The Corning Museum of Glass Annual Report 2012

61 Pages·2013·28.55 MB·English

The
Corning
Museum
of Glass
Annual
Report
2012
Cover: Officers The Fellows of The Corning The Fellows of The Corning
Portrait inlay of Pharaoh Museum of Glass Museum of Glass are among
James B. Flaws the world’s leading glass col-
Akhenaten (see pages 7
Chairman of the Board Carole Allaire lectors, scholars, dealers, and
and 35).
Gary E. Baker glassmakers. The objectives
E. Marie McKee
Renée E. Belfer of this organization are (1)
President
Opposite: to disseminate knowl edge
Robert A. Belfer
Reverse-painted panel, James R. Houghton Mike Belkin about the history and art of
America, from “Four Vice President William W. Boeschenstein* glassmaking and (2) to sup-
port the acquisitions program
Continents” series (see Linda E. Jolly Alan L. Cameros of the Museum’s Rakow
page 7). Secretary Lt. Gen. Christian Clausen, retired Research Library. Admission
Simon Cottle to the fellowship is intended
Mark S. Rogus
Kenneth C. Depew to recognize accomplishment,
Treasurer
Thomas P. Dimitroff and is by invitation.
Michael J. Burns III Jay R. Doros
Assistant Treasurer David Dowler
Christopher T. G. Fish
Karol B. Wight
Alice Cooney Frelinghuysen
Executive Director
David Fuchshuber
William Gudenrath
Trustees
Jiří Harcuba +
Roger G. Ackerman* Douglas Heller
Peter S. Aldridge A. C. Hubbard Jr.
Van C. Campbell* Lawrence Jessen
Dale Chihuly* Kenneth L. Jobe+
Patricia T. Dann* Dorothy-Lee Jones+
Robert Duke* Olive Jones+
Jeffrey W. Evenson Helena Koenigsmarková+
James B. Flaws Stephen P. Koob
John P. Fox* Michael Kovacek
Polly W. Guth* Dwight P. Lanmon+
Ben W. Heineman † Harvey K. Littleton
Randi L. Hewit Howard J. Lockwood
Amory Houghton Jr.* Louise Luther
Arthur A. Houghton III* Kenneth W. Lyon
James D. Houghton Josef Marcolin
James R. Houghton Gregory A. Merkel
Thomas C. MacAvoy* Kirk J. Nelson+
E. Marie McKee Barbara H. Olsen
Carl H. Pforzheimer III Elmerina L. Parkman
Carlos A. Picón Paul D. Parkman
Helmut Ricke* Paul N. Perrot +
Mark S. Rogus John V. B. Perry
Antony E. Snow* Joan P. Randles
Susan M. Taylor Richard F. Randles
Charles L. Venable Peter Rath
Peter F. Volanakis* Rachel Russell
Wendell P. Weeks Prof. Dr. Axel von Saldern †
Ian McKibbin White* Josh Simpson
Karol B. Wight John P. Smith
Walter Spiegl+
* Trustee Emeritus Paul J. Stankard
Photo Credits
† Deceased, August 5, 2012 Prof. Dr. Rudolf von Strasser
All of the photographs in this Annual Lino Tagliapietra
Report are by The Corning Museum of Catherine M. V. Thuro-Gripton+
Glass (Nicholas L. Wil liams, Andrew M. Kenneth R. Treis
Fortune, Allison S. Lavine, and Amanda M. Harley N. Trice
Kiesl), with the following exceptions:
A. A. Trinidad
Page 3: Carl Saytor Deborah Truitt
Durk Valkema
Pages 6 (top), 13 (top), 14–16, 35 (right),
and 49: Gary Hodges David B. Whitehouse ‡
Karol B. Wight
Page 9: Russell Johnson, courtesy of the
Rainer Zietz
artist
Maris Zuika
Page 20: Mary MacEachern
Pages 17 and 18: Maria Strinni Gill *Life Fellow
+ Honorary Fellow
Page 21 (top, right): Ann Cady
† Deceased, June 2, 2012
Page 30: Francesco Allegretto ‡ Deceased, February 17, 2013
The
Corning
Museum
of Glass
Annual
Report
2012
An educational institution
dedicated to the history,
art, and science of glass
Chartered by the Board
of Regents of the University
of the State of New York
April 27, 1951
(6026)
Accredited by the American
Alliance of Museums
1973, 1986, 1999, 2010
The Year Writing the introduction to our Annual celebrated the achievements of Littleton and
Report provides me with an opportunity to Labino. The Studio Glass movement’s anni­
in Review
look back on the many achievements of The versary also dictated the theme of our annual
Corning Museum of Glass this past year, the Seminar on Glass, held in October. Tina
first full year that I have served as executive Oldknow, curator of modern glass, and Mary
director. To observe the life of the Museum Mills, education programs manager, worked
throughout the year, from the quiet of winter together to formulate an amazing slate of
to the busy activity of summer, has been an speakers—curators, artists, collectors, and
enjoyable experience for me. The year 2012 dealers—all of whom played a role in the early
was a year of remembrances and initiatives years of the movement.
