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.
This article reviews the current state of our knowledge of early Islamic gold sandwich glass and publishes five examples in the Museum's collection. In 1964, the Corning Museum acquired a gold sandwich glass cup [64.1.32] (Fig. 1) that was identified as “2nd–4th century A.D., Parthian or
Among the glass in the Department of Greek and Roman Antiquities at The British Museum is a fragment of a late Roman dichroic cage cup. Although the fragment has been mentioned on several occasions, 1 it has never been described in detail. The find-place is unknown. Description The fragment (Fig. 1
In 1959, The Corning Museum of Glass received a large group of objects as a gift from Frederick Carder, the retired director of the Steuben Glass Works. Most of these had been made at Steuben in Corning, New York, but some were English. Most of the English pieces came from Stevens & Williams of
In 1975, The Corning Museum of Glass acquired a fragment with enameled ornament that was attributed to the late Hellenistic or early Roman period. 1 It was purchased in the marketplace, and the Museum has no record of its history. The purpose of this note is to suggest that it may have been
Among the objects from the collection of Ray Winfield Smith that are in The Corning Museum of Glass, one relief-cut fragment has provoked widely divergent views about its identity. 1 The object (Fig. 1), which Smith acquired in Cairo, may be described as follows: Fragment with eagle [55.1.148].
The subject of this note is a fragment of cameo glass [59.1.509] (Figs. 1 and 2), now in The Corning Museum of Glass, that was formerly in the collection of Ray Winfield Smith. 1 It was shown in the 1957 exhibition Glass from the Ancient World as part of a group of early Islamic cameo glass,
In 1927, Gustavus Eisen published a group of "gold glasses" that he attributed to the period between the late third and sixth centuries A.D. 1 These objects, however, have long been recognized as forgeries. Examples were offered to the British Museum in 1909, but they failed to impress O.
The "Vase des Saisons" is the name given by Jean de Foville to a cameo glass bottle in the Cabinet des Medailles et Antiques of the Bibliothèque Nationale, Paris. (Figs. A, B, C "Alabastron en verre camée" (Camée.623)). The object may be described as follows: H. (as restored) 16
Dichroic (two-colored) glass is so called because it appears to be one color in reflected light and another color when light shines through it. Only a handful of Roman dichroic glass objects are known to exist. The most famous of these is the Lycurgus Cup, which is opaque green in reflected light
The Corning Ewer (Figs. 1-5) is the finest known example of Islamic cameo glass. Shown in London in the 1976 exhibition "The Arts of Islam” 1 the ewer was acquired by The Corning Museum of Glass in 1985. 2 This article describes the object and compares it with other Islamic cameo glasses, with
In his monumental study of documents from the Cairo Genizah, the late S.D. Goitein drew attention to a letter requesting, among other items, "a wickerwork basket with red glasses from Beirut, and if they cannot be had, white glasses." 1 The letter, which is written in Arabic but with
In A.D. 301, Emperor Diocletian attempted to halt a rapid rise in prices by issuing his Edictum de pretiis (Edict on prices), which established maximum prices and wages throughout the Roman Empire. Copies of the edict were inscribed in Latin or Greek on marble panels and posted in prominent places.
The artwork of Andrew Erdos, the Museum’s 2013 Rakow Commission artist, is pop, sarcastic, and humorous, with a hint of social commentary. His over-the-top installations create a situation of sensory overload, which he sees as a reflection of everyday life in urban culture, especially the culture
The beaker (Figs. 1 and 2), in the collection of The Corning Museum of Glass, may be described as follows: Cone beaker [85.1.4] Anglo-Saxon Probably seventh century H. 17.6 cm, D. (rim) 8.5 cm. Transparent yellowish-amber glass with many bubbles. Rim outsplayed, turned inward and downward; body
Gold ruby is arguably one of the most beautiful colors of glass. Beyond its aesthetic qualities, there is an alchemical connotation: Since ancient Greek times, descriptions of the sorcerers’ stone agree that it was believed to be a red substance and the key to the transmutation of metals,
In the 19th century, paper currency was often used by businesses such as glassmaking facilities, as a means of paying their workers or their debts. The federal government began to issue paper currency in 1861, but before this time, most of these bills were issued by state-chartered banks. Glass
For the American astronomer George Ellery Hale, bigger was always better. In 1897, at the age of 29, he had become director of Chicago’s new Yerkes Observatory, whose 40-inch refracting telescope remains the largest instrument of its kind in the world. The lenses of refractors collected and
Interest in the past is not a new phenomenon. Edward Gibbon wrote: “Yet I know the classics have much to teach…the temperate dignity of style, the graceful proportions of art, the forms of visible and intellectual beauty, the just delineation of character and passion…”  During the Renaissance,
When I hear music, it translates into color.—Toots Zynsky Toots Zynsky’s distinctive heat-formed filet de verre (glass thread) vessels enjoy a widespread popularity and deserved acclaim for their often extraordinary and always unique explorations in color. Defying categorization, her pieces
Dale Chihuly, who was born in Tacoma, Washington in 1941, has become an internationally celebrated personality in contemporary art and design whose prominence in the field of contemporary studio glass is unmatched. He is a generous and charismatic individual with a forceful personality, who
In 2013, the Museum received a group of five works in glass and metal by the American artist Michael Glancy as a gift from Daniel Greenberg and Susan Steinhauser, Museum patrons and friends of the artist. One of Glancy’s 1998 sculptures, Crystal Obscura [2012.4.168], is made with colorless
Until about 50 B.C. glass objects could only be made slowly due to the limited techniques available. One bottle could take several days to make via casting or cutting techniques. Core-formed objects may have taken 45 minutes to create. Glass furnace technology was such that only small amounts of
The Morgan Cup [52.1.93] is a Roman cameo glass of the first century A.D. It may have been found in the ancient city of Heraclea Pontica, modern Eregli, Turkey. The cup was once in the collection of J. Pierpont Morgan (hence its name). It came to the Museum in 1952 as the gift of Arthur A.
Glass is a rigid material formed by heating a mixture of dry materials to a viscous state, then cooling the ingredients fast enough to prevent a regular crystalline structure. As the glass cools, the atoms become locked in a disordered state like a liquid before they can form into the perfect %
A spectacular and large Tiffany stained glass memorial window has been installed in the Museum’s modern glass gallery. It is the first time that this window has been on view at the Museum since its donation in 1996. Titled The Righteous Shall Receive a Crown of Glory, the window was designed by
"If necessity is the mother of invention, then for the glass fiber industry, adversity is the father." -William Boeschenstein, Owens-Corning Fiberglas, 1995 The world’s largest bottle plant stood empty. Prohibition and the Depression had crushed the demand for bottles. American bottle
Otto Schott, the pioneering German glass chemist, made a glass that could reliably do something that didn’t seem possible: endure sudden, uneven temperature shifts without shattering. The key, Schott discovered in 1882, was to have a critical amount of the element boron in the glass recipe. Schott
Richard Marquis, a self-described glassblower and collector of beat-up, vintage objects, has had an extraordinary influence on the development of contemporary studio glass in America and around the world. As an artist, he is admired for his understanding of color and form as well as for his humor
(No, It Doesn't Flow—read on for details) Early one spring morning in 1946, Clarence Hoke was holding forth in his chemistry class at West Side High School in Newark, New Jersey. "Glass is actually a liquid." the North Carolina native told us in his soft Southern tones. "You can
Harvey Littleton is internationally acclaimed and recognized for his tireless work in %%founding%% and promoting the American Studio Glass movement. The movement was “born” in 1962, during two seminal glassblowing workshops at The Toledo Museum of Art. The workshops were led by Littleton, a