The Glass Cone_No.96 Autumn 2011

–

Contents

A Pocketful of Scandinavian Glass at Rye

Festival of Britain, 1951-2011

A Glasslover’s Tour of New Zealand – part two

Art in Action. And the winner is …

Treasures from the Ashmolean Museum, Oxford

The Stourbridge Twenty Twelve Portland Vase Project

10 Thomas Goode & Co. and British Royal Commemorative
Glass 1887-1937

15 The ‘Magic’ Work of Susan Liebold

17 Paperweight Corner – Sulphide Paperweights

19 Book Reviews
20 Members page

21 What’s on

Chairman’s message

The Glass Cone

THE MAGAZINE OF THE GLASS ASSOCIATION
Issue No: 96 — Autumn 2011

Editorial Board
Editorial Co-ordinator
(The Glass Cone):

Gaby Marcon [email protected]

Charles Hajdamach, Mark Hill, Brian Clarke,
Yvonne Cocking, Bob Wilcock

Address for
Glass Cone
correspondence

E-mail [email protected] or mail to

Glass Cone, 7 The Avenue, London N3 2LB

E-mail news & events to [email protected]

Articles and news items are welcome at any time,
but please bear in mind the copy dates if you have

an event you would like to be publicised.

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 February—publication 1 May

Summer: 21 May — publication 1 August

Autumn: 21 August — publication 1 October

Winter: 21 October — publication 1 February

Advertising rates
Full page £200; Half page £140; Third page £100;
Sixth page £70; Twelfth page £55. For inside back
cover and back cover, prices are on application.

Discounted rates for GA members

Please contact [email protected]

Design by Malcolm Preskett

Printed in the UK by Micropress Printers Ltd
www.micropress.co.uk

Published by The Glass Association

ISSN No.0265 9654

The Glass Association
Registered as a Charity No.326602
Website: www.glassassociation.org.uk

Life President:
Charles Hajdamach

[email protected]

Chairman:
Dr Brian Clarke:

[email protected]

Hon. Secretary:
Alison Hopkins:

[email protected]

Membership Secretary
Pauline Wimpory,150 Braemar Road,
Sutton Goldfield, West Midlands, B73 6LZ

[email protected]

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

Humphries; Gaby Marcon; Maurice Wimpory

(Treasurer)

Membership and subscriptions
Individual: £20. Joint: £25. Overseas (IncVJt) £28.
Student: £10. Institutional: UK £40. Overseas £50.

Life: £300. Subscriptions due on 1 August

(if joining May—July, subscriptions valid until 31 July,
the following year)

Cover illustration: On the front we spotlight an
item featured in the article on Scandinavian

glass while the back cover shows one of the

commemorative sulphide paperweights.
WITH the evenings closing in, my thoughts

dwelt on the passage of time. Along with

the changing seasons, annual glass events

also give us a measure marking the year’s
progression. Events that were keenly

awaited are suddenly placed in the past, but
their memories live on, making the antici-
pation and the taking part worthwhile. Our

visit to south-east Germany in the spring left

us with many new contacts and friends and,

in this issue, we profile Susan Liebold — a
glass artist creating inventive light installations.

The winning entry from the annual fair ‘Art in
Action’ came from glass-artist Liam Reeves;

a belated congratulations from the GA.
The London Glassblowing Studio has

been very busy, currently hosting ‘Melt’ — an

exhibition featuring works by several of the
world’s leading glass sculptors. Angela

Thwaites’ book on mould making for glass

(see review in this issue) had a packed
evening launch, and a very individual
sculptress in glass and ceramic mosaics,

Takako Shimizu, had an earlier outstanding
exhibition (youtube: ‘Peacemaker’ under the

London Glassblowing Workshop videos).

The car parks at the recent glass fair in
Cambridge were overflowing and the rooms

filled with collectors. Considering the difficult
circumstances of our country’s economy,

it would seem that collectable items could
be one way to offer some protection for our

savings; we look forward to November’s

National Glass Fair. For 18th-century addicts,
two outstanding sales are coming: Delomosne

& Sons Ltd are currently offering the collection
of Tim Udall, a well-known figure in the

Glass Circle, whilst at the end of November,

Bonham’s are selling the collection of A.C.

Hubbard Jnr. — featured in the book ‘A Wine
Lover’s Glasses’ by Ward Lloyd.
Amongst other events for 2012 are

meetings planned on Crystal Palace; the

1851 Great Exhibition and its glass; a new
glass museum created in Spain; a visit to

the glass attractions in York; and joining with

the British Glass Foundation (BGF) at the

Stourbridge Biennale to celebrate 400 years
of glassmaking in the area. Details will

appear shortly on our website.

The BGF is now consolidating its position

as a specialist adviser to Dudley Metro-

politan Borough Council (DMBC). It has

signed a ‘Memorandum of Understanding’
with DMBC to work out a sustainable

way to improve the housing of the glass
collections and archives now at Broadfield

House and Himley Hall, and to bring them,

together with the archives at Coseley, under

one roof in the ‘Glass Quarter’. We are

following the possibility of using the former
‘White House Cone’ site (the old Stuart

glass factory) and, in supporting the BGF,

trust that this singular opportunity is not

allowed to pass by. I look forward to seeing

many of you at this year’s AGM in Oxford,
where we will be taking an overview of the

glass collections of the Ashmolean.

THE GLASS CONE NO.96 AUTUMN 2011

Pocketful of Scandinavian

Glass at Rye

Markku Salo,

Honey jar’, 1990

photo Bukowski’s, Stockholm

Simon Gate, Graal bowl,
1918

N 10 September 2011, Rye, the East Sussex

home of well-known glass specialist and
GA member, Andy McConnell and his Glass

Etc emporium, was the venue for a celebration of

Scandinavian Glass. After gathering at Andy’s temple
to glass for refreshments, a sell-out audience packed

Webbes Restaurant to hear talks by Andy and Geoff

Lawson either side of an excellent lunch. A final return
to the shop allowed further browsing and discussion.

