In this video, artist Boyd Sugiki discusses creating tumblers by working thinner, the turning speed, temperature and heat, color overlays, even stretching. This video was produced by Boyd Sugiki in collaboration with The Studio at The Corning Museum of Glass.

In this video, artist Boyd Sugiki discusses turning basics including adjusting the speed of the turn and turning styles for different situations. This video was produced by Boyd Sugiki in collaboration with The Studio at The Corning Museum of Glass.

Vienna in 1900 was at the heart of European modernity as a unique set of circumstances gave rise to a new and modern life there. Watch Janis Staggs, director of curatorial and manager of publications at the Neue Galerie in New York, explore this rich period in history. This Behind the Glass lecture

Happy Holidays from The Corning Museum of Glass! Watch the demo from the December 2018 2300° event featuring Todd Ortega, Nikolai Morse, Jason Howard, and Scott Griffin. In this demo, they construct a glass holiday tree with ornaments. The Guest Artist Series features world-class visiting artists

The Compagnie des Verreries et Cristalleries de Baccarat, the most famous name in French glass, was founded in 1764 by Monseigneur de Montmorency-­Laval, the bishop of Metz, as a way to utilize the wood on the heavily forested land of his estate. In its early years, the factory operated under the

In the 19th century, at the very time when glassmakers were improving their skill in fashioning and annealing the large pieces that would be needed to create furniture, the number of contacts between Europe and countries to the east was increasing, and both England and France were expanding their

Today, it is not at all unusual to find glass tables and cabinets, as well as large glass lighting devices. But in the second half of the 19th century, when glass was first used in furniture on a commercial basis, it would have been truly remarkable to see such objects. The development of glass

F.& C. Osler was probably the largest European company that supplied glass objects to India. Its products sold there included both table wares and lighting devices. During the last quarter of the 1800s and the early years of the following century, Osler also made glass fountains and furniture

One of the largest but least-known 19th-century English glass firms is Jonas Defries & Sons, which was located in the Houndsditch section of London from 1856 until the early 20th century. The company operated under various names for at least a century (an 1880 advertisement says that it was

The third English Company that made furniture for the Indian market was located in the Stourbridge area. This factory had been built early in the 19th century, and it was purchased by Joseph Webb in 1850. He was a cousin of Thomas Webb, owner of the famous glass firm of Thomas Webb & Sons, and

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

In 1985, The J. Paul Getty Museum acquired a Roman mold-blown vessel that dates to the first century A.D. 1 Made of pale yellow-green glass, the beaker was blown in a three-part mold. 2 Its exterior decoration consists of a simply designed foliate relief frieze of four vertical plants, each of

Introduction In recent years it has become apparent that laboratory examinations of ancient glass might provide archaeologists and historians with valuable information about both ancient glass and the history of technology. At present several scientists working in this field are developing those

Relatively little is known about cut glass made in the United States from about 1810 to 1840. It was strongly influenced by Anglo-Irish cut glass designs, both in form and decorative motifs. Generally, most of it is attributed to Pittsburgh glasshouses, notably Bakewell’s, largely because of

The Elmira Cut Glass Company, the Enterprise Cut Glass Company of Elmira Heights, and Elmira's Majestic Cut Glass Company were three of the many small glass cutting firms that operated in the Southern Tier of New York State during the first two decades of the 20th century. There was a much

The earliest glass vessel decorated with enameling dates from about 1425 B.C.E. 1 It successfully combines one of humankind’s oldest creative urges (the desire to draw on things) with one of the most advanced technologies of the ancient world (glassmaking). Today, essentially the same process

Since 1977, the collections of The Corning Museum of Glass have included a rather curious object. 1 It is a tall, footed, cylindrical bottle of colorless glass, in which float numerous small lampworked figures suspended from buoyant glass bubbles (Fig. 1). The top of the bottle is sealed, forming a

A great deal of attention has been directed toward understanding how Roman vasa diatreta were made. 1 Many of those who have handled the objects are convinced that they were made by deep cutting and undercutting heavy-walled blanks. Others have proposed explanations which require that the posts

Cup plates are an example of the specialized items in ceramics and glass with which Victorian ladies liked to clutter dinner and tea tables. Later in the century, these small plates were joined by a host of other "special" items: ice cream sets, berry sets, lemonade sets, and dishes for

Late in 1993, The Corning Museum of Glass received as a gift a brass lantern with a red glass globe [93.4.102] inscribed "ELMIRA WIDE AWAKES/ G.L.SMITH/CAPTAIN" (Fig. 1). This lantern had a mid-19th-century look, and I thought it might be an early product of the Corning Glass Works. I was

In 2004, The Corning Museum of Glass acquired an oval cast glass plaque with the portrait of King Louis XIV (Fig. 1) of France (r. 1643–1715). It is the second plaque of its kind in the museum, and one of eight examples that are known (3 in the catalog below). This plaque was not purchased so that

Glasses engraved with scenic views or important buildings are part of a Germanic tradition dating to the eighteenth century. Similar commemorative glasses are noted in England, e.g., the well-known Sunderland Bridge rummers, but they are less common in English glass. Germanic glasses with this type

This note describes and illustrates a mold-blown square bottle with an inscription on the base. 1 Description The bottle (Fig. 1) is 18.9 centimeters high and is made of transparent bluish green glass. The body was blown in a mold with four vertical sections and a separate baseplate. The object is

In 1977, the author discussed two groups of glasses engraved with American views, probably made in the United States but possibly abroad. 1 In the last two years, several more glasses in each of these groups have been discovered, along with some new information which is here presented. Five

In 1972, Gladys Davidson Weinberg published a study of 24 vessels and fragments of a type of first-century A.D. mold-blown glass known as a mythological beaker. 1 While subsequent publications have included individual beakers and fragments, they have not been surveyed again as a group, 2 and they

Presented here is a report of the excavation of the Glastenbury Glass Factory Company site in conjunction with the documentary evidence on the production and operations of this factory. This excavation, prompted by the imminent eradication of the site by the relocation of Connecticut Route 2 the

Clementon, New Jersey circa 1800-1825 The Gloucester Glass Works was apparently established about 1800 and from that date until about 1820 made a variety of bottles typical of the period. 1 From then until about 1825, the works seem to have been used for the production of window glass. On December

**Now with improved audio- thanks for your patience as we fixed this one!** In this live stream from the Conservation Lab, watch as Steve Koob, chief conservator, Astrid van Giffen, associate conservator, and Lianne Uesato, assistant conservator share the issues and concerns that conservators keep

Inspired by the 150th Anniversary of glassmaking coming to The Crystal City, Waterford’s Head of Design, Matt Kehoe, designed the Sunburst Vase. Rich in symbolism, each element of the vase was designed with intention. The exquisite cut sunburst represents the many days of hard work and dedication

In this live stream from the Conservation Lab, watch as Steve Koob, chief conservator, Astrid van Giffen, associate conservator, and Lianne Uesato, assistant conservator share the issues and concerns that conservators keep an eye out for when managing a collection of glass objects that spans from