for the Museum. While some of these remem­ This American artistic endeavor was sup­
brances were celebratory, one was a recount­ ported and encouraged by artists in Europe.
ing of a local natural disaster. The initiatives One of them, the German Erwin Eisch, was
were all exciting opportunities to share our the subject of 2012’s “Masters of Studio
Museum with broader audiences, both young Glass” exhibition. Eisch had grown up in a
and old, locally and globally. glassmaking family in Frauenau, a town with­
in a region with a long and rich tradition of
The 50th Anniversary of the Studio Glass glassmaking on a large and small scale. He was
Movement one of the first European artists who pushed
the material in new and unusual directions,
In 1962, a seminar on glassmaking was held and his work greatly influenced American art­
at The Toledo Museum of Art. Led by Harvey ists. Juxtaposing Littleton’s and Eisch’s work
Littleton and Dominick Labino, it was a semi­ within the Museum was a study in contrasts—
nal moment in the history of glass in America. an intriguing way to compare the youthful
It ushered in a new era of glassmaking on a American approach to glass with an experi­
smaller scale, outside the industrial dimensions enced European one.
of the factory, at the hands of aspiring artists
eager to work with this new material. This A Summer of Making Ideas
anniversary was celebrated at our Museum
in a variety of ways, and it became one of the “Making Ideas: Experiments in Design at
backbones upon which we built our exhibi­ GlassLab,” our major exhibition in 2012,
tions and public programs in 2012. Two ex­ celebrated the Museum’s GlassLab program.
View of the exhibition
“Masters of Studio Glass: hibitions, one on the Museum’s West Bridge GlassLab introduces the medium of glass to
Erwin Eisch.” and the other at the Rakow Research Library, designers, uniting them with glass artists in
order to explore new product designs in glass.
Begun in 2007, GlassLab has presented a roster
of talented designers who moved across the
hot­glass stage at such venues as the Vitra
Design Museum in Weil am Rhein, Germany,
during Art Basel; Art Design /Art Basel in
Miami; and Domaine de Boisbuchet in Lessac,
France.
In the “Making Ideas” exhibition, curated
by Tina Oldknow, the prototypes developed
in these sessions over the years were show­
cased for the public, unveiling the creative
process behind the development and design of
new consumer products in glass. Instead of a
traditional exhibition catalog, Museum staff
developed a GlassLab­focused Web site that
provides ongoing updates as new GlassLab
events take place around the world, and as new
designers take part in our program. Simultane­
ously, in celebration of a “summer of making
ideas,” GlassLab sessions were held in Corning
2
for the first time and, in collaboration with the my family and I enjoyed an eastern Caribbean The Museum brings its
Cooper­Hewitt, National Design Museum, on cruise aboard the Solstice before it set sail for GlassLab design program
Governors Island in New York City. Because of the Mediterranean summer cruise season. In to Governors Island in
celebration of a “summer
the Cooper­Hewitt’s nearby exhibit on graphic addition to delivering a lecture on ancient
of making ideas.”
design, the Governors Island GlassLab sessions Roman glass, I narrated the show for other
included graphic designers for the first time. passengers with our three talented gaffers. I
Our presence on Governors Island led to a can now say from firsthand experience that it
measurable uptick in visitation to the Museum is quite a treat to view a Hot Glass show on
from the New York City region, a sure sign of the lawn deck of a ship traversing the beautiful
successful outreach. waters of the Caribbean. My fellow passengers,
as well as all passengers who enjoy such Celeb­
At Home and Abroad rity cruises, are invited back to the Museum
to see our home base of operations, and when
Other programs and initiatives expanded they present their sea passes, they receive free
the Museum’s reach across the nation and admission for two.
