Sam went on to found the influential 'Glasshouse' in London, and work and teach in Australia. He also taught the first generation of Britain's studio glass artists. The event was a dedicated retrospective organised by my friend Adam Aaronson at his superb Zest Gallery in West London. Including new work by the hand of the master himself, a selection of 'vintage' pieces, dating as far back as the early days at the Royal College of Art. As ever, the conversation with Sam was both incredibly enlightening and enormous fun. For a review of the exhibition and my interview, see the next edition of Collect It! magazine.
Sunday, 29 July 2007
Sam Herman - Then & Now Exhibition
Last month I had the pleasure of another meeting with Sam Herman, who is arguably the greatest name in British studio glass - and pretty darned important in the global studio glass movement too. Unfairly in my mind at least, few recognise his incredible vision, abilities and importance. Without him, studio glass techniques would not and could not have spread to the UK and beyond. Sam studied at the University of Wisconsin under Harvey Littleton who, with Dominick Labino, sowed the seeds of the movement in the early 1960s. In late 1966, Sam came to the UK on a scholarship and ended up taking over as Head of the Glass Department at the Royal College of Art. His predecessor, Michael Harris, had been bitten by the studio glass bug and left for Malta to found Mdina Glass in 1968 - the rest is history, so read my book. 
Sam went on to found the influential 'Glasshouse' in London, and work and teach in Australia. He also taught the first generation of Britain's studio glass artists. The event was a dedicated retrospective organised by my friend Adam Aaronson at his superb Zest Gallery in West London. Including new work by the hand of the master himself, a selection of 'vintage' pieces, dating as far back as the early days at the Royal College of Art. As ever, the conversation with Sam was both incredibly enlightening and enormous fun. For a review of the exhibition and my interview, see the next edition of Collect It! magazine.
Sam went on to found the influential 'Glasshouse' in London, and work and teach in Australia. He also taught the first generation of Britain's studio glass artists. The event was a dedicated retrospective organised by my friend Adam Aaronson at his superb Zest Gallery in West London. Including new work by the hand of the master himself, a selection of 'vintage' pieces, dating as far back as the early days at the Royal College of Art. As ever, the conversation with Sam was both incredibly enlightening and enormous fun. For a review of the exhibition and my interview, see the next edition of Collect It! magazine.
Wednesday, 25 July 2007
Fat Lava Friends
It's funny who you meet in this industry, and how easy it is to make friends. Wandering around the now (sadly) defunct Alexandra Palace antiques and collectables fair in north London last year, I came across the most wonderful stall that contained all sorts of modern treasures as well as some rather lovely Fat Lava vases. My interest was caught.
Chatting to the Dutch owners, it soon became clear that they were keen and experts in their area - as well as being lovely people. We've kept in touch and now they tell me that they have launched a new website specialising in these amazing vases. Visit Fat-Lava.com - NOW!
We're all responsible for promoting this much ignored area, and bringing to it the attention it deserves. Dianne and Rene join the ranks of the forward-thinking, along with Petra & Patrick of Outernational, Forrest of Ginforsodditiques and, I am sure, many more to come. Come on, you know you have the room for just one more vase...or maybe two. Oh, go on then, what's another to make it three...
Chatting to the Dutch owners, it soon became clear that they were keen and experts in their area - as well as being lovely people. We've kept in touch and now they tell me that they have launched a new website specialising in these amazing vases. Visit Fat-Lava.com - NOW!
We're all responsible for promoting this much ignored area, and bringing to it the attention it deserves. Dianne and Rene join the ranks of the forward-thinking, along with Petra & Patrick of Outernational, Forrest of Ginforsodditiques and, I am sure, many more to come. Come on, you know you have the room for just one more vase...or maybe two. Oh, go on then, what's another to make it three...
Friday, 29 June 2007
Mdina Magic
Yesterday, at the rather marvellous Woolley & Wallis salerooms in Wiltshire, a new world record was paid for a piece of Mdina at auction. Lot 169, the Mdina 'Crizzle Stone' shown below, fetched a staggering £950 - over £1,100 including buyer's premium. Whilst this isn't quite as much as the £1,564 paid for a large Mdina 'Fish' signed by Michael Harris on eBay.de in March (see below), it is important as it's the highest price paid for a piece of Mdina in a traditional auction room environment.
For those of you who haven't read my book, the Crizzle Stone represents the apotheosis of Harris' hallmark Fish design, and the highly complex, time-consuming techniques behind its creation. Furthermore, having researched and closely watched this area for over five years now, I am only aware of four other examples. Two of those are in a private collection related to the Harris family - primarily as they were only made towards the end of the four years that he ran Mdina Glass. Add to that the facts that Michael Harris was the only glassmaker with enough skill to make them, and the fact that they were very expensive at the time, meaning few were made and sold, and you have a considerable and desirable rarity.
As to the identity of the buyer, he or she has been revealed simply as a 'private European glass collector'. Whether it's the first piece in a new collection, or else the crowning glory of an existing collection, it arguably represents one of the best and rarest designs ever produced by Michael Harris. With thanks to Michael Jeffrey of Woolley & Wallis.
For those of you who haven't read my book, the Crizzle Stone represents the apotheosis of Harris' hallmark Fish design, and the highly complex, time-consuming techniques behind its creation. Furthermore, having researched and closely watched this area for over five years now, I am only aware of four other examples. Two of those are in a private collection related to the Harris family - primarily as they were only made towards the end of the four years that he ran Mdina Glass. Add to that the facts that Michael Harris was the only glassmaker with enough skill to make them, and the fact that they were very expensive at the time, meaning few were made and sold, and you have a considerable and desirable rarity.
