All About Glass
All About Glass
This is your resource for exploring various topics in glass: delve deeper with this collection of articles, multimedia, and virtual books all about glass. Content is frequently added to the area, so check back for new items. If you have a topic you'd like to see covered, send us your suggestion. If you have a specific question, Ask a Librarian at our Rakow Research Library.
Listen as glass artist William Gudenrath describes the technique used to make the Verzelini goblet. Venetian glassmakers were hired in England during the 16th century. One of them was Giacomo Verzelini. In 1571, he was brought to London by Jean Carré, a French native and owner of the Crutched
Listen as curator Dedo von Kerssenbrock-Krosigk describes this glass goblet. Venetian glassmakers were hired in England during the 16th century. One of them was Giacomo Verzelini. In 1571, he was brought to London by Jean Carré, a French native and owner of the Crutched Friars Glasshouse. Carré
Listen as glass artist William Gudenrath describes the techniques used to make this glass object. This Tazza is enameled with the coat of arms of the Medici family combined with crossed keys and a papal tiara, suggesting that they were made for a member of the church, most probably either Pope Leo
Carder, Frederick. 104740 Sketches in the Louvre and Cluny Museums, Paris, from Aug. 22d to Sep. 3d, 1897 1897. 1 v.: graphite, watercolor on paper; 19 x 11 cm. Carder/Steuben archive Box 29 Spine hinge is at the top of the pages. Carder sketchbook. Part of the Frederick Carder papers. An image of
Listen as glass artist William Gudenrath describes the technique used to make this ewer known as cane work or filigrana. This Venetian ewer is made with milk glass canes and decorated with applied lion-mask prunts (small ornaments that are like medallions stuck to the outside of a vessel).
Listen as glass artist William Gudenrath describes the technique used to make the Corning Ewer, an outstanding example of Islamic relief-cut cameo glass. A layer of transparent light green glass was applied to a layer of colorless glass. Most of the outer layer was then cut away, leaving the
Listen as glass artist William Gudenrath describes the techniques used by Věra Lišková to create Anthem of Joy in Glass. Lišková was a talented designer who pioneered the use of borosilicate glass for sculpture. Traditionally, borosilicate glass is used for making laboratory wares for scientists,
Listen as glass artist William Gudenrath describes flameworking (or lampworking), the technique used by the Blaschka's to create the objects in this case at the Museum. The display tells the story of two remarkable lampworkers, Leopold Blaschka and his son Rudolf, who created in glass
Listen as curator Jane Shadel Spillman describes this desk set produced by Boston and Sandwich Glass Company. The problems involved in pressing glass were summarized by a glassmaker in 1849: "If an overplus of metal [glass] be gathered, it thickens the article throughout; but if too little, it
Listen as glass artist Eric Hilton describes the techniques used to create Innerland. This piece is a multi-part sculpture that expresses Hilton's concept of the unity of life and of the "inner being, or inner land, which is shared by all people everywhere." The complex design and
Listen as curator Jane Shadel Spillman describes an uncut crown of glass. Window glass was one of the most needed products in the new United States, but it was expensive to import. Some window glass factories were started in New Jersey, New York, and New England in the early 19th century. There
Listen as glass artist William Gudenrath describes how this glass harmonica was made. Benjamin Franklin invented this strange musical instrument. It was popular in the late 18th century. Sounds were made by running moistened fingers along the rims of the glasses. Some people were afraid that this
The European glass cases in the Museum tell the story of glass from the Renaissance in the 15th century to 1900. The Venetians were the master glassworkers of the Renaissance. Later, different parts of Europe produced their own distinctive styles.
Listen as glass artist William Gudenrath describes the techniques used to make this bird-shaped vessel. This was an ancient Roman form of packaging. It was filled with perfume, then the tail was sealed by heating it in a flame. To extract the perfume, the user broke off the tip of the tail.
