Because we have so many visitors, we can't accommodate RVs in our lot overnight, although you are welcome to park there during your visit to the Museum. However, there are a number of RV camps in the area. Visit the Steuben County Conference and Visitors Bureau for more information.

Yes. The Museum campus has free public wireless internet access (WiFi) in most areas including the Café, the Rakow Research Library and The Studio. The signal may be weaker in some areas than others.

Follow these instructions to connect on your Android device:
Go to Settings and touch “Wireless and networks.” Touch “Wi-Fi settings.” Touch to turn on your device’s Wi-Fi setting. Select “GlassApp & Free WiFi” from the list of Wi-Fi networks.

Follow these instructions to connect on your Apple device:
Open the Settings app and touch “Wi-Fi.” Make sure Wi-Fi is ON. Touch “GlassApp & Free WiFi” from the list of available networks.
For more information see Mobile FAQs.

Yes. We have an automated teller machine (ATM) that is located on the Lower Level, adjacent to the Café.

Yes. The Museum is wheelchair accessible, and wheelchairs are available at no charge on a first-come, first-served basis. Please ask a Guest Services Team Member or a security guard for assistance. We regret that wheelchairs may not be reserved in advance.

Advanced admission tickets are now required and visitors should arrive within the 30-minute window following the time on your ticket. Tickets are good for the entire day and do not limit the amount of time you may spend in the Museum.

The Café is located at the rear of the Museum Shops and is open year-round. It offers hot entrees, pizza, soups, salads, and sandwiches, as well as beer, wine, freshly prepared Gimme! coffee, espresso, and other hot and cold beverages. See today's menu.

The Greater Corning Area has a population of about 26,000. This includes the surrounding communities of Riverside, Painted Post, and Erwin.

The large black contemporary glass building is the world headquarters for Corning Incorporated. It is an office building, and it is not open to the public. You may note the architectural detail at the top of the headquarters building, which resembles a V-shaped structure known as a Robertson Ventilator. It doesn't serve any function, but rather is an architectural gesture acknowledging Corning Incorporated's history as a glassworks.

The tower was originally the Tube Draw Tower. Erected in 1912, it was used to draw glass tube for making thermometers. It was restored in 2000, and today it is a local landmark known regionally as "Little Joe" for the iconic glassblower painted on its side.

It was attracted by ample coal and fuel and good transportation facilities, both rail and canal.

Access GlassApp by connecting to the "GlassApp & Free WiFi" network in the Museum, or visit https://glassapp.cmog.org in the web browser on your iPhone, Android, other mobile device, desktop, laptop, or tablet. You do not need to be connected to WiFi to access GlassApp, it can also be accessed in your smartphone's internet browser using cellular data. 

Follow these instructions to connect on your Apple device in the Museum:
Open the Settings app and touch “Wi-Fi.” Make sure Wi-Fi is ON. Touch “GlassApp & Free WiFi” from the list of available networks. Touch "Connect." Touch "Proceed to GlassApp."

Follow these instructions to connect on your Android device in the Museum:
Go to Settings and touch “Wireless and networks.” Touch “Wi-Fi settings.” Touch to turn on your device’s Wi-Fi setting. Select “GlassApp & Free WiFi” from the list of Wi-Fi networks. Touch "Connect." You are now connected to the WiFi, open your internet browser and enter the URL https://glassapp.cmog.org.

To access GlassApp off The Corning Museum of Glass campus, visit https://glassapp.cmog.org in the web browser on your iPhone, Android, other mobile device, desktop, laptop, or tablet.

Please visit our Ask a Glass Object Question site to learn about submitting a request for identification.

As a non-profit, cultural institution, The Museum cannot offer appraisal services. The Museum will neither provide a monetary value for any object, nor comment on rarity.

If you wish to determine the value of your glass piece, you may want to consult a reliable local antique dealer, or send a photograph of the object to a reputable auction house. For a list of auction houses worldwide, see ArtNet’s https://www.artnet.com/auctionhousedirectory/index.aspx

You can also find appraisers through several professional organizations:

The American Society of Appraisers (phone) 800-ASA-VALU (online) https://www.appraisers.org

The Appraisers Association of America (phone) 212-889-5404 (online) https://www.appraisersassociation.org/

The International Society of Appraisers (phone) (312) 981-6778 (online) https://www.isa-appraisers.org/

Maloney’s Antiques and Collectibles Resource Directory, which provides listings of appraisers by type of collectible. Your local library may have a copy.

