The New York Historical Society
170 Central Park West
New York, NY 10024
Size of glass collection is 2,000 objects. Highlights of the glass collection include a large assemblage of paper weights, a sizable and an important group of Sandwich Glass vases, candlesticks and oil lamps. There are also examples of earlier glass such as South Jersey vessels with lily pad motif and Stiegel-type pieces. The collection has an important group of Tiffany glass vessels and lamps beautifully displayed. This is link to: The New York Historical Society glass collection.
Glass # 52 Façon the Venise wine glass of Elisabeth & Theo Zandbergen
Description: A Façon the Venise wine glass with a (pre) mold and optically blown funnel shaped bowl being decorated in almost a “sidonian – style”, with faint fluted ribs accentuated on the top with roundels. The decoration has been softened thru the way the bowl has been finished. The bowl is set via a short full glass section on the hollow ribbed inverted baluster stem set directly to the slight conical foot.
Material: soda glass
Dimensions: H= 12,1 cm.; ø bowl 6,3 cm.; ø foot 6,6 cm.; weight 44 grams.
Origin: France, a so called fougère glass, first Q. 18th century.
Parallels ao.:- Jacqueline Bellanger, Verre d’usage et de prestige, France 1500 – 1800 pg. 481, 484, 485,- Pijzel-Dommisse & Eliëns, Glinsterend Glas, pg. 88 nr.126 with more or less the same bowl decoration as this glass,- Page at all, Beyond Venice, glass in Venetian Style, 1500-1750, pg. 163 fig. 24.
Provenance: – Frides Laméris Amsterdam,
#93 Venetian wine glass of Elisabeth & Theo Zandbergen
Description: The pointed round funnel bowl is directly set to the hollow “a tige” stem. The hollow stem narrows down to the slightly conical foot to which it is directly set.
Dimensions: H = 19,4 cm.; ø bowl = 8,1 cm.; ø foot = 8,4 cm.; weight = 76,7 gram.
Origin: Venice around 1575.
Literature: Erwin Baumgartner makes a distinction between “verres a tige” – like a twig – and “verres a jambe” – like a leg. The first group has a slightly conical hollow stem narrowing down to the foot of the glass and most of the time directly set to the foot. Bowl and stem are also directly connected. The second group has a stem with a narrowed down connecting piece to the bowl necessitating a merese at the stem to bowl connection and also a merese at the stem to foot connection (see glass # 120)
Parallels ao.:- Erwin Baumgartner, Venise et Façon de Venise, verres renaissance de musée des arts
décoratifs, Paris 2003, pg.98- Robert J. Charleston, Masterpieces of glass, a world history from the Corning Museum of Glass, New York, 1980, pg. 92 cat.nr. 38- Elville, The collectors dictionary of Glass, pg. 169 pict. 243 second glass from the right, having a somewhat shorter stem making it less elegant.
Provenance:- Old Dutch collection,- Frides Laméris Amsterdam.
JUGLET WITH SHOULDER-RIDGE of Hans van Rossum
Second part 1st century AD | Eastern Mediterranean, probably Crete or Italy Size↑9.3 cm | ø 8.5 cm | Weight 94 g
Technique: Early free blown glass, handle applied; tooled
Classification: Isings 1957 form 53 (variant) | Morin-Jean 1913 type 47 (variant), type handle α¹
Description: Transparent bluish-green glass. The squat body with sloping wall, a pad-base formed by lower sections of wall. Tall tubular neck with flaring mouth, rim folded inward. On the shoulder of the body a thick hollow ridge encircling the body. Broad angular three-ribbed strap handle applied on the shoulder and attached to the upper part of the neck, top-end folded up to form a pad against neck. The concave base is formed by a narrowing in the lower part of the body, no pontil mark
Condition: Intact with some incrustation; a crack in the lower part of the body, consolidated by Restaura, Haelen (NL) 2010
Remarks: A narrow neck like this one, in combination with the manner in which the handle is attached to the neck is a characteristic for the early Roman glass jugs, imitating pottery jugs. This specific type of jug, which has a cut-out fold on the shoulder, is not very numerous. In combination with the specific form of the body this example is even rare. It has a bottle neck like the preceding jugs and a cut-out base. (Isings 1957) The typical cut-out form of the base is also a characteristic for products made during the first century AD.
Provenance: Cardo Center – Old City of Jerusalem, 1995
Reference: Archaeological Museum in Rethimnon at Crete, Vetri antichi del Museo Archeologico Nazionale di Adria, S. Bonomi, no. 318Antike Gläser, Staatliche Kunstsammlungen Kassel, M. Boosen no. 53 Collection Castello Viscontea, Locarno Das naturfarbene sogenannte blaugrüne glas in Köln, F. Fremersdorf Tafel 53 Les Verres Antiques du Musée du Louvre II, V. Arveiller-Dulong & M.D. Nenna nos. 46-49 Metropolitan Museum of Art, New York Accession Number 74.51.143 from the Cesnola Collection La fragilitat en el temps. El vidre a l’antiquitat, T.C. Rossell no. 81
LENTOID ARYBALLOS of Hans van Rossum
Second part of 1st century AD | Roman Empire Size↑14.5 cm | ø 6.2 cm | Weight 99 g
Technique: Free blown, handles applied, tooled
Classification: Isings 1957 form 61 (variant) Vanderhoeven 1962 no. 92 for one handle and no. 96 for the other handle
Description: A transparent yellowish pale green thick-walled aryballos, lentoid body with small flattened base, rim folded inward and flattened; cylindrical neck with numerous small bubbles. Two different formed handles applied on both sides of the shoulder, one of green glass and the other of yellowish green glass.