Andy first took a serious interest in Scandinavian

glass whilst researching his seminal book
20th

Century Glass
(Millers, 2006) and he advised on

the itinerary for the Association’s trip to Sweden in
2007
(Glass Cone 81).
He continues to spend six

weeks or so each spring researching in Scandinavia,

particularly southern Sweden. He

enthusiastically employed his famed
bravado, panache and massive

knowledge to achieve the seemingly

impossible goal of covering the

history of glassmaking in the region
in a couple of hours. His often-
colourful anecdotes brought the

characters and times into vivid

focus. His two lavishly illustrated
talks traced glassmaking in

Norway, Denmark, Finland, and

then Sweden, from their earliest factories up to the
present day. He concentrated on the explosion of

innovative design and techniques that began at
Orrefors in the early 20th century and which

made a significant contribution to the

Scandinavian domination of the global post-
war lifestyle revolution. After lunch and his

talk on why he finds the glass so collectable,

Geoff explained his affection for Swedish
glass, and its designers.
Geoff also makes regular visits to the area

and has collected Scandinavian art glass since

he was seduced into the Illums Bolighus shop
at Copenhagen Airport in the 1970s. His report

on the recent sale of the famous Birgitta Crafoord

Collection (2010,
Glass Cone
93) examined the state

of the current market. He used his equally

extensive knowledge to give us a collector’s

insight, structuring his talk around the heritage of

the techniques used, and illustrating them with

many stunning examples. I expect the majority of
the audience, like me, wished they had the budget

to buy objects of such originality and unsurpassed
quality. His stories on the relationships between the

designers and those who made the pieces were

particularly revealing.
Both speakers managed masterfully to squeeze

several gallons of relevant information into three half-
pint pots, challenging this reporter to further distil

some salient points into a shot glass! Their talks will
be considered jointly.

History of Glass Making

SOME fine goblets made by Nestentangen, the

Norwegian royal glassworks, from the late-17th
century probably remain the earliest significant

Scandinavian contribution to glassmaking. Until the
20th century, most of the region’s glassworks copied
the production of other European
centres and exported little. Hadeland
Glaswerk in Norway (1762), for
example, specialised in lead crystal
and is currently offering contempor-
ary tableware, vases and art bowls.
Some Swedish Art Nouveau vases
and Cameo glass pieces were
illustrated. From the early decades of

the 20th century onwards, although
locally stimulated by different

political and economic factors,

there was a universal change throughout the region.

In addition to novel ways of cutting, engraving and
moulding, the inventive use of colour, texture and
geometric shapes was applied across the quality
range, from functional tableware and simple
decorative pieces to limited-edition and

unique art glass. An extraordinary number of

prize-winning designers and makers, with

diverse technical, graphic and creative skills,

were the drivers of the regions’ international

artistic and commercial success.
Many of their iconic creations are regularly

revived or have remained in almost continuous

production since their introduction, and their work

has influenced or been copied by the rest of the

glassmaking world. However, some of the garish
colours and flamboyant shapes may be considered
by some to be more ‘interesting’ and ‘whacky’
than elegant or beautiful. Yet it must be admitted

that there are many hard-core enthusiasts who

swear by the bizarre creations of Kjell Engman (Boda,

Sweden), and Markku Salo (Nuutajarvi, Finland), for
example, a fact reflected by the cost of their work.

Roger Ersser

Photographs by

Andy McConnell/Glass etc

from Geoff Lawson’s collection
unless otherwise noted

THE GLASS CONE NO.96 AUTUMN 2011

Gunnel Nyman, Calla, 1947

photo Geoff Lawson

Gunnel Nyman, Controlled bubbles
A Few of the Giants

HOLMEGAARD was established
in Denmark in 1825 but it and its

sister company Kastrup only started

influencing glass design in the
1930s/40s with the employment of

Jacob E. Bang (pastel colours and

optic moulding) and Per Li tken

(Beak and Heart vases, mould
blown and free blown pieces), and

continued by Bang’s son, Michael.
Finland’s glassmaking past was

similarly derivative until littala

employed the Aaltos in the 1930s

and Alvar designed his iconic Savoy

(Eskimo Woman’s Leather Breaches)
vase in 1935, which is still in

production, along with his wife
Aino’s pressed, horizontally banded,
beakers (1932). Gunnel Nyman

(1909-49], the mother of modern
Finnish design, worked for both
littala/Karhula and Riihmaki. Her
simple, elegant style is typified in

her ‘Calla’ vase and the use, along
with other designers, of ‘controlled’

air bubbles.
In 1945, Finland needed a massive

increase in industrial production and

exports to meet Russia’s menacing
demands for war reparations. This

proved to be an opportunity for

Finnish designers whose prize-
winning international success led

to long and large production runs

(diminishing their attraction to those
who collect rarities). littala employed

Tapio Wirkkala (Kantarelli and Tatti
vases, Ultima Thule and Finlandia

ranges), who later collaborated with

Rosenthal and Venini; Timo
Sarpaneva (i-line and Festivo ranges),
and Kaj Franck, an influential pioneer
of essential form and function, who
soon went to Nuutajarvi. Nuutajarvi’s

fortunes were revived from the 1970s
by Oiva Toikka’s colourful freeformed

birds, starting with ‘flycatcher’.

Playful, but tasteful, animal and
character pieces are produced

throughout Scandinavia and remain
widely collected. Riihmaki prospered

with female designers Helena Tynell

(Pikku Matti series), Nanny Still, and
the mysterious Tamara Aladin.
Modern Swedish glassmaking

started at Orrefors with the

Right

Kaj Franck,

Water diviner,

1946

Below left:

Oiva Toikka,

Flycatcher, 1970s

Below right:

Knut Bergkvist

Goblet Nr 2, 1929

THE GLASS CONE NO.96 AUTUMN 2011

Left:

VickeLindstrand,

Pearl diver, 1935

Right:

Sven Palmquist
Ravenna bowl

#206

employment of Simon Gate (1916)

and Edward Hald (1918) and the
exhibition of the internal decoration

technique ‘Graal’ pioneered by Knut
Bergquist from 1916 (see also

Gunnel Holmer,
Glass Cone 82).

Whilst Orrefors became the most
famous and influential, other factories

such as Kosta, Boda, Pukeberg

and many others, made significant

contributions. The traditional cutting

and engraving skills of factories like

Kosta used on bowls and vases were
expanded to include sand blasting

and acid etching in the 1930s when
they were applied to the charac-

teristic muscular, chunky shapes of
‘Modernism’. Mould and freeblown,

cased and engraved, long produc-

tion ranges and art glass followed.
Right

Erik Hoglund,
Bowl

photo Stockholms
Auktionsverk

Below left:

Edvin Ohrstrom

Bathing Lady
face 2, 1939

Below:

VickeLindstrand
Unica, 1955

Right:

Helena Tynell,

Pikku Matti, 1969
Many designers contributed

including: Nils Landberg (Gabriel and

Dusk), Vicke Lindstrand (Pearl Divers

and other engraving, Ariel), Sven
Palmquist (centrifuge casting and

Ravenna technique) and Ingeborg
Lundin (Timglass, Applet and Ariel).

