GLASS Reviews on ICOM Glass

 
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GLASS Reviews on ICOM Glass
Reviews on   Nº 7   2019

GLASS
             ICOM Glass
             Lectures: ICOM Glass Annual Meeting
             in Sars-Poteries (France) 2017
GLASS Reviews on ICOM Glass
Edit

                                                                                                        GLASS
                                                                                                                                   ICOM
                                                                                                                                   international committee
                                                                                                                                   for museums
                                                                                                                                   and collections of glass

                                                                                               ICOM INTERNATIONAL COMMITTEE
                                                                                               FOR MUSEUMS AND COLLECTIONS OF GLASS
                                                                                               http://network.icom.museum/glass

                                                                                               Editorial and Board Members
                                                                                               Reino Liefkes. Chair
                                                                                               Teresa Medici. Secretary
                                                                                               Sven Hauschke. Treasurer
                                                                                               Katarina Benova
                                                                                               Elvira Schuartz
                                                                                               Paloma Pastor
                                                                                               María Luisa Martínez

                                                                                               English text correction
                                                                                               Amy McHugh

                                                                                               Coordinator of this journal
                                                                                               Paloma Pastor

                                                                                               Cover illustration
                                                                                               Harvey K. Líttleton, Sculpture, 1968.
                                                                                               © Paul Louis

                                                                                               Back cover Illustration
                                                                                               Les mascottes. © Musée Lalique

                                                                                               Layout
                                                                                               Cyan, Proyectos Editoriales, S.A.

                                                                                               © 2019 ICOM Glass and authors

                                                                                               ISSN: 2227-1317

                                                                                               Journal sponsored by
                                                                                               ICOM. International Council of Museums

                                                                                               No part of this magazine may be used or reproduced
                                                                                               without the written permission of the publisher.
                                                                                               ICOM Glass can not accept any responsibility for
                                                                                               errors or inaccuracies in the information.

Vase en verre soufflé, avec projection d’émaux, inv. 2017.2.3. Don Barlach Heuer. © Musée du
verre, Conches / Paul Louis.
GLASS Reviews on ICOM Glass
SUMMARY
4
Lectures         4 Le Stanze del Vetro 12 Glass, why not? 16 Momignies, Beauwelz,
Macquenoise: du verre au rêve 24 Glass in the Celje Region from the 18th Century to the
Present 33 Georges Despret (1862-1952), l’aventure artistique d’un industriel verrier 39 The
history and highlights of the glass collection in the State Pushkin Museum of Fine Arts,
Moscow, Russian Federation 47 Le Musée du Verre de Charleroi: une histoire, un musée, une
collection 56 The Conches Glass Museum: its creation, collections and future 63 Le musée
Lalique 70 Museum/Center of Glass art, Carmaux, South of France

74                                              80
Interview        Vice VERsa,                    News     80 Congresses & Exhibitions
Sally Fawkes                                    81 Book review 82 News

84                                               86
Memories                                        Members
GLASS Reviews on ICOM Glass
Converging Connections. © Paul Louis.
GLASS Reviews on ICOM Glass
FOREWORD

The ICOM International Glass Committee is proud to present the seventh issue of its official
publication Reviews on Glass. In this publication we present news of the activities of our
Committee and provide a forum for our members to share common issues and remain up to date
with the latest developments in our field.

In 2018, the ICOM Glass Committee held its annual meeting in St. Petersburg in Russia, hosted by
the State Hermitage Museum and organized by Curator Elena Anisimova. The meeting with the
theme ‘Glass museums and collections in Russia’, attracted an ICOM Glass record number of 74
participants. 29 of these were from Russia. This was the first time ICOM Glass organized a meeting
in Russia and the opportunity to interact with so many Russian colleagues has made this very
successful annual meeting into one of our most fruitful and memorable ones.

Our successful meeting has reflected positively on our membership, which increased by an
impressive 23 % from 2017 to 2018, to a total of 143 voting members! Within this total our
number of institutional members rose from 20 to 23. Our diversity profile has also increased, and
we now represent 30 different countries, up from 24. Over 80 % of our members is still from
Europe, but we were pleased to see the number from the Asia/Pacific region double, from 4 to 8.