Condition: Intact, some iridescence and incrustation
Provenance: Tolland (CT) USA, 2014
Remarks: Not only a lentoid formed aryballos is rare, but it is also very interesting that handles come from completely different canes and are made in a different form. When applying a ribbon handle, it is usually done in a straight forward manner, the handle is applied with a few spots touching and adhering. This makes the handle weak and many of the frills of the ribbon often break off in sections. On this flask however, both handles are reinforced by placing a pad of glass on each shoulder first with the handles applied to that. This also allows the maker to work slower. So it is not a repair to either handle but is rather the glassmaker experimenting using pads to strengthen handles and experimenting with slightly different shape handles. An interesting piece because the technique in which the two handles are attached is rare too.
Reference: No parallels could be found
The restored ovoid bowl on this early Roemer is attached to an open stem decorated with pulled prunts. This Roemer bowl is more flared than example 40E. Unlike later Roemers there is no spiral foot only a pinched “toed” base ring. This form is closer to the Berkemeyer example 12E, which has a flared bowl. The discoloration on this early Roemer is due to the soil where it was found.
H: 10 cm
Ref: Henkes #45.13,Glass V&A #42,Ritman Coll. #20
TWO-HANDLED DOUBLE BALSAMARIUM of Joop van der Groen
Roman Empire, Syrian-Palestinian area │ 4th century AD
Size: ↑ 10,4 cm; Ø max. incl. side-handles 5,3 cm; Ø rim 4,0 cm. │ Weight: 63 gram
Technique: Free blown. Tooled.
Classification: Stern (2001) type I, class C2a.
Description: Transparent very light green glass; handles very dark purple, nearly black glass. (See Remarks.) Two tubular compartments made from one single free blown tube, pressed in from the sides to form a diaphragm. Under right compartment remainder of pontil mark. Rim folded outward, upward and inward. On each side a handle on the body, drawn up angular and attached to the body and the rim.
Remarks: Sometimes Roman glass seems to be black like the handles of this double balsamarium. In reality Roman glass is never black. With the help of very powerful light you can see the real colour: very dark green or very dark brownish green or (in this case) very dark purple.
The function of a double balsamarium is the following. One compartment was used to store black galena powder, while the other was for making this with a spatula into a cosmetic pasta. The people in the Eastern Empire used the pasta to outline the eyes in black to protect them against the sharp sunlight and the irritating flies.
Provenance: 1998 – 2010 Private collection of P.E. Cuperus, Laren (NL), no. PEC022.
Before 1998 in the private collection of C.A. Hessing (NL).
Published: A collection of Roman glass (Cuperus, 2009).
Reference: Roman and Pre-Roman Glass in the Royal Ontario Museum (J. Hayes, 1975), no. 359; Ancient Glass at the Newark Museum from the Eugene Schaefer Collection of Antiquities (S. Auth, 1976), no. 482 en no. 483; Antike Glãser – Staatliche Kunstsammlungen Kassel (M. Boosen, 1984), no.147; Montreal Museum of Fine Arts, Collection of Mediterranean Antiquities, Vol. 1. The Ancient Glass (B. Caron & E. Zoïtopoúlou, 2008), no. 137.
JERUSALEM 1000–1400: EVERY PEOPLE UNDER HEAVEN
At The Met Fifth Avenue, September 26, 2016–January 8, 2017
This exhibition will illuminate the key role that the Holy City played in shaping the art of the period from 1000 to 1400. While Jerusalem is often described as a city of three faiths, that formulation underestimates its fascinating complexity. In fact, the city was home to multiple cultures, faiths, and languages. History records harmonious and dissonant voices of people from many lands, passing in the narrow streets of a city not much larger than midtown Manhattan. This will be the first exhibition to unravel the various cultural traditions and aesthetic strands that enriched and enlivened the medieval city.
Over 200 works of art will be gathered from some 60 lenders worldwide. Nearly a quarter of the objects will come from Jerusalem, including key loans from its religious communities, some of which have never before shared their treasures outside their walls. Jerusalem 1000–1400: Every People Under Heaven will bear witness to the crucial role that the city has played in shaping world culture, a lesson vital to our common history. This link is to Met’s web site on show. Don’t miss the Featured Media videos on this in this web page.
Below are pictures of the glass objects found in the exhibition:
Additional objects from the exhibition
The Musee d’Art & Histoire Saint-Denis
Saint-Denis was a Gallo-Roman village north of Paris in the 2nd Century. During the Middle Ages it rose to prominence and in 1144 a new church was consecrated the Saint-Denis Basilica the first example of Gothic Architecture. In the 17th Century the Basilica was excavated which turned up vestiges of the Middle Ages and Roman times. The Musee d’Art & Histoire of Saint-Denis had a show in 2007 on some of these artifacts. We were there on the last day of the show and some of the artifacts have not be on display since. What also makes this show interesting is that all of the material was found locally.
NATIONAL MUSEUM OF THE RENAISSANCE IN FRANCE
The Château d’Écouen, in Écouen, north of Paris which today houses the National Museum of the Renaissance (opened in 1982) was built between 1538 and 1555 as commanded by Anne de Montmorency, an extremely wealthy and influential advisor to François the First, king of France. Today, as well as offering the opportunity to observe this impressive example of 16th century architecture, the museum displays collections of the Musée de Cluny comprising Renaissance objects including paintings, sculpture, textiles, furniture, metalwork and glass.
The glass collection is excellent, comprising mainly Venetian, Facon de Venise, and Spanish examples from the 16th and 17th Centuries. Click on the pictures to enlarge them and use Esc to get back to this page.