Eric Hoglund, a prototype studio
glassmaker and sculptor had a long

association with Boda.

Collecting Scandinavian Art Glass

THE designers already mentioned,
together with many others, including
contemporary greats such as Bertil

Vallien and Kjell Engman, produced
limited edition, unique and exhibition
pieces of the highest quality. Fortu-

nately they almost always bear
engraved signatures to aid identifi-
cation and authenticity. They often
indicate the engraver or glassworker

as well as designer, range, series

number and date. Some have been

made in several sizes and colours.

Revived editions by different glass
maestros or engravers, and mould
variations also exist. All affect their
desirability and value to collectors.

Also larger sizes and less
commercially successful ranges have

a scarcity premium.
Stained glass, present-day factory

and studio glass artists, the optical
glass and public glass sculptures
we saw in 2007 were not discussed

on this occasion. They all re-enforce

further the colossal contribution of

Scandinavia to modern glassmaking,
as described so expertly by our
speakers.
Thanks are also due Maurice and

Pauline Wimpory for the smooth
organisation of an informative and

entertaining day.

THE GLASS CONE NO.96 AUTUMN 2011

Festival

of
Britain, 1951-
2011

The South Bank celebrates its jubilee year
Brian Clarke

Fig.3: Stevens and Williams
display covered vase.

Possible attribution
to Keith Murray.

Fig.4: Stevens and Williams
festival goblet.

HEAD of the forthcoming Diamond Jubilee of

Queen Elizabeth II in 2012, the South Bank is
celebrating its own Diamond Jubilee. The

whole of the ground floor of the Royal Festival Hall has
been transformed into a museum bringing together a

vibrant collection of memorabilia, artworks, personal

histories, models and memories from the original
Festival, including archival and a new film.
The Festival of Britain came 100 years after the

Great Exhibition in 1851, which had been a cele-
bration of Victorian culture and industry. The 1951

event, six years after the end of the Second World

War, was intended to boost public morale after the
hardships of war and display once again the vigour
and creativeness of British industries. The symbol of
the exhibition, the Skylon, pointing, needle-sharp
upwards to the sky, was joined by the other main
buildings of the festival – the Dome of Discovery, the

Royal Festival Hall and a Shot Tower
(fig.1).
This

tower, no longer in existence, had been built on the
site in 1826 to carry a radio beacon on its roof.
The Festival Exhibition showcased British

technology, the arts, and architecture, and although
glass was not at the forefront of the exhibits, there

was a working furnace, with displays of glassblowing

from the glassmakers of the Whitefriars factory
capturing the attention of the visitors, whilst the

Stevens & Williams glassworks mounted a demon-
stration of engraving on glass.
The commemorative glass available was mainly

aimed at the mass souvenir market
(fig.2).
The

famous festival symbol (designed by Abram Games),

Fig.1: Festival of Britain site. Skylon centre left, Dome of
Discovery centre right, Shot Tower on the far side of the

Royal Festival Hall.
Fig.2: Festival of Britain souvenir glass. The Sowerby green

tankard and the blue eggcup are British, the remainder

are imports.

a stylized profile of Britannia as the head of a

four-pointed star, with a loop of bunting joining the
two side stars, was a feature on the glass – in this
genre, Sowerby produced one of their standard

moulds, a tankard with the festival logo on a side
panel. However, much of the souvenir glass available

to commemorate the event came in from continental

Europe. For the celebration of a British occasion,

I personally find the lack of collectable quality home-
made glass to be surprising – an opportunity missed.
Stevens & Williams made a few interesting display

pieces; one a covered vase, cut with shallow panels

and the festival logo on the finial, possibly designed
by Keith Murray
(fig.3),
and the other, a goblet with

the Skylon and Dome of Discovery on the bowl,

mounted on a hollow knop containing two dice over
the domed and folded foot
( fig.4).
In the year leading

up to the festival, Stevens & Williams ‘stimulated

inventiveness’ by holding a ‘modern glass design’
competition; two of the winning pieces are in the

collections at Broadfield House Glass Museum,

Stourbridge. Though the pieces produced were
not reminiscent of the Festival, the competition
concept gave impetus to designer-led creativity in the

UK’s glass industry for the following two decades;

sadly, even this initiative did not manage to halt the
eventual slow downward slide of the Stourbridge

glass industry.

Figs 2, 3 & 4 reproduced by kind permission of Charles
Hajdamach from his book: ’20th-century British Glass’ –

which also provided much information in the compilation

of this article.

THE GLASS CONE NO.96 AUTUMN 2011

PART TWO

Bob Wilcock

Fig.1: Burning Issues,

including sculptures and

Jessie Houses by Shona
Firman, birds by Katherine

Rutecki, wall-hangings by

Darryl Fagence, and vessels

from Keith Mahy and from

Jason Svendsen.

Fig.2 (below left): Justin
Culina in Burning Issues

with an intriguing ‘Shell

Bowl’

Fig.3 (below): Jessie’s House
by Shona Firman

A Glasslover’s our

New

Zealand

What follows is the continuation
of the Glasslover’s Tour of New Zealand;

the first part of this article was featured
in ‘Glass Cone
95′.

Whangarei

THERE are a good number of artists based in the
Auckland area, and several potentially interesting
galleries, but we had appointments at Kerikeri and

Paihia some 300km north of Auckland so decided
to just drive straight through the city on this visit.
We broke our journey at Whangarei for lunch, but

before eating, called in to what was possibly the best

gallery we had visited, Burning Issues
(fig.1).

Behind

the gallery is the Mahy Hot Glass Studio. Sadly, the
day we visited, Keith Mahy was not blowing, but we

were impressed by the large vessels, some hand
painted, that he produces, and on show in the gallery

(and other galleries also). It is here also that Shona
Firman makes her renowned cast-glass sculptures,

but, again sadly for us, she was not working.
However, in the gallery we noticed a handsome

young man unpacking some familiar bowls—by an

astonishing piece of luck we were face to face with

Justin Culina
(fig.2)!