Start by searching the museum’s permanent collection for your family name. If you are still unsure or would like additional information, please contact us on our Ask a Glass Object Question page.

Corning Incorporated no longer manufactures Corningware. They sold the consumer products division to World Kitchen in 1998. The Corning Museum of Glass is not part of Corning Incorporated and does not involve any factory or research facility tours.

The Museum offers one-hour family-friendly tours daily, from Memorial Day through October, and during winter and spring breaks; see the calendar for dates and times. These tours are available as drop-in experiences and there is no need to reserve space in advance. Guests are able to self-guide through the Museum any time during our operating hours. Special exhibition and private tours are also available throughout the year. If you would like to schedule a guided tour, contact +1 (607) 438+5112 at least two weeks ahead of your visit date. All guided tours are subject to Glass Guide availability and any associated fees. The Museum also accommodates group tours (20 or more people).

The Corning Museum of Glass opened in 1951. In 1998, it expanded its activities to include those of the Corning Glass Center. The entire campus is now called The Corning Museum of Glass.

While other manufacturers and distributors also provide suitable materials, for the glass exhibition %%cases%%, we use ""ZEP 40"" Non-streaking Glass Cleaner, which is clear, non-ammonia cleaner, basically made of deionized (or distilled) water and isopropyl alcohol (probably about 90% water, although the manufacturer does not disclose exact proportions).

To wash glass objects themselves (the ones that can be safely washed), we use a non-ionic dilute conservation-grade detergent, warm tap water, and rinse thoroughly in deionized water. Commercially, Ivory Liquid Clear is a suitable soap. One should avoid any soaps or detergents with color (dyes), perfumes, and ammonia, including Windex.

All chemicals, including soaps, should be used in accordance with the manufacturer's recommended guidelines and their Material and Safety Data Sheets. They must also be used in compliance with U.S. Occupational Safety and Health Administration OSHA) regulations.

Disclaimer: These are the recommendations of our Conservator, who has lectured and published extensively on the cleaning and care of glass objects. The author and The Corning Museum of Glass make no representations concerning products or services, nor are responsible for their misuse. The materials listed are for informational purposes only.

The Corning Museum of Glass is a private, non-profit foundation, generously supported by Corning Incorporated. The Museum is one of many organizations nationwide that benefit from the philanthropic activities of Corning Incorporated according to the foundation law of 1969.

Glass objects that can be safely washed (most objects in the collection except ancient and some modern and composite objects) are washed with tap water and a mild conservation-grade detergent (any mild detergent without dyes or perfumes would work), followed by thorough rinsing with de-ionized or distilled water. The glass is then either toweled dry with paper towels or air dried. For some objects, like bottles with narrow openings, the inside is rinsed with a small amount of acetone to help remove moisture. Old adhesives from previous repairs or labels are removed with solvents, mostly acetone, ethanol, or a petroleum distillate like naphtha. 

Please see this video on the Museum’s YouTube channel and this blog post for more information about cleaning glass. 

The time it takes to do one conservation treatment can differ greatly. A simple treatment can take as little as 15 minutes, while a very complicated one can take hundreds of hours over many months. Most treatments take between 10 and 30 hours of active work over a period of several months. Many of the materials we use require long setting times, so we can’t do an entire treatment at once. Sometimes we can only glue one fragment a day. The treatment ends up taking months, but we’re really only working on it for a few minutes a day. This is one of the reasons we usually work on several objects at a time.

Confusion sometimes arises about the terms “restoration” and “conservation.” Restoration is actually a type of conservation treatment. Specifically, it refers to an attempt to bring an object closer to its original appearance. The other type of conservation treatment is stabilization, which refers to an attempt to prevent further deterioration of an object. In all conservation treatments the integrity of the object and maintaining as much of the original material as possible is important. 

In glass conservation, a stabilization treatment might include re-assembling the fragments of a broken object, but not making any fills to replace the missing pieces unless they are needed for structural support. A restoration treatment would include making fills to replace the missing fragments so that the object looks whole once again. Conservators do not want to deceive anyone into believing an object is undamaged when it’s not, but the repairs also should not distract from the object itself. As a general rule, restorations should be invisible/unnoticeable from 6 feet away, but visible (to a trained eye) from 6 inches away. 

Visit the American Institute for Conservation’s website to read the code of ethics that all conservation professionals follow. 

Yes. Visit Glassmaking Classes at The Studio or call 607.438.5100 for information.