around the globe. Our Hot Glass Roadshow The Museum’s relationship with Celebrity
had deployments from Florida to Michigan. Cruises was deepened when one of our gaffers,
These deployments are often an observer’s first Megan Mathie, was named one of four god­
experience of glassmaking, and these shows mothers for Celebrity’s newest Solstice­class
create an expanding body of fans of the Mu­ ship, Celebrity Reflection. Along with other
seum. But our influence was felt not only on women whose lives have been touched by
land, because the Museum also continues its breast cancer, all of whom work with Celeb­
collaboration with Celebrity Cruises. We es­ rity Cruises in some capacity, Megan chris­
timated that, during 2012, our glass artists tened the ship in a celebration in Miami on
reached our one millionth sea cruise guest December 1, 2012. It was a great honor for
since the launch of the Hot Glass at Sea pro­ Megan, and we are proud of the work that she
gram in 2007. In addition, Celebrity Solstice has done to support breast cancer research by
began a voyage in 2012 that progressed from creating her “Hot Pink Glass Show” during
the Mediterranean Sea to the shores of Aus­ her deployments at sea. Selected works creat­
tralia and New Zealand, taking the Hot Glass ed in that show, and in other hot­glass shows,
Show back to Australia for the first time since are auctioned off at the end of each cruise to
our 2005 deployment. support breast cancer research, while others
I myself had an opportunity to experience are sold to support our Studio scholarship
the Hot Glass at Sea program in April, when program.
3
Like our gaffers, our collections traveled selected works by students in area schools,
the world in 2012. Loans from the glass col­ from kindergarten through grade 12. Welcom­
lection were put on view at various venues ing these aspiring artists and their families to
across the United States, in Europe, and in our Museum was a thrill, and we are proud of
Australia. Holdings from the Rakow Library our longstanding relationship with the schools
also traveled the world, including material in our community.
from our 2011 exhibition on the Museum’s We also enjoyed a new collaboration with
200­inch disk, which was re­created at the Watkins Glen International. For the first time,
National Glass Centre in Sunderland, U.K., the Museum was invited to create a unique
as part of the Cultural Olympiad, held during trophy for the winner of the Finger Lakes
the 2012 Summer Games in London. 355, a NASCAR Sprint Cup Series race. Using
In addition to our staff traveling the world the unique shape of the track and the iconic
for glass, the Museum expanded our digital light blue color of its guardrails as sources of
outreach by relaunching our Web site in Feb­ inspiration, the glass artist Eric Meek and his
ruary 2012. The greatly expanded site now team designed an amazing glass trophy that
includes information about our entire glass celebrated some of the region’s signature ele­
collection, the Rakow Library’s holdings, and ments: the waterfalls of the Finger Lakes, our
other resources on glass. A visually rich expe­ glassmaking tradition, and Watkins Glen In­
rience can take our virtual visitors through ternational. Attending this race in August, my
technical glassmaking videos, oral histories, first NASCAR event, I had the distinct honor
live­streamed demonstrations from our Studio, of awarding the trophy to Marcos Ambrose,
and numerous written resources. This relaunch winner of the Finger Lakes 355.
involved nearly every member of the Museum’s A regional natural disaster is commemorated
staff in its development and preparation, and in an ongoing exhibition at the Rakow Library.
was a significant achievement during the year. “The Flood of ’72: Community, Collections,
Our data indicate that we had 626,000 visitors and Conservation” recalls the devastating
to the new site, with 3.5 million unique page flood of the Chemung River that occurred
views. The Web site continues to expand with overnight on June 23, 1972. In addition to the
new content, blog entries, and program up­ tragic loss of life and the destruction of parts
dates, so keep visiting. You’ll always find some­ of the community, the floodwaters wreaked
thing new to see and enjoy! havoc on the Museum’s building, glass collec­
Screen capture taken
On the home front, the Museum continued tion, and Library holdings. The exhibition re­
from the Museum’s rede­
to welcome guests both locally and from counts the events of the flood and the heroic
signed Web site, showing
a page from the “Explore” around the globe. In May, we installed the efforts of the townspeople, Museum staff,
tab. 44th annual Student Art Show, which included and volunteers who worked to bring Corning
back to life. The conservation work on the
glass holdings was remarkable, and that on
the rare books and other printed material at
the Library set a new international standard,
with practices that are still being followed
today. These treatments were most recently
employed with the arrival of Hurricane Sandy
and its devastating effects on the waterfronts
of New Jersey, New York, and further north.
Luckily, Corning was spared, and our hearts
and thoughts go out to all of those who have
suffered as a result of this terrible natural dis­
aster.