He was naturally delighted that

we had purchased one of his shell bowls, and

when we mentioned that we had not been able to

work out how he made it, he invited us to his pre-

Christmas Open Day at his studio on the edge of
town the following day, and promised to make a bowl

for the secret to be revealed. We had planned to drive
straight on to Keri Keri, but our appointment was not
until late afternoon, so after a superb seafood lunch in

the restaurant beside the gallery we promptly found a

motel for the night. We then went back to the gallery

for a good look round. There was a lot of glass from
many artists, and we were strongly tempted by some

very attractive stainless steel and glass wall-panels by

Darryl Fagence, and by his Tui Platters – gold/copper

foil beautifully, evenly placed between layers of clear
slumped glass, with attractive patterning on the rim.

(We later saw more of his work in the Real Gallery in

Wellington.) Rather different from her large sculptures,
Shona Firman’s `Jessie’s Houses’ are attractive fun
pieces, with a nice story: her grand-daughter drew a

picture of the house and told her that it was ‘Jessie’s

House’ and she had to make it in glass; so she did,
and does, very successfully
(fig.3).

The following morning we found Justin setting up,

assisted by his partner, Alana Biffert, and Jason

Svendsen from Denmark, both glassmakers in their

own right, and producing works in very different styles

from Justin and from each other
(fig.4).

We then spent

a fascinating 40 minutes watching Justin make a shell

bowl. How he does it will be explained in a separate

article, but we were immensely impressed by his

careful and professional approach – he was relaxed,
but very firmly focussed.

He was equally focussed for his next demon-

stration, making a reverse spiral vase. For this he

does use canes, starting with the traditional Italian

filigrana
technique, picking up the heated canes with

the glass collar on the blowing iron at impressive

THE GLASS CONE NO.96 AUTUMN 2011

4,0

Fig.4: Works by Alana Bzffert
and Jason Svendsen in the
Culina Studio.

speed. Having closed and twisted the canes he

closes the neck, heats the side, makes a hole with a

carbon rod, attaches the piece to a collar on a second
blowing iron, and cracks it off from the first iron. A side

becomes the base, the piece is cased in clear glass,

and blown and worked up into a vase in the standard
way, but with a vertical spiral pattern rather than a

traditional twist. It is not an original technique, but
Justin showed he could do it particularly well.
Justin’s mother and father provided an informal

lunch, a very tasty bread and cheese loaf, washed
down with a fruit punch, served in one of Justin’s shell

bowls of course. Jason Svendsen was then to give

a demonstration, but we had our appointment in

Kerikeri, so, sadly, were not able to stay.

The Bay of Islands
OUR appointment was with Sue Hawker,

Ranamok prize-winner in 2010
(Glass Cone

no.93,
p.9) who is also now Co-President of the

New Zealand Society of Artists in Glass. After a
demanding career in international journalism, Sue

took a four-year course in glass art at NorthTec

College’s Kerikeri campus. That was the start of what
has become a very successful second career. Her
artistic flair and her control of the medium are very

apparent in her haunting heads, cast in gaffer
crystal in the series ‘I am Pakeha’ [a New

Zealander of European extraction]
(figs
5&6). More

recently she has taken
pate de verre
to new

heights, culminating in the Ranamok prize-

winning piece ‘Too much is never enough’. It

looked impressive in the Ranamok catalogue, but
was even more so when Sue showed us the
piece, for it stands some 50cm high. We imagined

that each of the flowers had been prepared
separately then fused together in a second firing,

but not so: it was made as a single piece which is

a testament to Sue’s mould-making skills, and her
skill at working with the medium. It was quite
clearly fiendishly difficult to put together, and equally

challenging to get the firing and annealing programme

just right, and Sue mentioned that there was an

added challenge in that she uses Gaffer crystal which

was never designed to be used as
pate de verre.
She

showed us a bowl in the series, and also two copies
where just one or two of the flowers had not fired

correctly. To us they were flowers of a different colour,

but for Sue they were the wrong colour, not what they
should be, making the whole piece a failure.
Sue would never sell such pieces as ‘seconds’,

and disapproves of artists selling off seconds. She, as

we are, is even more concerned with artists who offer

for sale pieces with clear defects, and galleries that

accept them. She and NZSAG want to do all they can
to promote New Zealand glass and glass artists

internationally. New Zealand’s small population

means that it is very hard for glass artists to make a

living from the domestic market alone, but they must
strive to ensure they meet the high standards the

international market demands.
We were very impressed with Sue and her glass.

We were equally impressed in a completely different
way when we drove a few miles around the bay to

Paihia to see GA member Angela Bowey and her
collection of twentieth-century glass. Some years
back Angela ran a museum of glass, but visitors to

the Bay of Islands are more attracted to the stunning
scenery, and Angela now keeps her collection in a
discrete annex at the back of her house
(figs 7&8).

Not only will the collection be the envy of most British

collectors— Davidson, Sowerby, Vasart, Monart,

Whitefriars, Lalique, Carnival glass and much more,
rounded off with some outstanding pieces of
contemporary New Zealand art glass—so will they be

envious of the space Angela has in which to show
it—the room is crammed full, but it is a big
room, well-organised and not overcrowded.
Angela regularly comes over to the UK, at

least partly to visit the fairs and buy glass, but

she is perhaps best known as founder of the Glass
Message Board (www.glassmessages.com), well

used by many of our members. She writes regularly
on glass: with Brian Jenkins she has written a
guide to the Paperweights of New Zealand

(published in the
Bulletins of the Paperweight

Collectors Association Inc.),
and she has written

the definitive guide to New Zealand Glass (ISBN

0-473-06238-0; available in paperback and also
on CD, updated to 2010).

Wanganui

WANGANUI is home to New Zealand’s well-

known Wanganui Glass School. The time to be

there is September—October for the Festival of

Glass, but we were there just a couple of days
before Christmas so could only enjoy visiting

Chronicle Glass Studio and Gallery, run by
Lindsay Patterson and Katie Brown, whose work

we had first seen at Statements Gallery in Napier.

Figs 5&6: ‘Journey to New

Zealand’ from the series,

lam Pakeha’, by

Sue Hawker shown below

THE GLASS CONE NO.96 AUTUMN 2011

Figs 7&8: A glimpse of just

some ofAngela Bowey’s

collection

A graduate of the Wanganui school, and sub-

sequently President of the New Zealand Society of

Artists in Glass, Lindsay’s most interesting works
perhaps are blown vessels totally covered in small

murrines. Katie’s work by contrast is more delicate
and feminine, clear or pastel-coloured glass, often
with fine and delicate trails. The gallery does not just

feature their own work, but that of a number of other

Wanganui graduates. There were several pieces by
Justin Culina, and we were impressed by the multi-

layered pod forms by Dominic Burrell.
From Wanganui we drove back to our daughter’s

home for our first experience of Christmas in the sun,
the barbecue, the afternoon on the beach watching
the grand-children in the surf. It was surreal, but our

presents to each other, the two pieces of glass, are

real, and now proudly sitting in the glass cabinet.