Due to space constraints we can only allow one chaperone per ticket holder to accompany those who may need additional assistance with their project. The Main Make Your Own Glass Workshop is designed so that parents may see all of their children doing a project even if the projects are different. During busy times of the year additional workshop areas are open, during these times it may not always be possible to watch several projects taking place at the same time.

Your Make Your Own Glass project will be available at noon or after the following day. We cannot guarantee that your project will be ready before this time due to our slow cooling process called annealing. Each project needs an adequate amount of time to cool slowly and evenly otherwise the glass can crack or even break.

If you participate in the final two flameworking (bead or pendant) classes of the day, you will need to allow for two days of cooling as these projects go through a much more involved cooling process. We offer free shipping for the beads and pendants made during these sessions and will supply you with an envelope.

Two people cannot share one Make Your Own Glass experience. We have a “one person per project” rule to minimize the number of people moving close to the hot furnaces and torches. You are still able to watch someone participating in a project at a safe distance behind our glass barrier.

Unfortunately, we offer no discounts on the Make Your Own Glass experiences. The AAA, 62+, Student, and Military discounts only apply to general Museum admission.

If you purchased your Make Your Own Glass tickets online you can pick them up at the Admissions Lobby desk. The Guest Services staff will find your reservation and print your tickets. You should bring a printed copy of your reservation confirmation in case there are any problems with your reservation. You may also check in at the desk directly inside the doors of The Studio. We recommend checking-in at The Studio if it is less than 20 minutes prior to your reserved time.

There is no fee to watch others participate in a Make Your Own Glass experience. You may stand behind the glass barrier and watch your family/friends make their glass. Additionally, the Frederick Carder Gallery is directly next to the Make Your Own Glass Studio (free to the public) that you can walk through while you wait.

We recommend planning for each Make Your Own Glass experience to take 40 minutes. There is a lot to see and do at the Museum, so we recommend allowing 2-3 hours for your visit. If you have limited time, our Guest Services staff can assist you in planning the most efficient way to see as much of the Museum as possible.

If you are unable to pick up your projects the day following your Make Your Own Glass experience, we offer shipping within the United States, starting at $18. The cost will increase depending on the shipping distance and/or the weight of the package. We also offer shipping to Canada. The base charge for Canadian shipping is $45 for the first piece and $3 for each additional. We cannot ship to other international addresses at this time.

We must ship to a home address and cannot ship glass projects to a hotel (if you are traveling for an extended period of time). Additionally, with the exception of flameworking projects (beads and pendants), we are not able to ship to P.O. boxes.

If you are not sure of your travel plans, you can add shipping at a later time by calling The Studio directly at at (800) 732-6845 (press 2) or +1 (607) 438-5000 (direct line). You will be asked for payment over the phone.

With the exception of sandblasting, all of our hot glass projects need to stay overnight. In order to avoid cracks and breaks in your glass the projects need to undergo a slow and even cooling process called annealing. This process takes place in a separate furnace and your project will be available for pick-up or shipping the following day.

The Library’s collection is non-circulating, although we do loan some materials to other libraries through our Interlibrary Loan service.

Yes, an appointment is required to visit the Library which is open 10am to 4pm Monday - Thursday.  For more information about scheduling an appointment, see our Plan your Visit guide. While the Library cannot currently accommodate walk-in visitors, staff will make every effort to accept same-day appointments to browse or use our collections during our open hours. To schedule a visit with less than 48 hours notice, please email us at [email protected] or call the reference desk at +1 (607) 438-5300.

Yes. The Library has hundreds of trade catalogs, advertisements, books, special collections, and other materials, some of which are available on the Pyrex Potluck website. You may also search our online catalog for additional materials. For information about making an appointment to view collection materials, please see our Plan your Visit guide.

The Rakow Research Library is open by appointment only Monday - Thursday, 10am - 4pm. Our Plan your Visit guide (https://reserve.cmog.org)  provides information about scheduling a visit and finding materials. Please see the Museum's safety policies to find updated information for visitors.

The Rakow Research Library’s Special Collections comprise rare and unique information resources, including archival materials, manuscript books, and exceptional printed books. Many of the Museum’s works of art on paper, such as prints and design drawings, may also be found in Special Collections. Almost all Special Collections materials are available for research by appointment. Find more information about visiting the library to use Special Collections, on our Plan your Visit guide.

Yes, but giving through a charitable trust, foundation, or donor-advised fund carries certain restrictions. Please contact Member Services at [email protected] or +1 (607) 438-5600 for more information.

No, membership cards are not transferable; only the cardholder is entitled to use the card. Museum membership makes a great gift for family and friends, though. Visit the Membership section of our website for more information.

