Village Glass Gallery
261 artifacts in this set
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Ivory Jade Bowl, 1920-1929
Bowl (Vessel)
This "Ivory Jade" bowl was meant to imitate a carved, oriental treasure. It was made for an upper middle-class customer who wanted to show off their good taste. This bowl, known as shape 6415 could be ordered from the Steuben Glass works in a variety of colors and surface designs to complement nearly any client's decor.
Vase by Dominick Labino, circa 1980
Vase
Dominick Labino along with Harvey Littleton are remembered as the founders of the Studio Glass movement. A research chemist, Labino developed marbles composed of low melting point glass for use at several experimental -- and successful -- workshops organized by Littleton at the Toledo Museum of Art in 1962. Labino emerged as a leader of the first generation of studio glass artists.
Vase by Dominick Labino, 1984
Vase
Dominick Labino along with Harvey Littleton are remembered as the founders of the Studio Glass movement. A research chemist, Labino developed marbles composed of low melting point glass for use at several experimental -- and successful -- workshops organized by Littleton at the Toledo Museum of Art in 1962. Labino emerged as a leader of the first generation of studio glass artists.
Vase by Dominick Labino, 1984
Vase
Dominick Labino along with Harvey Littleton are remembered as the founders of the Studio Glass movement. A research chemist, Labino developed marbles composed of low melting point glass for use at several experimental -- and successful -- workshops organized by Littleton at the Toledo Museum of Art in 1962. Labino emerged as a leader of the first generation of studio glass artists.
Aurene Plate, 1920-1929
Plate (Dish)
Art Glass is ornamental and decorative glass dating from the mid-to-late 19th century through the early 20th century. Makers of Art Glass employed newly developed technologies for producing vibrant colors and surface textures. This is most famously seen in the iridescent surfaces of Louis Comfort Tiffany and his contemporaries, although Art Glass took many shapes and forms.
Vase by Dominick Labino, 1984
Vase
Dominick Labino along with Harvey Littleton are remembered as the founders of the Studio Glass movement. A research chemist, Labino developed marbles composed of low melting point glass for use at several experimental -- and successful -- workshops organized by Littleton at the Toledo Museum of Art in 1962. Labino emerged as a leader of the first generation of studio glass artists.
"Paperweight Vessel" by Mark Peiser, 1978
Sculpture (Visual work)
Mark Peiser transformed the world of glass through a technique he devised which involves drawing with melted glass canes of various colors on molten glass. He encapsulates these images between layers of glass to create the 3-d effect of his "Paperweight Vase" series (1975-1981). Landscape imagery is a frequent subject for this series.
"December Song" by Jon Kuhn, 2000
Sculpture (Visual work)
Jon Kuhn's diamond-like, dazzling glass cubes earned him world-renown. Unlike many other studio artists who work with molten glass, Kuhn works only with cold glass. These complex artworks are extremely labor intensive; each piece is cut, polished, and laminated to create an environment that pulls the viewer into a glittering world of color and light.
"Interworld Space" by Eric Hilton, 1999
Sculpture (Visual work)
Scottish artist Eric Hilton's passion is in the creative process -- the molding, etching, cutting, sandblasting and the polishing of each work. He describes his process like painting -- he gradually builds and rebuilds each piece as he constructs or designs it. He relates that objects like "Interworld Space" are literally "a place to get lost in" much like a maze.
"Aquatic Forum" by Jon Kuhn, 1988
Sculpture (Visual work)
Glass artist Jon Kuhn combines his unique artistic vision with a sophisticated use of technology. He creates the dazzling core materials of his glass columns and cubes by using an industrial rotary surface grinder, typically used for metal, to polish his dazzling glass panels. He also works with chemists to create adhesives to bond the glass and yet remain invisible to the human eye.
"Untitled (Orb)" by Paul Stankard, 2010
Paperweight
Paul Stankard is one of the founders of the Studio Glass movement of the 1960s and 70s. Most early Studio Glass artists began their careers creating paperweights and moved on to other forms. Stankard concentrated on creating the most technically sophisticated and beautiful paperweights he could imagine. Today, Stankard is acclaimed for his miniature worlds, consisting of imaginary botanicals, bees and sometimes human figures.
"Ode to 9/11" by Paul Stankard, 2001-2002
Sculpture (Visual work)
Paul Stankard is one of the founders of the Studio Glass movement of the 1960s and 70s. Most early Studio Glass artists began their careers creating paperweights and moved on to other forms. Stankard concentrated on creating the most technically sophisticated and beautiful paperweights he could imagine. This uncharacteristic work commemorates the agony of the September 11, 2001 events, showing two sobbing faces, with shrapnel behind.