ARTISTS

Darryl Fagence: http://nzsag.co.nz/Darryl-Fagence

Sue Hawker: www.suehawker.co.nz; now Co-President of the New

Zealand Society of Artists in Glass: www.nzsag.co.nz
Angela Bowey: (Glass Message Board) www.glassmessages.com

GALLERIES
Burning Issues: www.burningissuesgallery.co.nz

Chronicle Glass Studio and Gallery: www.chronicleglass.co.nz

PUBLICATIONS
Angela Bowey:
New Zealand Glass
(ISBN 0-473-06238-00).

Available in paperback and also on CD, updated to 2010 — see

www.glass-time.com/ordernzglassbook.html

OTHER CONTACTS

Wanganui Glass School: www.wanganuiglassschool.com

Wanganui Festival of Glass: www.wanganuiglass.co.nz

ART IN ACTION

And the winner is
…

ART IN ACTION, the festival of fine art
and craftsmanship that took place last
July at Waterperry House in Oxfordshire,

saw a glass artist proclaimed the ‘winner’

for the second year running.

The event showcased the work of
150

artists who demonstrated their skills and

love of art in a wide variety of disciplines.

Each year artists enter what they
consider their best work for exhibition in

the ‘Best of the Best’ marquee. Then
each of them gets a vote to decide on a

winner. This year it was glass artist LIAM

REEVES, with a wall-mounted glass

plate entitled
Scope IV.

Liam has been investigating glass-

blowing techniques of the past two

millennia, from the mould blowing of
ancient Rome to the complex goblet-

making techniques of Renaissance

Venice and to the finesse of manu-
factured glass after the Industrial

Revolution. Liam’s journey took the
form of an investigation into ways in

which the historical techniques that he

found so inspiring could be put into

contemporary contexts.

Liam Reeves beside his creation—ScopelV

and Liam at work . . .
Congratulations to

Liam Reeves for

outshining the best in other crafts.
But Liam was not the only glass artist;

a core of nineteen artists demonstrated

a wide range of glassmaking skills and

techniques including glassblowing, lamp
working, glass-bead making, glass

jewellery, stained glass, engraving,

pate de
verre
and architectural glass.

Amongst them were GILL ROGERS,
whose most recent work explores the

use of borosilicate glass and who

constructs three-dimensional forms to

create sculptural designs in jewellery;
RACHEL WELFORD, an architectural

glass artist who makes bespoke art-

works within architectural settings such

as commercial and public buildings

and private houses; TIM BOSWELL with
his unique style of glassblowing,

incorporating a variety of secret (and
some not so secret) techniques
including mould blown sculptural forms;

and RACHEL O’DELL who uses glass
powders and frits in various com-

binations to produce a palette of specific

colours which are then applied into a

mould. Her work is tactile and often

intimate in scale, handcrafted yet
contemporary. —
Gaby Marcon

THE GLASS CONE NO.96 AUTUMN 2011

Treasures from the Ashmolean

Museum, Oxford

Anglo-Saxon Glass Bowl,

600-700, Ashmolean Museum.

This bowl of royal-blue glass is a great rarity and

in perfect condition. It has been suggested that
the Cuddesdon cemetery in Oxfordshire from

which it comes, is one of a group of princely

graves of the late 6th and early 7th centuries,
of which the famous Sutton Hoo ship burial is

the most important. Dark-blue glass seems to

have been particularly prevalent at this period.
It was excavated near the Bishop’s House in

Cuddesdon, Oxfordshire in 1847.

Glass plate with a view

of SS Giovanni e Paolo,

Venice, by Murano

Miotti Glassworks,

c.1741, Ashmolean
Museum.

This 23cm Italian glass plate

by Murano Miotti Glassworks

is of a type of lattimo (opaque
white). The plate belongs to a

group, generally considered to be one
of the finest examples of 18th-century
Venetian glass work. It is decorated with

a view of SS Giovanni e Paolo, Venice.
OUR October study day and

AGM will take us to Oxford

and to the Ashmolean Museum

where these treasures are kept.
These remarkable purchases
reveal the extraordinary range

of The Art Fund’s patronage
with regard to glass.

THE most substantial of the acquisitions
made by the Ashmolean Museum with the
help of the Art Fund is without any doubt
the Wilshere Collection of gold glass and
sculpture. Charles Wilshere (1814-1906),
was a student of ecclesiastical history

and antiquities. He acquired the collection
during his travels to the Continent, and

bequeathed the glass and sculpture to

Pusey House, Oxford. The glass fragments

have been on loan to the Ashmolean since
1957 and the marble objects were lent to

the Museum in 1984. The collection consists
of 34 fragments of gold-glass and 23
sculptured reliefs and inscriptions. The objects
Fragment from theWilshere Collection of

Gold-Glass and Marble, 3rd-4th century BC,

Ashmolean Museum.

were originally from Roman catacombs and

display a wide variety of Christian, Jewish

and pagan themes. Highlights include one
relief showing a banqueting scene and a
bowl fragment depicting scenes from the life

of Christ. The objects form one of the largest

collections of gold-glass fragments in the
world. These come from catacombs in

Rome and are decorated with biblical and
classical motifs. Another category is
represented by inscriptions, most of
which come from a Jewish catacomb
on the Via Appia.
The Art Fund also helped with the

acquisition of a Roman Engraved

Glass Bowl, 300-400. This Roman
provincial bowl was discovered broken

into twenty fragments but is now

complete. It belongs to a small, well-

defined group of decorated and

inscribed drinking bowls. Made of pale

olive-green glass, spirally streaked,

engraved on the outer surface with a

mounted horseman, with flying cloak and

whip, galloping through a tree-studded

landscape, with two hounds driving a hare
into a net. Round the scene is inscribed
‘VIVAS CVM
wis
PIE Z’ meaning ‘May you

live, you and yours. Drink. Live’.