Business as Usual? Only in Corning
The traditional Museum activities took
place throughout the year, resulting in spec­
tacular new additions to the glass and Library
collections. Principal among these were two
4
ancient glass pieces, one Roman and the other
Egyptian. Our new Egyptian portrait inlay of
Pharaoh Akhenaten is a stunning image of the
king, and it captures the beauty of the artistic
style that was introduced during his reign in
the 14th century B.C. The Roman inlaid bowl
with an imaginary scene of the flora and fauna
of the Nile, including an eight­winged dragon­
fly, is a type of vessel that was previously rep­
resented in the collection only by fragments of
similar works. Our new bowl is the only nearly
intact example of this late Roman vessel style
to survive from antiquity.
During the year, we published new schol­
arly books, as well as our first children’s book,
Paperweight Pals, a board book that intro­
duces young children to 10 of our charming
paperweights.
We welcomed several new Trustees. Randi L.
Hewit, Charles L. Venable, and Susan M.
Taylor joined the Board in May, bringing to
the group expertise in community relations and
the museum world. In addition, I was elected from the collection he formed with his late Inlaid bowl with Nilotic
to the Association of Art Museum Directors, a wife, Natalie, grace the gallery that bears their scene, assembled, cast,
polished. Roman Em­
community of museum directors from across family’s name. Axel von Saldern, a noted Ger­
pire, fourth–fifth cen­
North America who meet regularly to promote man scholar and curator, died in June. A mem­
turies. H. 4.4 cm, D.
the importance of museums, and to establish ber of the founding staff of the Museum, he
20.2 cm (2012.1.1).
standards by which we operate. spent the early years of his career working in Purchased in part with
Our visitorship continues to grow, particu­ Corning. His primary area of study was Islamic funds from the Ennion
larly in the segment of guests arriving on bus glass, but he was deeply knowledgeable about Society and the Hough­
tours. Our programs, activities, and collection all of historical glass production. His expertise ton Endowment Fund.
tours have kept pace with visitation, and we led to his election as one of the Museum’s Fel­
were delighted to see that 27 percent of our lows, a group of noted scholars, collectors, and
visitors engaged in hands­on glassmaking dealers of glass. His book on the Museum’s
through our Make Your Own Glass program. collection of German enameled glasses was
At The Studio, we welcomed more than one of the first publications on this topic in
1,000 new and returning glass students, and English, and it became a major contribution
worked with 10 artists in residence from to this field of study. Both of these men will
around the globe. Our Education Department be missed.
launched a new program for middle­school
students, titled Junior Scientists. In collabora­ Expansion and Renovation
tion with local middle­school science teachers
and scientists from Corning Incorporat ed’s The Museum ended 2011 in the midst of
research facility, we developed a program of the architectural design phase for our North
inquiry and activity to create a curriculum for Wing expansion. In 2012, great leaps forward
students that focuses on the material of glass were made in finalizing the design, in breaking
as an element of scientific study. ground, and in preparing for the future. But
We mourn the loss in 2012 of two members even before the groundbreaking, there was
of our Museum family: Ben W. Heineman Sr. renovation work afoot in the Museum, some
and Axel von Saldern. Ben Heineman, a noted of which involved improvements in existing
businessman, philanthropist, and supporter facilities, and some of which was in prepara­
of the arts, died in August. Mr. Heineman tion for our new buildings. Our Café was
touched our Museum in several ways: as a completely redesigned, resulting in more space
friend, as a Trustee, and as an avid collector for our visitors to dine, a better kitchen for
of contemporary glass. Many of the pieces the culinary staff, and a sleek new servery, all
5
pipers. The new Innovations Stage, on which
our gaffers demonstrate and work, is a light­
filled space with greater capacity, and it is
adjacent to our Admissions Lobby. The new
location for the stage was necessary because
the old stage was attached to the former Steu­
ben Glass factory, a part of the building slated
for demolition and renovation.
Our official groundbreaking for the North
Wing expansion took place on a beautiful
sunny morning in June. With members of our
Board of Trustees, leaders of our major donor
Corning Incorporated, local and state poli­
ticians, and members of the community in
attend ance, we thrust spades into the soil to
mark the onset of construction. We look for­
ward to continued change as the new gallery
building and hot­glass stage begin to emerge
from the ground in 2013.