Yes, Members receive a generous 15% discount off regularly-priced items in the Museum Shops and Cafe as well as special sales throughout the year. Please present your membership card when you check out.

Upgrading your membership gives you access to additional benefits and opportunities and you can upgrade your current membership any time. Simply call Members Services at +1 (607) 438-5600 or visit the Membership section of our website, and select your new level. You can also upgrade when you receive your membership renewal notice. Simply mark the new level you desire to be at and return it in the pre-paid postage envelope with payment.

There are several ways to join, or to renew your membership. You may visit the Membership section of our website, call +1 (607) 438-5600, or mail your membership renewal form to: The Corning Museum of Glass, Member Services, One Museum Way, Corning, NY 14830. Memberships can be purchased or renewed at the Admissions Desk or in The Shops at the Museum.

ASTC, NARM, and ROAM programs make it possible for members at one museum to enjoy benefits of membership at another participating museum. Members of The Corning Museum of Glass at the Donor level and above will receive discounted or free admission at cultural institutions participating in these reciprocal membership programs upon presenting their specially-marked membership card.

When you waive your benefits, you are choosing to have your gift be 100% tax deductible. You are not able to take advantage of any Member benefits.

Your membership cards will arrive approximately two weeks from the day your membership is processed.

Steuben is an American fine glass and crystal brand that makes the highest-quality decorative collectibles and luxury housewares. The company was founded in 1903 in Corning, New York – which is in Steuben County – and Corning Incorporated acquired the brand in 1918. Like their European counterparts, Steuben was originally focused on colored glass, but began producing iconic colorless pieces in 1933 using a new formula from Corning Inc. with a very high refraction index. These clear, modern creations, brought to life by the most talented artisans of each era, set the brand apart decade after decade. The brand remained in commercial production for over 100 years, representing the pinnacle of American craftsmanship and luxury.

In 2008, 105 years after it was founded, the Steuben division was sold by Corning Inc. to retail conglomerate Schottenstein Stores. When Schottenstein decided to end commercial production in 2011, Corning Inc. repurchased the brand, preserving this important aspect of America’s design heritage. A more detailed history of the brand is available on the Steuben.com Brand Timeline.

Corning Inc. has exclusively licensed the Corning Museum of Glass (CMoG) to sell new Steuben, and it is currently available through the Museum Shops, either online or at the Museum, through www.steuben.com, and at our authorized retailer George Watts & Son in Milwaukee, Wis. All proceeds from these sales benefit the not-for-profit Museum.

Historically, it was not uncommon for glassmakers to suffer from a lung disease called silicosis. The raw materials used to make glass, especially silica, could accumulate in the lungs, severely reducing their ability to enrich blood with oxygen. The lungs are not able to absorb or expel silica, resulting in scarring and fibrosis. Today, workers protect themselves when working with raw materials by using a respirator. The act of blowing glass does not lead to respiratory problems.

No, the furnace must remain on continually. It is filled with hundreds of pounds of glass, too much to heat up each day. It is also harmful for the refractory bricks to be repeatedly heated and cooled.

Yes. When the same glass is melted many times, the quality deteriorates. This is noticeable to the gaffer as the glass becomes more “stiff” or difficult to tool. Clear glass from the Hot Glass Demos is always re-melted in addition to new batch, so no difference in quality is noticed.

Bubbles can be formed in glass when the batch is not melted properly or long enough, or when poor gathering techniques are used at the pipe. Bubbles can also be intentionally introduced into the surface of the glass by creating indentations and gathering over them.

The camera behind the glory hole is protected by a sheet of fused silica glass and cooled with a stream of air. Fused silica is a high-temperature/low-expansion glass developed by Corning Glass Works (now Corning Incorporated) in 1930. It is made up only of chemically rendered silica and melts at 3800°F, or 2000°C, and can easily withstand the 2300°F heat of the furnace.

Many factors tell the glassmaker how long to heat the glass. Glassblowers can see and feel the glass move on the end of the pipe. They watch the color of the glass and develop a sense of timing with practice.

Glassmakers often start the glassblowing process by the “blow and cap” method, wherein pressurized air is trapped in the pipe by the thumb. This air forms a bubble in the glass after a short delay. The delay is caused by a temperature differential in the glass. Near the pipe, the glass is cooled by the pipe head which is 1,000 degrees cooler than the glass. Some say the bubble is formed simply from the pressure of the initial breath, some say that air trapped in the blowpipe is heated by the hot glass and expands, forming the bubble. As gasses heat, they expand in accordance with “Charles’ Law.”