THE GLASS CONE NO.96 AUTUMN 2011

The Stourbridge Twenty Twelve

Portland Vase Project

M
OST glass enthusiasts will have

heard of the Portland Vase housed
in the British Museum. Arguably

the most famous cameo glass vessel from

antiquity, probably made in Rome about

AD 5-25 and copied by the likes of John
Northwood, Joseph Locke and Josiah

Wedgwood. Ian Dury of Stourbridge Glass

Engravers is sponsoring an exciting project

to recreate the Portland Vase in Stourbridge

as a testament to the glassmaking skills

and partnerships that thrive today in the

Midlands.
Ian has asked Richard Golding, founder of

Okra Glass, who now runs Station Glass in
Leicestershire, and Terri Colledge, famous

for her intricate cameo carvings, to help
deliver his dream to leave an English version

of the Portland Vase in Stourbridge as his

legacy to glassmaking in the area.
There is more than a touch of magic

about this project. Richard and Terri have
collaborated for many years to make some

of the best cameo glass on the market

today. Terri originally worked as a painter for

Bilston Enamels before moving to Okra.

Right The Portland Vase. Roman. AD 1-25

Below: From left-Ian Duty, Terri Colledge,
Richard Golding

Stourbridge Twenty Twelve

Portland Vase Project

to Cdetrate 400 years of

Gass Making in

Stow-bridge

•
Sandra Whiles

One day Richard decided to blow her a
cameo blank, gave her a drill and the rest

is history. Shortly after Richard left Okra

Glass, Terri moved to work along-
side Ian Dury in his gallery at the

Ruskin Glass Centre. Ian was

fascinated by Terri’s work and
the idea to recreate the
Portland Vase for Stourbridge began to take shape.
Work started earlier in the

year when Ian shared his
ideas with historians at the
British Museum. They saw
the quality of Richard and

Tern’s work and gave their
blessing to the project.

Recently Ian, Richard and

Tern spent a morning at the
British Museum examining
the Portland Vase. The honour

and the responsibility of handling
one of the most famous vases in

history will stay with them forever

however, the challenges of the
project are a little daunting. How to

recreate the colour? What glass

recipe will work best for the intricate

carving? Should they recreate the

original shape or the shape we all know as

the Portland Vase? How long will the carving

take? How were the handles put on?
Richard and Merlyn Farwell of

PyElectronics have been experimenting
with glass recipes in Merlyn’s workshop

using a tiny version of the COMBO furnace
developed for Station Glass. Richard is
renowned for his glass recipes and this
project has seen him pouring over his

old ‘recipe books’ to fine tune a batch

mix that will get as close as possible to

the original.
A lot of people are helping make this

project work. Plowden and Thompson have

sponsored the batch production. Gerald
Mann have provided some of the chemicals.

Merlyn is providing one of the furnaces to

test and make the white opal. Leigh White

from the Ruskin Glass Centre is supporting
the marketing and the Stourbridge Glass-
blowers are providing the studio where the

blanks will be blown.

Anona Wyi, who assisted Richard along

with Steve Foster and Ian Bamforth when

the cameo blanks were made last 24

September, has been over at Station Glass
helping Richard master the handles. Tern will
then start carving her version of the Portland

Vase in her studio at the Ruskin Glass
Centre. This will take many months, so pop
along and watch the magic. The vase will be

finished for the Glass Biennale in August

2012, four hundred years after glassmaking

started in Stourbridge.

More information on progress of the project can
be found at:

http://ruskinglasscentre.co.uk/2011/09/portland
-vase-blank-being-blown

http://stationglass.com/TheStourbridgeTwenty
TwelvePortlandVaseProject aspx

THE GLASS CONE NO.96 AUTUMN 2011

Thomas

Goode & Co.

and British Royal Commemorative Glass 1887-1937
Brian Clarke
Fig. 1:
Gadroonedflask

for coronation of

George V (one
handle missing).

Fig.2:
Spirit bottle for

Queen Victoria’s

Diamond Jubilee,

1897.

–
Bell bowl Goblet

for coronation of

King GeorgeV
1911

–
Dimple Tumbler

for coronation of

King Edward VII,
1902

WHEREAS the glassmaking

firms of Webb Corbett, Stuart,

Webb, and Whitefriars all
produced commemorative
glass of quality, for this article

I shall be focusing on the royal
commemoratives made by

Stevens & Williams (known from
the 1930s as Royal Brierley) and
in particular their involvement
with Herbert Goode. This is a

selection of their glass and
does not attempt to be a

complete listing.

Tm
ERE does not appear to

be any recorded British com-
emorative glass marking the

coronation of Queen Victoria, neither
blown nor pressed. The first pressing

machine had been installed at T.
Hawkes & Co. in Birmingham in 1831,

but the only known pressed items

for her coronation in 1837 are from

America. Perhaps the glass tax,

finally removed in 1845 had put a
financial brake on production. The

Industrial Revolution gathered momen-
tum and at the time of the Golden

Jubilee of Queen Victoria in 1887,
with pressed glass having been in
production for just over fifty years, the

less expensive end of the market for
commemorative glass was being

catered for. However, the plush sur-

roundings of Thomas Goode & Co.

and their posh clientele, demanded
blown and cut items of quality.

Thomas Goode (1794-1870) opened

for business in 1827, ten years before
Queen Victoria’s accession to the

throne. He moved from a china shop
in Mill Street, Hanover Square, to

South Audley Street, London W1 in
1844.
1

With fashionable success, his

son William James (1831-92) joined

the business and they expanded the
premises on South Audley Street

from No.17 through to No.21. The

major works and expansion was
ongoing until the early 1900s, by
which time William’s son Herbert

(1865-1937) had also joined the
company. Herbert Goode was made

a partner in 1892 and became sole
director in 1924 – the year in which

his older brother Minton died.

Thomas Goode & Co. started by

designing, producing and selling fine

ceramic tableware and from the
1850s they represented and sold
the wares of the glass manufacturers,

Richardsons and Thomas Webb &
Co. In 1863 Thomas Goode became
‘Royal by Appointment’ to Edward,

Prince of Wales, the future King
Edward VII. Around this time, the
glass tableware of Stevens & Williams
would also have been displayed and

sold. Thomas Goode & Co., under

the direction of Herbert, have been

responsible for some of the most
intriguing Royal Commemorative glass
of the 20th century.

For Victoria’s Golden Jubilee,

Stevens and Williams produced an
intricate, two-handled, gadrooned

flask to commemorate the occasion.

The version for King George V’s
coronation, a copy of the original for

Queen Victoria, is shown in
fig.
1.