"Moonlit Forest" by Mark Peiser, 1977
Sculpture (Visual work)
Mark Peiser graduated with a design degree from the Illinois Institute of Technology in 1961, but after attending Penland School in North Carolina during the summer of 1967 he found his true passion--glass. Peiser experimented with new techniques to bring his ideas to life. Glass canes melted by flame were used to "draw" on molten glass to create this piece.
"Village Museum" by Emily Brock, 1993
Sculpture (Visual work)
Emily Brock creates intricate sculptures entirely made of glass. She constructs scenes that are often inspired by everyday spaces and pull the viewer into her narrative. What is the story of this small southwestern museum gift shop? Can you spot the many details she included to make this scene life-like?
"Floating Golden Botanical" by Paul Stankard, 2001
Sculpture (Visual work)
Paul Stankard is one of the founders of the Studio Glass movement of the 1960s and 70s. Most early Studio Glass artists began their careers creating paperweights and moved on to other forms. Stankard concentrated on creating the most technically sophisticated and beautiful paperweights he could imagine. Today, Stankard is acclaimed for his miniature worlds, consisting of imaginary botanicals, bees and sometimes human figures.
"Yellow Chiffon Venetian Ikebana with Putti and Prunts" by Dale Chihuly, 2002
Sculpture (Visual work)
"Solid Vase Form #15" by Sidney R. Hutter, 1994
Sculpture (Visual work)
Sidney Hutter creates nonfunctional vessels through cold working (grinding and polishing) slabs of industrial plate glass. The slabs are held together by an adhesive cured by ultraviolet light. Hutter adds color to the adhesive between each layer of glass to create his prismatic artwork. Not everything he creates is fine art, however. Hutter also has a commercial line of home décor.
"Party Cups" by Dante Marioni, 1992
Cup
Dante Marioni was blowing glass after class in high school and was an internationally known artist by the age of 19. His work is inspired by ancient Greek pottery, but he adds a modern twist. These brightly colored goblets take a whimsical approach to a traditional form. Look closely and you'll see that no two are alike!
"Mongo Vase" by Fritz Dreisbach,1981-1982
Vase
Dreisbach's "Mongo" series captures his passion for the organic forms created by allowing fluid, molten glass move naturally. He tried to capture the last moment of movement before the glass cooled enough to freeze in place. The name Mongo for these "powerful" pieces comes from the evil, yet powerful "Mingo of Mongo" in the classic Flash Gordon comics strips.
"Untitled (Orb)" by Paul Stankard, 2010
Paperweight
Paul Stankard is one of the founders of the Studio Glass movement of the 1960s and 70s. Most early Studio Glass artists began their careers creating paperweights and moved on to other forms. Stankard concentrated on creating the most technically sophisticated and beautiful paperweights he could imagine. Today, Stankard is acclaimed for his miniature worlds, consisting of imaginary botanicals, bees and sometimes human figures.
"Devils Blowing Glass" by Lucio Bubacco, 1997
Sculpture (Visual work)
Lucio Bubacco grew up surrounded by the centuries-old glass culture of the island of Murano, Italy. He invented a glass technique to sculpt bodies that appear in motion. His figures are precariously placed in poses that make for a lively arrangement. He uses a delicate soda-lime glass mixture instead of the sturdier Pyrex to achieve a more vibrant, colorful result.
"Cobalt Pair - Chalais & Becco Di Oca" by Dante Marioni, 1996
Sculpture (Visual work)
Dante Marioni, whose father is the well-known Studio Glass artist Paul Marioni, was exposed to glassblowing from a young age. His work is inspired by ancient Greek pottery. The form of the pitcher and goblet is classical, but the elongated lines and bold colors are conceptually modern. Unlike traditional works of pottery and glass, this pair is nonfunctional.
Untitled from Relationship Series by Richard Royal, 1997
Sculpture (Visual work)
Like many studio glass artists, Richard Royal conceives of his work in series. He views his series in autobiographical terms. This work is part of his "Relationship" series which he started following his marriage in 1989. This work represents the flowering of the series as it shows the abstracted arms of a mother and father holding a child at the center.
"Standing Columns #12" by Howard Ben Tre, 1983
Sculpture (Visual work)
Howard Ben Tré casts glass sculptures using similar techniques he learned while casting metal sculpture. These solid, monumental works often have a green tinge and appear to glow as light passes through. Architectural elements and archeological remains inspire Ben Tré. Works like this one, which weighs well over 500 pounds, will take over two months to cool after molten glass is poured into a mold.
"Intimate Encounter" by Emily Brock, 2007
Sculpture (Visual work)
Emily Brock creates intricate glass scenes about everyday life. In spite of ordinary subject matter, there is usually a sense of whimsy in her work. In Intimate Encounter, the features of the girl gazing into the pond are finely detailed while the oversized water lilies and frosted texture of the vegetation spark the imagination.