None of these many achievements could
have taken place without the full support of
our Board of Trustees, the hard work of our
talented and dedicated staff, our army of tem­
porary staff, and our volunteers and docents,
who are so generous with their time and en­
ergy. I thank them all for another remarkable
year, and look forward, with them, to taking
the Museum forward in 2013.

David Whitehouse, former executive direc­
tor, died on February 17, 2013, following a
brief battle with cancer. He was 71. David
joined the Museum in 1984, and during his
years in Corning, he became one of the world’s
foremost authorities on ancient and Islamic
glass. David stepped down as executive direc­
tor and assumed a new role as the Museum’s
Turning the soil during Opening ceremony for senior scholar in 2011. At the time of his death,
the groundbreaking the new Hot Glass Show
he was working on three publications related
ceremony for the North Innovations Stage.
to ancient glass, which we plan to complete
Wing expansion are
(left to right): Philip A. and publish in the next several years. During
Palmesano and Thom as F. his tenure as executive director, the Museum
O’Mara, New York State achieved in collaboration with HAIGH Archi­ underwent a major renovation and expansion,
assemblyman and senator tects. Other facilities work included a newly the Rakow Library’s holdings were nearly
respectively; Karol Wight,
designed loading dock for the glass collection, doubled, and The Studio was created. David
the Museum’s executive
an essential element in any museum opera­ will be sorely missed, both by the Museum
director; Wendell P.
Weeks, chairman and tion, and the relocation of our small hot­glass staff and by his many colleagues and friends
chief executive officer of stage to a room formerly used as an orienta­ around the world. David’s obituary can be
Corning Incorporated; tion theater. found on our Web site (www.cmog.org), and
James B. Flaws, chairman Inaugurated in July, the new stage was a scholarly obituary will appear in the 2013
of the Museum’s Board
opened in a ceremony that included an honor volume of our Journal of Glass Studies.
of Trustees; Marie McKee,
guard of gaffers, both new and old, holding
president of the Museum;
and Richard Negri, mayor their blowpipes aloft; a military color guard; Karol Wight
of the city of Corning. and, leading the entire parade, a band of bag­ Executive Director
6
Ancient castle upon Tyne, William and Mary Beilby, Selected
about 1765. H. 15 cm, D. 7 cm (2012.2.1).
Additions
Portrait inlay of Pharaoh Akhenaten, cast, Reverse­painted panel, America, from
cold­worked. Egypt, about 1353–1336 B.C. “Four Continents” series, glass, paint, partly
to the
H. 4.2 cm, W. (ear to nose) 2.9 cm (2012.1.2). gilded wood frame, metal mounts. Germany,
Gift of the Ennion Society. Augsburg, 1775–1799. H. 28 cm, W. 22.8 cm Glass
Bottle, blown, applied. Roman Empire, (2012.3.6).
about third–fourth centuries. H. 15.8 cm, Reverse­painted panel, Asia, from “Four Collection*
D. (max.) 11.1 cm (2012.1.3). Gift of The Continents” series, glass, paint, partly gilded
Merritt Lum Budd and Edna Van Sickle wood frame, metal mounts. Germany, Augs­
Budd Collection. burg, 1775–1799. H. 28 cm, W. 22.7 cm
Pitcher, mold­blown, applied. Roman Em­ (2012.3.7).
pire, about third–fourth centuries. H. 18.6 cm, Cameo gem with portrait of Emperor Au­
D. (shoulder) 8.6 cm (2012.1.4). Gift of The gustus, cast, possibly engraved. Europe, 1800–
Merritt Lum Budd and Edna Van Sickle Budd 1825. H. 3.3 cm (2012.3.12). Purchased with
Collection. funds from the Arthur Rubloff Residuary
Inlaid bowl with Nilotic scene, assembled, Trust.
Cameo gem with portrait
cast, polished. Roman Empire, fourth–fifth Pitcher with scene of the Charge of the Light
of Emperor Augus tus,
centuries. H. 4.4 cm, D. 20.2 cm (2012.1.1). Brigade, blown, applied, engraved, cut. Proba­
cast, possibly engraved.
Purchased in part with funds from the Ennion bly England, about 1870–1900. H. 25.5 cm
Europe, 1800–1825.
Society and the Houghton Endowment Fund. (2012.3.11). H. 3.3 cm (2012.3.12).
Pair of vases with japonisme scenes, blown, Purchased with funds
European enameled. France, Baccarat, Compagnie des from the Arthur Rubloff
Verreries et Cristalleries de Baccarat, about Residuary Trust.