As to the identity of the buyer, he or she has been revealed simply as a 'private European glass collector'. Whether it's the first piece in a new collection, or else the crowning glory of an existing collection, it arguably represents one of the best and rarest designs ever produced by Michael Harris. With thanks to Michael Jeffrey of Woolley & Wallis.
Friday, 15 June 2007
Fab Forms
Wandering around glass fairs, as is my want, reveals the diversity of the exciting world of contemporary glass. Whilst glassmaking is a costly and time-consuming activity, often making many pieces expensive, there can be a few affordable surprises. One of them is the work of recent glass graduate Sarah Cable. The piece below is typical of her work, which I think is fresh, innovative, colourful - and great fun. Based on memories of housewives leaning over garden fences exchanging a natter in a very Beryl Cook like manner, these striking vases are available in different sizes, colours and patterns.
Each piece is individually hand blown in brightly coloured glass, before being cased all-over in dark glass, which is made opaque and iridescent by fuming it with chemicals. Areas in the desired pattern are then masked off, and the remaining areas sandblasted away by hand to reveal the underlying coloured glass. Finally, small, contrastingly coloured 'petals' are added to the neck of the vase, like an opening flower. This particular example is made all the more special as the glass is graduated from peach to yellow from the base upwards. At an affordable £40 for a visually impressive size, I'm sure you'll agree that it certainly beats derivative factory-made glass from the likes of Habitat and Ikea! However, I'm not sure about the nattering old ladies, as to me they look some form of pod-like plant or flower from an alien world - an effect that is accentuated when they're grouped together. Fantastic! If you'd like to know more, or buy one, contact Michelle Guzy on 01785 249 802, or visit her at one of the many glass fairs she stands at. Having spoken to Michelle only recently, there are some pretty whacky and creative new designs on the way - I think Ms Cable has a long way to go, so I'd snap one up before her fame (and prices) rise!
Each piece is individually hand blown in brightly coloured glass, before being cased all-over in dark glass, which is made opaque and iridescent by fuming it with chemicals. Areas in the desired pattern are then masked off, and the remaining areas sandblasted away by hand to reveal the underlying coloured glass. Finally, small, contrastingly coloured 'petals' are added to the neck of the vase, like an opening flower. This particular example is made all the more special as the glass is graduated from peach to yellow from the base upwards. At an affordable £40 for a visually impressive size, I'm sure you'll agree that it certainly beats derivative factory-made glass from the likes of Habitat and Ikea! However, I'm not sure about the nattering old ladies, as to me they look some form of pod-like plant or flower from an alien world - an effect that is accentuated when they're grouped together. Fantastic! If you'd like to know more, or buy one, contact Michelle Guzy on 01785 249 802, or visit her at one of the many glass fairs she stands at. Having spoken to Michelle only recently, there are some pretty whacky and creative new designs on the way - I think Ms Cable has a long way to go, so I'd snap one up before her fame (and prices) rise!
Thursday, 17 May 2007
Monday, 16 April 2007
Mistaken Identity
Building up a knowledge of shapes and colours can really reap rewards. It's why I have my book collection split between two places, within easy reach of either my sofa or my bed. Nothing beats leafing through a book as you relax to firmly imprint images, makers and designers on your brain. Repeated viewing really helps to make sure that when you see something, your brain's card system is reliable enough to ensure that you can correctly identify it. All that 'work' at home in the wee hours was put to good use today when, wandering around London's hip 'n happening Spitalfields market, I stumbled across a rather appealing large spherical amber glass vase. Understandably given the form and colour, the seller thought it was by Holmegaard, and designed by Per Lutken. I knew differently. It was, in fact, a lesser known design by Frank Thrower for Dartington Glass in 1978, and work on my latest book had revealed that it was really rather rare. It was only produced for only six months from 1978-79. Of course, I couldn't reach for my wallet quick enough - out came the readies, and the vase went home with me. Its value - well, I'm not sure right now, so ask me after June when the Dartington Glass book I have just finished is out. But I'd think at least £120 would be fair, and it may even go for more. Not bad for 2 minutes of buying and maybe 20 minutes of leisurely reading!
It's something that we can all do, and it is as enjoyable as it is educational. It also goes to show the importance of books.
Yes, we can all look on the net to find out what someone thinks something is, and how much they think it is worth, but are they right? At least you know that if it is in a book, it's more likely to be right as considerable research and effort will have gone into preparing a book, which costs a lot of money to produce and can't be changed once it has been printed. How many people put such work into their eBay descriptions? Very few, I'd think. Of course, I'm bound to say this, doing what I do, but it really is true. When I used to work for auction houses, books, catalogues and period advertisements were always some of the least valuable lots - the auctioneer always pointed this out to the room, and you know who always bought the stuff? The best and most successful dealers and collectors.
I know Summer is nearly upon us and long, dark and cold evenings to curl up on the sofa are over, but why not pack a book along with your picnic for the park? It will undoubtedly make you wiser in the long term than an extra bottle of wine or beer will!
It's something that we can all do, and it is as enjoyable as it is educational. It also goes to show the importance of books.
Yes, we can all look on the net to find out what someone thinks something is, and how much they think it is worth, but are they right? At least you know that if it is in a book, it's more likely to be right as considerable research and effort will have gone into preparing a book, which costs a lot of money to produce and can't be changed once it has been printed. How many people put such work into their eBay descriptions? Very few, I'd think. Of course, I'm bound to say this, doing what I do, but it really is true. When I used to work for auction houses, books, catalogues and period advertisements were always some of the least valuable lots - the auctioneer always pointed this out to the room, and you know who always bought the stuff? The best and most successful dealers and collectors. I know Summer is nearly upon us and long, dark and cold evenings to curl up on the sofa are over, but why not pack a book along with your picnic for the park? It will undoubtedly make you wiser in the long term than an extra bottle of wine or beer will!
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