Royal events came in rapid

succession at the turn of the 20th
century: the Diamond Jubilee of
Queen Victoria and then her death

just four years later in 1901; the
coronation of Edward VII in 1902 and

his death in 1910; the coronation of

George V and Queen Mary in 1911

and their Silver Jubilee in 1935; the
demise of George V in 1936; Edward

VIII’s accession in 1936 and his
abdication in the same year; then the

accession of George VI in 1936 and

his coronation in 1937.
By 1897 and the Diamond Jubilee

of Queen Victoria, the public’s appetite

for commemorative glass was growing.

Following the Boer War and the loss

of so many people in the 1914-18
war, a new social awareness devel-

oped in the country. As royalty became

more visible to the general population,
the commemorative industry blos-

somed, royal memorabilia becoming

more desirable. In 1919, Stevens &

Williams received the Royal Warrant
from the reigning monarch. By the

time of the death of George V and

THE GLASS CONE NO.96 AUTUMN
2011

Fig.5:

1/2 pint coronation

tankards.

–
Engraved tankard

with central hoop
for EdwardVIII,

127mm,

edition of 5000.

–
Engraved tankard

for George
v;

130mm,

edition of 1000.

–
Gilt-engraved

tankard for

George
y
130mm,

edition of 100.

Edward VIII’s accession, royalty was

speaking to its public over the
wireless and the commemorative

industry had become big business.
For the Diamond Jubilee, Stevens

& Williams produced six special

commemorative pieces, which I

assume were marketed (amongst
others?) through Thomas Goode &
Co., one of which was the spirit bottle

(255mm with stopper) with gilt

ciphers shown in
fig.2.

Also in
fig.2

are a gilt ‘dimple’ tumbler vase of

1902 (160mm) for the coronation
of Edward VII and the gilt bell bowl
goblet (255mm) with a silver 3d

George V coin included in the stem

for the coronation of George V in
1911. These were typical of the firm’s

production at the turn of the century.

Unlike commemoratives designed
and made from the 1930s, there were

neither maker’s marks nor copyright

marks from the designers on the
glass. They are only recognisable as

the work of Stevens & Williams from
some reproductions of the drawings

from their record books.
2
Typically,

they would use the same or very

similar designs for different occasions;

so the tumbler vase design was

originally one of those six pieces for

Victoria’s Diamond Jubilee which had
the added gilt engraving ‘WHOSE

LIFE IS QUEENLY AS HER LIFE IS

FAIR’.
3
The bell bowl goblet design, a

pastiche of an 18th-century baluster

goblet, was used by Stevens &

Williams in various sizes for many
commemorative events, from Lord

Kitchener’s death in 1916 through to

the coronation of George VI.
The records state that Stevens &

Williams created thirty-nine different
designs for the coronation of Edward

VII and another ‘three dozen or so’
for the coronation of George V and
Queen Mary. Until the Silver Jubilee of

George & Mary in 1935, the designs

(with a few exceptions) were engraved
with the royal cipher, a crown and the
date, perhaps additionally with a single

word denoting the event, such as
‘coronation’. From the Silver Jubilee

onwards Herbert Goode became

intimately involved with the design
of commemoratives, commissioned

from and created by Royal Brierley,
taking the genre into a new realm.
Before looking more closely at

some of these extraordinary pieces,

two decanters from Stevens &

Williams, whose designs were only
used once, are worthy of attention.

The first
(fig.3),
made for George V’s

coronation, is a slim three-sided
decanter (255mm). One face has the

crown and cipher `GRV’ with the date

of 1911, the other two faces and the
stopper are engraved with a six-
pointed star, resembling the eight-
pointed Garter Star. Each face is

surrounded with a close series of
wheel-cut ovals to form a cartouche

The three shoulders are engraved
with the rose (England), thistle

(Scotland) and the shamrock (Ireland).
All of the wheel-cutting and engraving
is polished. Other than the obser-
vation that on a three-sided item it

might be awkward to design in a

fourth symbol, I find the absence of
a leek or daffodil for Wales a
surprising omission. The registration

mark of 577992 on the base, shows
it to have come from Stevens &
Williams. The concept was repeated

nearly twenty-five years later with
the ‘Three Kings Decanter’ (255mm)

(figs 4a, b,
c). Here the three faces

were used to depict three different

royal episodes – the silver jubilee
`GRV 1935′; the abdication ‘ERVIII

1936’, and the coronation ‘GRVI 1937’

– a much more political piece of glass!
This decanter is fatter than the earlier
George V example, has a crown
stopper and has the acid-etched

factory stamp ‘ROYAL BRIERLEY
ENGLAND’ in three separate lines on

the underside of the base. Again, all

the cutting and engraving is polished
and Wales has been left out.

Herbert Goode’s inspired designs

were created for different markets.

Some, such as the 1/2 pint tankards
were quietly elegant, lightly engraved

and had production runs of 1,000 or

5,000, made for a mass market. The
same tankards when gilt, had smaller

runs, usually of 250 pieces
(fig.5).

Left:

Fig.3: Elegant
three-sided

decanter for

coronation of
George V.

Above:
Fig.4: The Three

Kings Decanter
(referred to as a

bottle in Stevens &
Williams records).

THE GLASS CONE NO.96 AUTUMN 2011

Fig.6: Hock glass with blue

stem and foot, for George V’s

accession and coronation,
185mm.

Fig.
7:
‘The Jubilee Cup:

There were also a series of ‘statements in glass’,

commemoratives that were much more heavily

decorated and inscribed. It is open to speculation as

to exactly what drove Herbert Goode to be so closely
involved with these elaborate royal commemorative

designs, issued in very small numbers and all ordered

from Stevens & Williams. Was he an ardent royalist

from afar or was he able to count the monarchs as

friends? With runs of just twenty-five pieces for the

top-end items, the decision could not have been
commercial. The commemorative drawings were

made on tracing paper and held in about twenty
black leather-bound volumes, kept at the South

Audley Street premises. Sadly neither these drawings

nor Thomas Goode’s other historical records, are now
believed to exist; they disappeared a few years after

Thomas Goode was taken over in the late 1990s.
4
For

whatever reason, possibly a lack of space, these very

special small-edition items (other than the Stuart
Coronation Cup), do not appear in the booklet on

Royal Brierley.
2
When, in 1952, The Ashmolean

received a bequest of ten of these extravagant pieces

(only nine actually reached them),
5
and the Assistant

Keeper requested information on the glasses from

Thomas Goode & Co., one of its directors replied
that: ‘the pieces were made for the general public,
were made individually at the time of the events

and did not form part of a ‘set’. He also gave the

information that the silver tokens used in these pieces
were not struck especially for them, but did come in

two sizes, one about the size of a ‘sixpenny piece’,

the other that of a ‘florin’.
My investigations suggest that the first design with

