein of knowledge, was painfully difficult.

Following a visit to Eblana Gallery, which show cases

applied arts including work by glass artists such as Deirdre Rogers,

and a memorable lunch at Dobbins, we went to the National
Botanic Gardens at Glasnevin for a leisurely ramble around the 100

or so exhibits of ‘Sculpture in Context 09’. Nine glass artists had

work either in the exhibition hall or throughout the grounds.

Refreshed, we headed along the coast towards Blackrock

to take tea with members of the Glass Society of Ireland at the
house of one of their members. Her father
was an avid, eclectic collector of all things
Irish and her basement cabinets are

packed with glass items. Others, including
the member’s modern acquisions, are
displayed throughout the house.
Unfortunately, the President of the

Society, Mary Boydell, whose
work on topics such as the Pugh glasshouses and Franz Tieze, may

be familiar to members, was too frail to attend. Our conversations

continued over dinner in a local restaurant.

Next morning, we took a short walk to the Provost’s

House of the University. This architecturally important Georgian

house is still the home of the present Provost, and we were
privileged to be granted a visit. During a tour with Dr. P.
McParland, we viewed a cabinet, containing a regal rummer and a

majestic suite of Waterford crystal from 1830, and which was
specially opened to allow close inspection. He sought our opinion

on the origin of a grand chandelier and Brian Clarke offered to seek

expert advice.
We then travelled south to Kilkenny to meet Una Parsons,

CEO of the Crafts Council of Ireland, who explained the role of the

Council in promoting, supporting and developing craft activities

throughout Ireland and the World. The Council sponsored the
present touring exhibition of work by 20 contemporary stained

glass artists, called
‘The Light Fantastic’,
which was curated by

Audrey Whitty and Mary Boydell. In addition to the perennial
problem of irregular funding, glass topics which prompted lively

and constructive discussion included:- limited local educational
opportunities, a balance between traditional crafts and new applied

art developments, when is a craft an art?, the economics of glass

making in isolated sites, and the shocking demise of Waterford
Crystal. Jill Turnbull noted the similarities in history and

experience of the Scottish and Irish glass making communities. We

visited the exhibition spaces and craft shops housed in the

attractively renovated stables of Kilkenny Castle before moving on

to Jerpoint Glass Studio at Stoneyford.
Thanks to curator and co-founder of Jerpoint, Kathleen

Leadbetter, an exhibition ‘
Visions in Glass — Celebrating 30 years

of Jerpoint Glass’
was extended especially for us. Work by 20

artists, in a range of styles, was a good survey of current activity.
The retail shop was well stocked with handmade glass products and

we saw jugs being blown in the hot shop which is restricted at

present to one furnace. A highlight of the long journey back to
Dublin was the Chairman treating us to a rendition of ‘Molly
Malone’. That evening at dinner, Ruth Wilcock spoke for us all

when she thanked Gaby Marron for organising such a varied and
comprehensive programme of events.

23
A Waterford rummer in the Provost’s House, engraved:

USED . BY . KING . GEORGE . THE .
AT . THE . DINNER . GIVEN . BY

TRINITY . COLLEGE . AUGt . 27th . 1821
THE . REVd . SAMUEL . KYLE . D.D.

BEING . PROVOST

‘111111
n
11•11
n
1111111

The Glass Cone—Issue No: 89 Winter 2009

`Study no 2 for

Miro’ (1985) by

James Scanlon

Features on Harry Clarke and on the newly refurbished Ulster
Museum are planned for subsequent issues of The Cone.

Eblana Gallery www.eblanagallery.ie

Crafts Council of Ireland www.ccoi.ie

Jerpoint Glass Studio www.jerpointglass.com

Karl Harron www.theglasstudioireland.com

David Esler www.leadlines.co.uk

Killian Schurmann www.schurmannglass.com

Roisin de Buitlear rdebuitlea0,yahoo.com

Deirdre Rogers www.deidrerogers.com

`Cormorant Drying Its Wings’ by Killian Shurmann

in the exhibition at Jerpoint Glass Studio

Our final morning started with an engaging lecture on

the sources of inspiration for Irish glass makers by
the distinguished artist and educator, Roisin de

Buitlear. It was an excellent tail piece, drawing
together the threads of our previous visits.

Our last organised visit was to the newly
opened (Jan 09) Stained Glass Room at the
Hugh Lane Gallery. This small, dimly lit

room contains backlit examples of
exquisite work of modest scale by,
Wilhelmena Geddes, Evie Hone, Paul
Bony and James Scanlon, which are
almost overpowered by 2 windows

of Harry Clarke’s ‘The Eve of St.

Agnes'(1 9 24). Clarke’s

reputation for ‘fantastical’ book
illustration, equal to Beardsley,
Dulac or Rackham, is eclipsed
by this work. Freed from the
limited size of a book page,
he interlinks scenes with
the colour and detail of
the finest illuminated
manuscripts. ‘The
Deposition'(1953) by
the cubist and
abstract painter

Evie Hone, and
‘ Study no 2 for

Miro’ (1985)

by Clarke’s

acknowledged

successor,
James Scanlon,

are

further

examples of

brilliant glass
`paintings’,

whereas

Geddes revived,

and was an
outstanding

exponent of the

traditional
`biblical’ style

of stained glass

windows.

The few horns left before returning home were spent

enjoying the glass and other delights of Dublin’s buildings and

antique shops.

Roger Ersser

Photographs by Brian Clarke &
Bob
Wilcock

Links
Ulster Museum www.nmni.com

Ballywalter Park www.ballywalterpark.com

Belfast Cathedral www.belfastcathedral.org

Castlereagh Council Offices www.castlereagh.gov.uk

National Museum of Ireland www.museum.ie

Dublin City Gallery, The Hugh Lane www.hughlane.ie

National Botanic Gardens, Glasnevin www.botanicgardens.ie

The Glass Cone
—
Issue No: 89 Winter 2009

Striking sculpture in the exhibition at

Jerpoint Glass Studio

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