This particular type of pitcher is modeled after an ancient civilization in Italy called the Etruscans. It's called a becco di oca, which means "goose beak" in Italian.
This was an ancient Roman form of packaging. It was filled with perfume, then the tail was sealed by heating it in a flame. To extract the perfume, the user broke off the tip of the tail.
The Venetians were clever glassmakers. They could make bowls, goblets, and decorative objects such as these citrus fruits, which were meant to be suspended as ornaments.
Beadwork like this was popular in 17th-century England. A wire frame was formed and decorated with thousands of seed beads.
One traditional way of making flat glass was to open a bubble of molten glass as if to make a bowl. Using centrifugal force, the glassblower would spin the heated bowl and it would open into a flat disk.
The mass production of glass began in the 1820s, when the side-arm press was introduced. Using a press and a mold, two men could make about 100 glasses in an hour. Gift of Debra Ortello in loving memory of her husband, Vincent Ortello.
When you try to fill this glass with liquid, some of the tubes and bulbs remain empty. If you try to drink from the glass, the air in the tubes makes the liquid gush out when you least expect it.
Scottish artist Eric Hilton designed Innerland and master engravers at Steuben Glass translated Hilton's dream into tangible form. Wherever you look, you will find a different inner land.
Artist Jay Musler took a hemisphere of industrially produced Pyrex, cut the rim in the form of an urban skyline (think of the skyscrapers of Manhattan), sandblasted it, and airbrushed it with oil paint.
Steuben Glass, inc., Corning, NY, USA. Corning Incorporated. 71416 [New York: Corning, c1990] 96 p.: ill. (some col.); 19 x 25 cm. Steuben Glass, inc. Spine title. Includes index. Gift; Corning Inc. 2013; 1000135214 Digitized by Boston Photo Imaging January 2014. For "Price revisions to the
Steuben Glass, inc., Corning, NY, USA. Corning Glass Works. 71306 Steuben Glass catalogue of gifts Steuben glass: Spring 1977 [New York: Steuben Glass, 1977] 63 p.: ill. (some col.); 17 cm. Steuben Glass, inc. "Spring 1977"--P. . Digitized by Boston Photo Imaging January 2014. CMGL c.
Moore, Robert (Robert E.) 67299 New York: Steuben Glass, c1980. Special commemorative ed.  p. (3 folded): ill. (some col.); 28 cm. NK5112.9.S7 "Engravers, Ladislav Havlik, Lubomir Richter, Peter Schelling, and Roger Selander; cutter, Mark Witter l.; drawings by Eric Hilton, photography by
Steuben Glass, inc., Corning, NY, USA. Corning Incorporated. Neiman Marcus. 71406 Valentine gifts 1992 Corning, N.Y.: Corning Incorporated, c1992. 32 p.: col. ill.; 19 cm. Steuben Glass, inc. Order form and return envelope, laid in. Gift; Corning Inc. 2013; 1000135220 Digitized by Boston Photo
Steuben Glass, inc. 68913 New York: Steuben Glass,  21 p.: ill.; 14 cm. Steuben Archive "50, 1-69"--Last p. A copy of this item was received with the Steuben Archive. Digitized by Boston Photo Imaging January 2014. Cleaning it-- Keeping it cool-- Keeping it quiet-- About Steuben
Steuben Glass, inc., Corning, NY, USA. Corning Incorporated. 65778 Corning, N.Y.: Corning Incorporated, c2000. 172 p.: ill. (chiefly col.); 23 cm. Steuben Glass, inc. Cover title. Index, p. 166-170. Includes order form, business reply envelope, and card introducing "Small Orbit Bowl".
Steuben Glass, inc. Pollard, Donald designer Pfohl, Jerry designer 68926 New York: Steuben Glass, Inc.,   p.,: ill.; 18 cm. Steuben Archive Cover title. Includes brief biographies of the artists Donald Pollard and Jerry Pfohl. The Myth of Adonis was an edition of one piece completed in