Herbert Goode’s personal copyright was for a tall
wine glass
(fig.6),
of a style used for hock. The extent

of the input of Herbert Goode into the design process

is unclear, but it was evidently under his personal
guidance. The glass has a clear cup-shaped bowl,

over a hollow knop containing a silver jubilee token for
1935, and a hexagonal Bristol-blue coloured stem;

the knop and the foot each having three prunts. The
decorated bowl is engraved with dates of the
accession and coronation of George V and a laurel-

wreathed cartouche within which are the simple

words ‘To Commemorate The Silver Jubilee of King

George V and Queen Mary May 6th 1935’. Around
the rim, on the underside of the foot, are the words
‘only 7 of these glasses were made for Herbert

Goode. Coffered, Herts’. With such a tiny production,
these would seem to have been made for Herbert
Goode’s personal use at home – would seven have

been the number of people sitting around the family
table? All seven of these glasses came into the hands
of a dealer many years ago, one of which is now in the

Broadfield House collection.
3

The following years, 1935-37, saw Stevens &

Williams produce Herbert Goode copyrighted

designs of some very striking architectural-style

commemorative vases and goblets, covered in poetic

verses extolling the praises of King and Empire.

All of these glasses are heavily decorated with
engraved poetry, flowers, thistles, oak and laurel

leaves and royal ciphers. The production runs were
very low, mostly around 25 pieces. This was perhaps
due to the complexity of their manufacture and the

amount of time that went into their engraving or
perhaps a style of commemorative glass that was

thought to appeal to only a few people. It is even
possible that Thomas Goode & Co. had clients

targeted as probable purchasers of these items, as

the glasses bequested to the Ashmolean, from one
source, were all numbered No.3 in the series.
5
But

this is all conjecture. A selection follows:

The Jubilee Cup 1935.
(fig.

Celebrating the Silver Jubilee of George V and Queen

Mary, this is inscribed ‘The greatness of their
majesties is reflected in the silver mirror of 1935 by
the happiness of their people’, ‘May 6 1935’, and

on the base ‘From St Paul’s Cathedral rang The Silver

THE GLASS CONE NO.96 AUTUMN 2011

Fig.10: ‘The Crown Vase:

Bells of Rejoicing Pealing Glad Tidings to the

Empire Radiating Hope Throughout the World’.

The sentiments are remarkable for their hyperbole.
Before this time, I do not know of any recorded

blown commemorative glass, with the exception of

some rummers of 1821 for Queen Caroline, that

mentions a monarch’s death. Henry Goode broke this
taboo with his epitaphs for King George V.

The Remembrance Vase 1936, edition of 26.
(fig.8)

For George V, inscribed ‘Peace’ – then the dates for

his birth, marriage, accession and coronation; war
and armistice dates for 1914-18; ‘Peace’ – and
the dates for his Silver Jubilee, ‘Eternal Rest –

Sandringham’ and ‘Interred at Windsor’.

The Cup of Sorrow 1936, edition of 25.
(fig.9)

Commemorates the death of George V on one side,
with the inscription, ‘High and Low, Rich and Poor,

The Nation Mourns The King’, with a companion

inscription for Queen Mary: ‘High and Low, Rich and
Poor, The Tears of Sympathy Flow from the People’.

The other side is inscribed for the accession of
Edward VIII, ‘Through Darkness Then Came light For

The Prince Was King’. This is set over the engraved

rays of the sun.

The Crown Vase 1936, edition of 42.
(fig.10)

Included for the sheer exuberance of the design with
the two scroll-end handles and the lid with crown

finial. Commemorating the accession of Edward VIII,
the lid is engraved with ‘Ed.l – Ed.VIII’. This is
copyright 3202. The sides of the square foot are

engraved with the four countries of Great Britain:
England, Wales, Scotland, Ireland. The popularity of

Edward VIII at the time, is shown by the engraved

inscription: ‘By Earth Sea or Air, Our King Leads
the Way, As Friend of His People, They Crown

Him Today’.

The Abdication Comports 1936

These splendid creations, revert to a simplicity
of design and engraved sentiment. They commem-

orated the accession and abdication of Edward VIII.

The first
(fig.11)
is possibly unique, though it may have

a double in the royal household. It has a saucer-

shaped bowl over a large hollow knop and flat foot.

The knop contains an intricate lampworked crown, in
red, white, yellow and blue; almost certainly created
by Billy Swingewood Snr. The inscription on the bowl

reads ‘King Edward VIII Accession January 20th 1936

Abdication December 11th 1936 1.52 p.m.’ From a

contemporary perspective, adding the time to the

inscription seems to add a touch of irony; at the time

it was probably meant to convey the seriousness and
disappointment that many people must have felt with

this popular young king choosing his life rather than
the lives of the nations of his empire. An Edward VIII

silver token is at the bottom of the bowl, centred over

the knop . The base reads ‘Before making the 50

comports with white crowns, two trials were made

with red crowns, this being No.2’. Under the foot is

engraved the usual copyright for Thomas Goode &

Co, with Herbert Goode’s name. The other comport

(fig.12),
with the white crown, differs, in that the bowl

Left

Fig.8: ‘The Remembrance
Vase; 147mm (c/fdesign of

Homage Vase).

Above:
Fig.9: ‘The Cup of Sorrow;

105mm.

Photographs by Brian
Clarke except fig.1

which is reproduced
from The Crystal Years’,

ref.2.

Items shown in figs
7-10 and 13 are in the

Ashmoleum Museum,

the others are from a
private collection.

THE GLASS CONE NO.96 AUTUMN 2011

Fig.13: ‘The Homage Vase’

(c/fdesign ofRemembrance

Vase).

Fig.14: ‘The Stuart
Coronation Cup;

332mm with lid.

REFERENCES:
1.
‘South Audley Street: East

Side’,
Survey of London:
vol.40:

The Grosvenor Estate in Mayfair.
2.
Reginald Silvers William-

Thomas,
‘The Crystal Years’,

Stevens & Williams, 1983.
3.
Broadfield House Museum

glass collection, Stourbridge.
4.
Discussions with previous

employees of Thomas Goode

& Co.

5.
Information supplied by

Timothy Wilson of the

Ashmolean Museum, Oxford.

Join

Search

Member

Join

Search

Member

Join

Search

Member

The Glass Cone_No.96 Autumn 2011

Recent Posts

Address

Email

Instagram