Gaffers activate a small solenoid valve with a foot pedal, which introduces additional gas into the furnace’s flame.

Generally, it takes about six years to become a professional glassmaker. There are many who are very capable with less experience, but they may lack versatility.

750,000 BTU on high fire.

In a production factory, it is not unusual for a team of three glassworkers to make 200+ items in one day. Some artisan studios make two to four complex pieces per day. Hot Glass Demo glassmakers usually make 12 to 15 items each day.

For professional glassmakers, it is uncommon to be burned in the studio. Burns that do happen, most often occur by touching hot metal and not glass. There are many hot surfaces and tools of which glassmakers must constantly be aware.

Molds for glassblowing can be made of many materials. Early Roman ceramic and bronze molds for glass have been found. Today, most optic or pattern molds are made of bronze and aluminum, and most blow molds are made of wood or cast iron coated with cork.

The Museum’s furnace is made of several types of ceramic refractory brick. These bricks are more heat and corrosion resistant on the inner face, and more insulating on the outer surface.

Natural gas. The Museum also has a furnace fueled with propane, and one that is electrically powered.

Approximately 80% of the glass containers turned in for recycling are made into new containers. Each recycled container saves enough energy to run a 60-watt light bulb for four hours. There are also many secondary uses for recycled glass, including aggregate for concrete and blacktop, a melting agent used in forming bricks, for filtration, and as an abrasive.

Glass is a state of matter that possesses the atomic structure of a liquid and the physical properties of a solid.

Pyrex is the brand name of Corning Incorporated’s borosilicate glass. Borosilicate glass was developed in the late 19th century by the German glassmaker Otto Schott. Borosilicates have a composition of silica sand and boron. The biggest benefit of borosilicates is that they have very low thermal expansion, allowing them to heat and cool rapidly without breaking. Borosilicates must be shaped at higher temperatures than soda-lime glass.

Soda ash, or sodium carbonate, is added to the glass as a “flux,” or an agent used to lower the melting temperature. Traditionally, sea plants were processed to yield soda ash. Today, soda is mined (in Wyoming) and refined into soda ash and baking soda.

The term “crystal” originally referred to any high quality clear glass (a glass that resembles natural rock crystal). The Venetians first called their clear glass Cristallo in the 14th century. Today crystal most often refers to “lead crystal,” which uses lead as a flux in place of soda ash, giving the glass an incredibly clear appearance.

Glassblowers must wear safety glasses to protect against flying glass and harmful UV and IR radiation. It is also common for glassmakers to wear natural fibers and not synthetics, which %%melt%% when hot. Glassmakers sometimes wear gloves, but typically do not in order to retain dexterity and grip.

Glass shaping blocks are made of fruit woods: apple, cherry, and pear. These woods a have a dense and even grain, absorb water, and burn out evenly. For the first 10 to 15 seconds that a glassmaker uses the wood block, the glass rides on a layer of steam rather than burning the wood away.

The furnace on the Hot Glass Demo stage has a heat recuperation system. This system pre-heats the combustion air to 500ºF by circulating it around the hot exhaust flue.

Silica is commonly mined throughout the Southern and Mid-Western United States.

There are hundreds of metallic compounds and combinations of compounds that make color in glass, but here are some of the most common: cobalt = blue, iron  = green, copper = turquoise blue or ruby red, manganese = amethyst, gold = ruby or purple, cadmium = red, selenium = yellow, tin + antimony = white.

The water vaporizes too quickly at the interface with the glass. Molten glass will crack on the surface when submerged in water, but not when using the block.

Our blowpipes don’t get hot for a number of reasons. Mostly, the pipes are only briefly exposed to heat themselves when gathering. When re-heating, the glass is heated and not the pipe. Glass is an excellent insulator, and does not conduct heat into the pipe. Today, our pipes are made of stainless steel which also helps, since stainless is a poor conductor of heat. In addition, pipes are long enough that the glassmaker can always hold the pipe safely.

While there is no concrete answer, there are several plausible origins of this term. In an old factory, where smoke and dust were everywhere, a 2100° opening would have created an illusion not unlike that seen in paintings of saints and angels where “The Glory” radiated from their heads. A break in the clouds where sunlight passes through is also called a glory hole. However, the term has more recently fallen out of use and the term “Reheating Furnace” is more widely used.

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Most believe that the word marver is derived from the French word for marble “marbre.” Traditionally, a stone surface would have been used to roll and shape the glass. Today, marvers are made of stainless steel because it is a poor conductor of heat.