Tag Archives: installations

Twelve-Arm Cut Glass Chandelier Now on View

Posted on by
Reply

A recently acquired twelve-armed cut glass chandelier was installed this month in the Museum’s crossroads, at the intersection of the Contemporary Glass Gallery and the Glass Collection Galleries.

Installing the chandelier in the Crossroads

The ceiling where the chandelier was installed is above a two-story opening to the ground floor. Our preparators are no strangers to scaling great heights to install and de-install glass artworks, and were able to hang the delicate object piece by piece by using a lift.

The chandelier hangs over an opening to the ground floor and a lift was needed to install.

The chandelier hangs over an opening to the ground floor and a lift was needed to install.

Crafted around 1760-1765, the Museum’s chandelier with twelve arms is one of the most intact examples of an English cut glass chandelier from that time period. The chandelier has all of its original arms and drip pans, a rare occurrence as these parts were often easily broken or damaged.

Museum preparators Fritz Ochab and Stefan Zoller carefeully install each drip plate.

Museum preparators Fritz Ochab and Stefan Zoller carefully install each drip plate.

In the 18th century, the English chandelier became an important decorative component within the elegant interiors in the homes of the nobility. This style of chandelier grew out of a 17th-century desire for spectacular lighted centerpieces that were originally constructed from rock crystal. Glass was more accessible and affordable than rock crystal, and it could be just as stunning when it was properly cut and illuminated.

Additional arms wait in carts to be put back together while Warren Bunn and Stephen Hazlett watch on as Fritz attaches an arm onto the hanging chandelier body.

Additional arms wait in carts to be put back together while Warren Bunn and Stephen Hazlett watch on as Fritz attaches an arm onto the hanging chandelier body.

A significant enhancement to the basic form of this chandelier was the use of finely executed decorative cutting on all of its elements. The cutting amplified the reflective qualities of the glass and made the entire assemblage a beautiful and glittering addition to an interior space. Watch how this technique was done in this video on lathe cutting.

Another similar chandelier of this period hangs in Independence Hall in Philadelphia. Dated around 1745-55, it differs in arm and stem configuration, but has twelve arms and is cut in a similar fashion to the Museum’s recent acquisition.

Chandelier with Twelve ArmsChandelier with Twelve Arms, European, England, about 1760-1765. Blown, cut, and assembled. Overall H: about 125 cm, Diam (max): about 107 cm (2012.2.8) View the full record in the Collections Browser: http://www.cmog.org/artwork/chandelier-twelve-arms

 

Greener Galleries

Posted on by
Reply

Recently, the Museum completed the installation of a Burne-Jones stained glass panel, St. Matthew (2009.2.31) in the Modern Gallery. A new case was designed and constructed, and after a number of months of prototyping by the Curatorial and Operations departments, the display was lit completely with LED lights, with the desired lighting effect achieved using a combination of both cool and warm LED fixtures.

This is our first glass collection display to use LED lighting, and we hope to retro-fit a number of other displays in the coming years with these cool and efficient lights. There are approximately 2,600 standard light fixtures directed at objects in our galleries, and every day we change about 20 bulbs. With an estimated lifespan 100,000 hours, moving to LED lighting will result in savings for the Museum in both energy costs and staff time.

-Warren Bunn, Registrar

Reinstallation of Evening Dress with Shawl

Posted on by
Reply

The Museum’s Favorites! exhibit was recently deinstalled to make way for the upcoming Medieval Glass for Popes, Princes, and Peasants exhibition.  

One of the most popular pieces in the exhibit, Evening Dress with Shawl by Karen LaMonte, was recently reinstalled in the Museum’s Crossroads Gallery where it will remain on display.

The dress is cast in 5 sections, each weighing about 200 pounds. This video shows how a team of four – the Museum’s Conservator, Registrar and two installation team members – worked together to carefully transfer and place each section on a plain white base. According to the Registrar, ” There is a silicone layer on each piece (the artist applied) which makes it impossible to slide the pieces, so you have to line them up and then place them CAREFULLY. You have to be extremely careful when putting the next piece on, as a wrong move will result in a bad chip/break, or serious injury.”

With this piece, lighting is everything.  Bunn says “This piece in particular either sings or suffers depending upon lighting. The installation team has a great understanding of how light and glass work, and handle the initial lighting of  all of our objects.”  The Museum’s Crossroads is full of natural light that gives the admirer the ability to look around the piece as the light shines through it. If you look carefully, you can see the imprint of hands holding the shawl.