During 2018 we continued develop our Website. http://network.icom.museum/glass, where we
publish our yearly newsletter http://network.icom.museum/glass/our-publications/annual-newsletter/.
For the historic part of our Website, we are still looking for any issues of our Newsletter, programme
or list of participants of our meetings before 1985. Please let us know if you have any! Please join
us on Facebook (International Committee for Museums and Collections of Glass) or follow us on
Instagram (icom_glasscommittee).

In this issue of Reviews on Glass we publish a selection of the papers presented at the ICOM
GLASS annual meeting 2017, organized by the MusVerre in Sars-Poteries, France. The theme of
our meeting was: New museums: documenting the past and reviving glass-making traditions and
focussed on the industrial glassmaking area in Northern France and Belgium. I am pleased to
include an interview with Anne Vanlatum, Artistic Director of the MusVerre as well as articles about
glass and glass museums in France and Belgium and beyond.

I would like to thank those speakers who have taken the effort to turn their spoken papers into
wonderfully illustrated published text. Finally, I would like to take the opportunity to thank Paloma
Pastor – supported by Amy McHugh and Teresa Medici – for editing and putting together this issue.

Reino Liefkes, outgoing Chairperson ICOM International Glass Committee
GLASS Reviews on ICOM Glass
LECTURES

Carlo Scarpa, Rigati e Tessuti. Installation view. © Ettore Bellini.

                                      4
GLASS Reviews on ICOM Glass
LECTURES
           ICOM International Committee for Museums and
           Collections of Glass annual meeting 2017 was held
           in Sars-Poteries, (France), and organized by the
           MusVerre from 16th to 20th of October.

           The paper sessions explored the theme: New
           museums: documenting and reviving glass-making
           traditions. In this new issue we present a selection
           of lectures given at this meeting thanks to Mrs. Aude
           Cordonnier, director of the MusVerre and Mrs. Anne
           Vanlatum artistic director of the museum and member
           of ICOM Glass Committee.

   Le Stanze
                                   del Vetro
           Manuela Divari. LE STANZE DEL VETRO

           LE STANZE DEL VETRO (Rooms          contemporary forms of
           for Glass) is a cultural project    glassmaking.
           and a permanent exhibition
           space located on the Island of      LE STANZE DEL VETRO is
           San Giorgio Maggiore in Venice.     located in a former boarding
                                               school on the island. With 650
           Founded in the summer of 2012       square metres of exhibition
           from the collaboration between      space, the exhibition centre
           the Swiss nonprofit Pentagram       hosts not only exhibitions but
           Stiftung and Fondazione Giorgio     also conferences, workshops
           Cini it is dedicated to the study   and other events dedicated
           and display of modern and           to glass.

                                               5
GLASS Reviews on ICOM Glass
LECTURES

The restoration was carried out        contemporary artists, who             For this reason, every year until
by New York based architect            have used glass as an original        2021, two exhibitions will be
Annabelle Selldorf.                    means of expression, and to           staged on the island.
                                       highlight and study the
The cultural initiatives               leading producers and major           The first in spring, dedicated to
of LE STANZE DEL VETRO are             collections of glass                  the use of glass in the fields of
dedicated both to promote              worldwide.                            art and design of the 20th and
                                                                             21st century; the second, in
                                                                             autumn, dedicated to the
                                                                             talented designers who created
                                                                             objects for the Venini glassware
                                                                             company in the 20th century.

                                                                             Parallel to the exhibition
                                                                             program, LE STANZE DEL
                                                                             VETRO holds a series of special
                                                                             projects, often site-specific,
                                                                             where contemporary artists
                                                                             (Swiss artist Not Vital in 2013,
                                                                             Japanese photographer Hiroshi
                                                                             Sugimoto in 2014 and American
                                                                             artist Pae White in 2017) are
                                                                             invited to consider and create a
                                                                             work using glass as an artistic
                                                                             medium.

                                                                             In addition to their installation,
                                                                             the artists are offered the
                                                                             opportunity to create a unique
                                                                             art object made of glass from
                                                                             Murano.

                                                                             The concept of these temporary
                                                                             installations is to allow an
                                                                             internationally acclaimed artist
                                                                             to work on a large scale, and to
                                                                             engage with the space between
                                                                             sculpture and architecture.

