Neckpiece

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Object Name: 
Neckpiece
Place Made: 
Accession Number: 
92.3.47
Dimensions: 
Overall Diam (max): 28.8 cm
Location: 
On Display
Date: 
1992
Credit Line: 
7th Rakow Commission
Web Description: 
Jacqueline Lillie, who is internationally recognized for her work in beads and mixed media, is the only artist to have received a Rakow Commission for jewelry from The Corning Museum of Glass. Lillie was originally inspired by the early 20th-century jewelry produced by the Wiener Werkstätte (Vienna Workshops), but her interests later expanded to include African and Native American jewelry, Russian Constructivist painting and graphics, Art Deco design, and the wide-ranging products of the Bauhaus. Her intention, she says, is not to revive any style, but to “produce work that reflects attention to minute detail and a subtle use of color.” Lillie’s jewelry often takes the form of neckpieces or brooches constructed of single or multiple beaded spheres, ovals, and squares that she combines with metal. She also makes beaded bracelets and other articles of adornment. The Rakow Commission neckpiece is an unusual work for Lillie in that she combines two distinctly different types of glass products: fiberglass monofilament and glass seed beads. The layers of glass fibers and multicolored beads are reminiscent of the lengths of trade beads strung on raffia palm fibers that are commonly found in West Africa. Yet Lillie’s necklace is a contemporary statement that emphasizes the versatility of glass, a material both traditional and modern.
Department: 
Provenance: 
Lillie, Jacqueline Irene (French, b. 1941), Source
1992-02-27
Technique: 
Primary Description: 
Neckpiece. Pale gold, transparent and opaque glass filaments and beads; knotted silk. Necklace of three strands
Venue(s)
Corning Museum of Glass
For 30,000 years, mankind has crafted beads from natural materials. With the discovery of glassmaking in the second millennium B.C., glass began to be used for this same purpose. Glass beads are universal. They have been produced throughout the 35 centuries of glass manufacturing, and by nearly every culture in the world. The glass beads and beaded objects on view in this exhibition are arranged thematically, comparing the manner in which diverse cultures have utilized beads, frequently for the same purposes, but sometimes for unique reasons. These themes explore how glass beads adorn the body and our possessions; how they convey messages about power and wealth, and identify the stages of human life; how they serve ritual purposes, as well as decorate clothing and objects used in rituals; and how they have been employed across the centuries as a means of exchange, both commercial and cultural. Through the centuries, beads have been made using a variety of processes. Understanding how beads were made has allowed scholars to follow the transmission of beads and beadmaking techniques across the globe. Across time and around the world, glass beads have become a common element of mankind. Through their manufacture and function, they are one of the strings that bind humanity together. “Life on a String” celebrates this common bond while also revealing the distinctiveness of different societies through their use of glass beads to celebrate their unique cultural heritage.
Glass Beads: Selections from The Corning Museum of Glass (2013) illustrated, pp. 72-73, no. 45; BIB# 134720
Museum News (2013) illustrated, cover; BIB# AI93998
Recent Important Acquisitions, 35 (1993) illustrated, p. 137, #45; BIB# AI32226
Fragile Enhancements (1993) p. 41;
The Corning Museum of Glass Annual Report 1992 (1993) illustrated, p. 11;