Listen as curator Dedo von Kerssenbrock-Krosigk describes this tazza with Medici Arms. This tazza is enameled with the coat of arms of the Medici family combined with crossed keys and a papal tiara, suggesting that they were made for a member of the church, most probably either Pope Leo X or Pope

Listen as curator Tina Oldknow describes Anthem of Joy in Glass by glass artist Věra Lišková. Lišková was a talented designer who pioneered the use of borosilicate glass for sculpture. Traditionally, borosilicate glass is used for making laboratory wares for scientists, such as beakers and test

Listen as curator Dedo von Kerssenbrock-Krosigk describes the glass table and boat by the Cristalleries de Baccarat. At the 1900 World's Fair in Paris, the Parisian department store Le Grand Dépôt displayed a sculpture in the form of a boat. It was designed by Charles Vital Cornu (1851--1927),

Listen as glass artist William Gudenrath, describes the techniques used to create Endeavor  by Italian artist Lino Tagliapietra. A sense of weightlessness characterizes this installation of 18 boat-like forms. Inspired by the sight of the many gondolas that gather at the entrance to the Venetian

Listen as glass artist William Gudenrath, describes the techniques used to create "Untitled (White)" by artist Josiah McElhany. Josiah McElheny is an accomplished glassblower who creates installations inspired by art or glass history, often using a specific historical or literary anecdote

Listen as curator Dedo von Kerssenbrock-Krosigk describes the Portrait Medallion of Louis XIV, which is made of colorless glass that was cast and later cold-painted and mirrored. It is symbolic of the presentation and gift giving of the Sun King, and together with tapestries, silver and furniture,

Listen as glass artist William Gudenrath describes the technique — cane work or filigrana — used to make this ewer. This Venetian ewer is made with milk glass canes and decorated with applied lion-mask prunts (small ornaments that are like medallions stuck to the outside of a vessel). Differently

Listen as curator Dedo von Kerssenbrock-Krosigk describes this goblet made of gold ruby glass. Gold ruby glass is one of the most difficult colors to achieve in glass because it consists of gold that has been added to the solution of the glass, where it dissolves into small particles, so-called

Listen as curator David Whitehouse describes the Moorish Bathers, George Woodall's masterpiece. It was started about 1890 and completed in 1898. George and Thomas Woodall left school at about the age of 12 and became apprentices at the firm of J. & J. Northwood. They also attended evening

Listen as curator Tina Oldknow, describes Black Cube  by Czech artist Marian Karel. Marian Karel uses light, glass, and geometric forms to make illusionistic sculptures that challenge the viewer's perceptions of space. Black Cube is so dark and reflective that it is almost invisible; it

Listen as curator Dedo von Kerssenbrock-Krosigk describes this cut glass table. Glass furniture was popular during the last half of the 18th century. In the 19th century, some furniture was made almost entirely of large pieces of glass. The Imperial Glassworks in St. Petersburg, Russia, created

Listen as curator David Whitehouse describes this micromosaic panel in a carved gilt wood frame. The panel shows a view of St. Peter's Square in Rome at the time of a Sunday benediction by Pope Leo XIII. The Pope can be seen in the background standing on the balcony blessing a large gathering

Listen as curator David Whitehouse describes this display, telling the story of two remarkable lampworkers, Leopold Blaschka and his son Rudolf, who created in glass thousands of models of invertebrates, animals without backbones, as well as flowers and plants. The father began the business of

Listen as glass artist Eric Hilton describes the techniques used to create Innerland. This piece is a multi-part sculpture that expresses Hilton's concept of the unity of life and of the "inner being, or inner land, which is shared by all people everywhere." The complex design and

Listen as curator Jane Shadel Spillman describes this desk set produced by Boston and Sandwich Glass Company. The problems involved in pressing glass were summarized by a glassmaker in 1849: "If an overplus of metal [glass] be gathered, it thickens the article throughout; but if too little, it

Listen as glass artist William Gudenrath describes flameworking (or lampworking), the technique used by the Blaschkas to create the objects in this case at the Museum. The display tells the story of two remarkable lampworkers, Leopold Blaschka and his son Rudolf, who created in glass thousands of

Listen as curator Tina Oldknow describes Dragonfly Coupe, created by French glass artist Emile Gallé. The love of nature, characteristic of the art nouveau style, is reflected in this remarkable coupe. A poet, designer, and a businessman, Gallé was well-versed in art, literature, botany, and

Listen as curator Jane Shadel Spillman describes glass of H.W. Stiegel, produced by the American Flint Glass Manufactory of Henry William Stiegel. Stiegel opened a glasshouse in Manheim, Pa., in 1764. He was originally a manufacturer of window and bottle glass, but his main interest was fine lead

Listen as curator Jane Shadel Spillman describes the Morgan Vase. The Victorian sense of "good taste" emphasized ornate works. Some glassmakers met this demand by creating dramatic color effects. Several American factories produced Peachblow glass, which had a surface that shaded from

Listen as former curator David Whitehouse describes the Beth She'arim slab. As in earlier times, Roman glassmaking and glassworking often took place in separate locations. Glassmakers melted raw materials to produce glass. Glassworkers formed the glass into finished objects. Finally, glass

Listen as curator Tina Oldknow describes Archangel Uriel, created by artist Edris Eckhardt. During the 1950s, the studio crafts gained in popularity and importance in the United States. New techniques were developed by individual designer-craftsmen, who explored new uses for glass, ceramics, wood,

Listen as curator Tina Oldknow describes Cityscape, created by artist Jay Musler. He chose a spherical container blown of industrial Pyrex glass, which he cut in half. He then cut the rim of the hemisphere into a jagged edge, sandblasted it, and airbrushed it with oil paint. The sculpture's

Listen as curator Jane Shadel Spillman describes the Richard Wistar bottle. The first successful glass factory in the Colonies was established by Caspar Wistar near Alloway, New Jersey, in 1739. Its principal products were window glass and bottles, which were in great demand. More than 15,000

Listen as curator Tina Oldknow, describes Red Pyramid  by Czech artists Stanislav Libenský and Jaroslava Brychtová. Libenský and Brychtová pioneered, explored, developed, and defined glass as a medium for sculpture. Their art explores ideas about light, space, transparency, and volume. Their career

Listen as curator, Tina Oldknow, describes Marquiscarpa  by American artist Richard Marquis. Unsatisfied with the limited techniques practiced and taught in American studio glass in the 1960s, studio glass pioneer Marquis went to the Venini glassworks on Murano in 1969. There, he observed and

Listen as curator Jane Shadel Spillman describes Glass Window Blinds designed by Elias Hungerford. Hungerford received a patent for these glass window blinds in 1866. They were designed, he said, "to give light which enters the room any desired tint to correspond with the color of wall paper

Listen as curator Jane Shadel Spillman describes the Lily-pad Pitcher, produced by Lancaster Glass Works. The glass that was used to make this pitcher was also employed in the manufacture of windows because the brilliant, deep aquamarine color would not have been noticeable in thinly blown sheets

Listen as curator Dedo von Kerssenbrock-Krosigk describes this mechanical glass theater, which depicts the Wedding at Cana. Figurines in Venetian and Turkish costumes are seated in the loggia of a Rococo palace. The heads and limbs of each figure are lampworked in glass, and they can be moved by

Curator Tina Oldknow describes Shirts, Cherries, and Snowflakes, of Course  by American artist Ginny Ruffner.

Listen as former curator David Whitehouse describes glass fakes and forgeries. A fake is a genuine object that has been altered or "improved," usually to enhance its value. A forgery is a copy or imitation of an object, made to deceive people (usually prospective owners) into believing