"Solid Vase Form #19" by Sidney R. Hutter, 1994
Sculpture (Visual work)
Sidney Hutter creates nonfunctional vessels through cold working (grinding and polishing) slabs of industrial plate glass. He uses an adhesive for each layer of glass that is cured by ultraviolet light. Through a process he developed, color is added to the adhesive which pigments his vessels. Hutter's inventive use of commercial technology has resulted in a new perspective on vessel forms.
"Bucolic Composition" by Lucio Bubacco, 2000
Sculpture (Visual work)
Lucio Bubacco grew up in the centuries-old glass culture of the island of Murano, Italy. Bubacco uses a technique known as lampworking, where a gas-powered torch is used to melt the glass which is then blown and shaped. He creates detailed sculptures often inspired by Greek mythology. In Bucolic Composition, a dark glass goblet is surrounded by nudes reveling in music and wine.
Untitled by Tom Patti, 1978
Sculpture (Visual work)
The beauty of art and the innovation of technology are combined in Tom Patti's work. He approaches glass with a voracious curiosity to discover what the material can do. His career in art began when he discovered how to create small glass sculptures of layered industrial glass with a bubble inside. Notice how Patti used colors that contrast subtly and glass pieces of varying thickness.
"Rose Hips Diptych C8" by Paul Stankard, 1994
Sculpture (Visual work)
Paul Stankard is one of the founders of the Studio Glass movement of the 1960s and 70s. Most early Studio Glass artists began their careers creating paperweights and moved on to other forms. Stankard concentrated on creating the most technically sophisticated and beautiful paperweights he could imagine. Today, Stankard is acclaimed for his miniature worlds, consisting of imaginary botanicals, bees and sometimes human figures.
"All-Night-Take-Out" by Emily Brock, 1999
Sculpture (Visual work)
Emily Brock creates intricate sculptures entirely made of glass. She constructs scenes that are often inspired by everyday spaces and pull the viewer into the narrative. An example is her versions of diners that evoke a sense of nostalgia for a bygone era and simpler times. Can you spot the many details she included to make this scene life-like?
"Little Rock River" by Jon Kuhn, 1979-1980
Sculpture (Visual work)
Glass artist Jon Kuhn is widely known for his prismatic and sometimes kinetic sculptures. However, his early work draws inspiration from rocks and other organic materials. In his River Rock series, a vividly colored glass core is covered with a matte surface layer that allows only hints at what is inside.
"Structure 25" by Howard Ben Tre, 1985
Sculpture (Visual work)
Howard Ben Tré took a unique path in the studio glass world when he exchanged traditional glassblowing techniques to cast monumental sculptures of solid glass. The rough glass surface of this piece has patinated sheet copper attached giving it a weathered look. Ben Tré states, "I hope that people without any history of looking at art, can be drawn in, and have a connection to it."
"Blue Opal Flowers" by Mark Peiser, 1971
Sculpture (Visual work)
Mark Peiser was nearly thirty years old when he visited Penland School in 1967 to learn glassblowing. After three days at the School, he found that he wanted to pursue glass seriously and requested to apply for a position as an artist in residence. The director appointed him to the position for the winter with little explanation after they had a casual conversation. Blue Opal Flowers is from the earliest phase of Peiser's work.
"Obfuscated Skyscape" by Mark Peiser, 1992
Sculpture (Visual work)
"For me, technique is not cheap -- it's imperative," asserts Mark Peiser. This contrasts with the comment made by Harvey Littleton, the founder of the studio glass movement, that, "Technique is cheap." Peiser creates innovative technical processes that express his ideas. His Innerspace Series (1983-1994) explores how to compose a solid three dimensional image within a mass of a different color.
"Lumina Green With Red Ring" by Tom Patti, 1993
Sculpture (Visual work)
The beauty of art and the innovation of technology are combined in Tom Patti's work. He approaches glass with a voracious curiosity to discover what the material can do. His career in art began when he discovered how to create small glass sculptures of layered industrial glass with a bubble inside. Sculptures such as this one explore color and spatial perception.
"Mandarin" by Toots Zynsky, 1992
Sculpture (Visual work)
Toots Zynsky developed a technique she calls filet de verre ("net of glass")--artwork made of thousands of pulled glass threads. This was initially done by hand, but she collaborated with Mathijs Teunissen Van Manen to create a thread-pulling machine. Studio glass experts Tina Oldknow and Karen Chambers have likened Zynsky's work to, "brushstrokes of color frozen forever in space and time."