Chandelier with 12 arms, blown, cut, assem­ 1880. Taller: H. 15.4 cm, D. 9.7 cm
Chandelier with 12 arms,
bled; metal mounts. England, about 1760– (2012.3.3A, B).
blown, cut, assembled;
1765. H. about 125 cm (2012.2.8). Claret jug with stopper, blown, copper­
metal mounts. England,
Wineglass with chinoiserie scene, blown, wheel engraved; applied foot and handle. Eng­ about 1760–1765. H.
cane decoration, enameled. England, New­ land, Stourbridge, possibly Thomas Webb and about 125 cm (2012.2.8).
* For more information about many of these acquisi­
tions, see The Corning Museum of Glass: Notable
Acquisitions 2012 (May 2013) or visit www.cmog.org.
7
Wineglass with chinoise­ Sons, possibly engraved by William Fritsche, with funds from the Gladys M. and Harry A.
rie scene, blown, cane about 1880–1900. H. 33.1 cm (2012.2.4). Snyder Memorial Trust.
decoration, enameled. Harbor lantern with dioptric lens, mold­
England, Newc astle upon
American blown; tin, brass. U.S., Brooklyn, NY, Brook­
Tyne, William and Mary
lyn Flint Glass Works (glass), and New York,
Beilby, about 1765. H. 15
cm, D. 7 cm (2012.2.1). Cream jug with 1794 U.S. penny in knop, NY, Howard and Morse (metal), 1852–1866.
blown, tooled. U.S., probably Philadelphia, H. 44.3 cm, D. (max.) 20.3 cm (2012.4.135).
Cream jug with 1794 PA, possibly Kensington Glass Works, John Two­quart jug in “Palace” pattern, mold­
U.S. penny in knop, Nicholson’s Glasshouse, or Philadelphia Glass blown, tooled; applied handle. U.S., East Cam­
blown, tooled. U.S., Works, about 1800–1815. H. 12.2 cm, D. bridge, MA, New England Glass Company,
probably Philadelphia,
(foot) 6.7 cm (2012.4.130). Purchased with 1868–1875. H. 25.1 cm (2012.4.50).
PA, possibly Kensington
the assistance of The Karl and Anna Koepke Royal Flemish vase with Egyptian scene,
Glass Works, John Nich­
Endowment Fund. blown, enameled, gilded. U.S., New Bed ­
olson’s Glasshouse, or
Philadelphia Glass Works, Two whale oil lamps with shades, blown, ford, MA, Mt. Washington Glass Company,
about 1800–1815. H. pressed, cut, assembled; metal, pewter. U.S., 1893–1895. H. 32.9 cm, D. (max.) 16.8 cm
12.2 cm, D. (foot) 6.7 cm Sandwich, MA, Boston and Sandwich Glass (2012.4.24). Gift of Barbara Olsen in memory
(2012.4.130). Purchased Company, 1830–1840. Taller: H. 40 cm, D. of Fellow, John K. Olsen.
with the assistance of The
(max.) 8 cm (2012.4.3A, B). Kerosene banquet lamp in “Victoria”
Karl and Anna Koepke
Vase in “Acanthus Leaf” pattern, pressed pattern, blown, cut, assembled; metal. U.S.,
Endowment Fund.
(in two parts), tooled, joined. U.S., probably probably White Mills, PA, C. Dorflinger and
Sandwich, MA, probably Boston and Sand­ Sons (glass blanks); Corning, NY, J. Hoare
wich Glass Company, about 1835–1845. H. and Company (cutting); Waterbury, CT,
25.3 cm, D. (base) 11.2 cm (2012.4.119). Pur­ Plume and Atwood Manufacturing Company
chased with funds from the Martha J. Herpst (metal parts); about 1895–1905; and Pepi
Estate. Herrman (chimney). H. 64.7 cm, D. (max.)
Reverse painting, Brant Mansion, St. 28.7 cm (2012.4.120). Purchased with funds
Louis, Missouri, glass, paint, gilded; original from the Martha J. Herpst Estate.
wood frame, metal mounts. U.S., signed Pitcher with silver rim, blown, applied, cut,
“M.A.BUGEL St. Louis, Mo. Sketch taken by engraved. U.S., New Bedford, MA, Pairpoint
C.Kleinschmidt,” about 1850–1860. H. 71 cm, Corporation (glass), and Providence, RI,
W. 81.7 cm (2012.4.36). Purchased in part Gorham Manufacturing Company (silver),
8