"Blue Dancing Stallion Horse" Goblet by Lucio Bubacco, 2003
Sculpture (Visual work)
Lucio Bubacco grew up surrounded by the centuries-old glass culture of the island of Murano, Italy. A glass master, Bubacco notes that drawing improved his art by focusing his attention to detail. For example, while most glass artists create a horse's leg in two parts, Bubacco observes that the leg is actually three parts and then a hoof. Attention to detail enlivens his work.
"The NLM Jelly Bean Snake" Goblet by Lucio Bubacco, 2003
Sculpture (Visual work)
Lucio Bubacco grew up surrounded by the centuries-old glass culture of the island of Murano, Italy. Lampworking, a process by which a cane of glass is melted by a gas-powered torch and shaped, is his chosen method of artistic expression--an uncommon one for glass artists. Bubacco's goblets are intended for artistic enjoyment rather than functional use.
Creamer, 1800-1840
Creamer
American glass factories made a variety of glass products for the early-nineteenth-century consumer. Glassblowers turned out bottles, flasks, tableware and other household items. Earlier products were affordable only to the well-to-do. But by the second quarter of the 19th century, a growing number of manufacturers made reasonably priced blown-glass items available to the expanding middle class.
Goblet, 1800-1850
Goblet
American glass factories made a variety of glass products for the early-nineteenth-century consumer. Glassblowers turned out bottles, flasks, tableware and other household items. Earlier products were affordable only to the well-to-do. But by the second quarter of the 19th century, a growing number of manufacturers made reasonably priced blown-glass items available to the expanding middle class.
Dish, 1822-1829
Dish (Vessel for food)
American glass factories made a variety of glass products for the early-nineteenth-century consumer. Glassblowers turned out bottles, flasks, tableware and other household items. Earlier products were affordable only to the well-to-do. But by the second quarter of the 19th century, a growing number of manufacturers made reasonably priced blown-glass items available to the expanding middle class.
Sugar Bowl, 1797-1840
Sugar bowl
American glass factories made a variety of glass products for the early-nineteenth-century consumer. Glassblowers turned out bottles, flasks, tableware and other household items. Earlier products were affordable only to the well-to-do. But by the second quarter of the 19th century, a growing number of manufacturers made reasonably priced blown-glass items available to the expanding middle class.
Bowl, 1820-1850
Bowl (Vessel)
American glass factories made a variety of glass products for the early-nineteenth-century consumer. Glassblowers turned out bottles, flasks, tableware and other household items. Earlier products were affordable only to the well-to-do. But by the second quarter of the 19th century, a growing number of manufacturers made reasonably priced blown-glass items available to the expanding middle class.
Casket, 1830-1840
Casket (Personal gear)
This mold-made, pressed glass box was intended to hold a middle class lady's jewelry. It was made in the lacy glass technique, in which decoration covers the entire surface of the mold, and is raised against a background of small dots, to create a stippled appearance on the surface. The dots catch any ambient light, making the surface shimmer.
Syrup Pitcher, 1865-1870
Pitcher (Vessel)
Nineteenth-century Americans who could not afford refined white sugar found a sweet alternative with molasses or maple syrup. Syrup jugs or pitchers with their dripless metal pouring spouts held the slow-pouring, sugary liquid. These pressed or mold-blown glass containers became a common fixture on many middle-class Victorian Americans' tables.
Lalique "Victoire" Hood Ornament, 1928-1930
Hood ornament
Rene Lalique created some of the most striking automobile mascots or hood ornaments. Lalique's elegant, molded-glass models enhanced the front of any luxury vehicle. The mascots could also be lit from below making them all the more impressive. These decorative mascots became a symbol of the car owner's wealth, status, and good taste.
Pitcher and Tumblers, 1926-1931
Sets (Groups)
This footed pitcher and tumblers were part of a dinnerware service produced by the Indiana Glass Company of Dunkirk, Indiana. Known as "Depression Glass" these wares were distributed free, or at low cost, in the United States around the time of the Great Depression of the 1930s. The stepped or zig-zag design is the epitome of the Art Deco style, popular at that time.
Dinner Plate, 1930-1934
Dinner plate
During the 1930s, some American glass manufacturers produced inexpensive, pressed glass serving ware. The glassware, which came in a variety of colors and scores of distinct patterns, could be bought at many lower-end retailers as well as through catalogue merchants. Movie theaters and other businesses also gave it away -- intending to lure the cash-strapped Depression-era public inside.
Tumblers, circa 1960
Tumbler (Drinking glass)
From the late 1930s through the 1960s, glass manufacturers designed "hostess sets" for every taste and budget. Often presented as wedding or housewarming gifts, these sets became features of the popular cocktail and patio parties of the time. Whimsical decoration on the glassware, such as the colorful carousel figures depicted on these tumblers, reflected the personality of the hostess.