                                                                             Each project will be presented
                                                                             over two years, during Venice’s
                                                                             Art and Architecture Biennales,
                                                                             aiming to address both of their
                                                                             respective audiences as well as
 This slide sums up the exhibitions held until now at LE STANZE DEL VETRO.
                                                                             the public at large.

                                  6
GLASS Reviews on ICOM Glass
REVIEWS ON GLASS Nº 7 2019

                                                                             flow of the Gualala river in
                                                                             Northern California, which the
                                                                             work echoes in both its structure
                                                                             and layout.

                                                                             As part of LE STANZE DEL
                                                                             VETRO project, the Fondazione
                                                                             Cini, with the support of
                                                                             Pentagram Stiftung, has set up
                                                                             a Glass Study Centre within its
                                                                             Institute of Art History. The
                                                                             centre aims at becoming a
                                                                             reference point for the
                                                                             international scientific
                                                                             community, for the study of the
                                                                             glass medium as a living and
 Pae White, Qwalala. ® Ph. Enrico Fiorese.
                                                                             topical material.

                                                                             The Glass Study Centre is
                                                                             promoting the creation of a
                                                                             comprehensive Archive on
                                                                             Venetian Glass, in order to
                                                                             gradually incorporate the
                                                                             historical archives of Murano-
                                                                             based furnaces, which include
                                                                             drawings, plans, letters and
                                                                             photos.

                                                                             Furthermore, the Glass Study
                                                                             Centre aims to set up a
                                                                             specialized library, at organize
                                                                             seminars, conferences and
                                                                             workshops for scholars and
                                                                             artists interested in the history,
 Paolo Venini and his furnace. Installation view. ® Ph. Enrico Fiorese.      technology and developments in
                                                                             glassmaking.

This image refers to the running          75 metres long and up to 2.4       The first exhibition that
installation Qwalala by Pae               metres high, it occupies the       inaugurated the space was ‘Carlo
White. It is the second outdoor           entire area opposite LE STANZE     Scarpa. Venini 1932-1947’.
installation commissioned by Le           DEL VETRO.
Stanze del Vetro and consists of a                                           The show reconstructed his
curving wall made of thousands            The title of the piece, Qwalala,   creative development as artistic
of solid glass-bricks, each hand-         is a Native American Pomo word     director of the Venini
cast in the Veneto region.                and references the meandering      Glassworks.

                                                                             7
GLASS Reviews on ICOM Glass
LECTURES

It was organised around a
selection of over 300 works.
Some of them shown for the first
time.

The works displayed were
divided into approximately 30
types that varied according to
technique and glass types from
sommerso, to pennelate.

The exhibition explored the
significance and importance of
Scarpa’s glass design within his
overall work, which involved
continuous research into
materials, colours and
techniques, both traditional and       Vasi-fazzoletto vetro-incamiciato 1949-50.
new, and which he carried out
daily with the best master
glassblowers.                         exhibition ever entirely                 glass techniques, the Macchie
                                      dedicated to glass in the                series, with recognizable opaque
From the series a bollicine that      Metropolitan.                            abstract decorations that stand
fills the glass with tiny                                                      out on the thick transparent
bubbles, to murrine romane,           The above images refer to the            glass and bring to the artworks a
with the variation murrine            exhibition of ‘Fulvio Bianconi at        distinctive pictorial value, the
opache, proceeding with the           Venini’ that aimed to give a             Sirene and the Nudi made in
variegati zigrinati, the vetri a      comprehensive description of the         monochrome crystal glass.
macchie, and the laccati neri         fruitful, longlasting collaboration
e rossi.                              between the artist and the famous        The Pezzati series of 1950-51
                                      Murano glassware company.                was received with great success,
The show also included (as in                                                  they were created using a
every exhibition), prototypes,        Bianconi focussed on pieces              patchwork of multicolored and
one-offs, original drawings and       with sophisticated shapes, strong        transparent tesserae arranged
designs, as well as period            colours, designing striking works,       like a chessboard, toghether with
photographs and archive               some of which sum up the                 the A Spicchi series, those with
documents.                            enthusiasm of the “fabulous”             horizontal and vertical stripes,
                                      Fifties, and later became true           and the Scozzesi, which show an
The Carlo Scarpa exhibition was       icons of Murano glassmaking.             exciting weave of crossed canes,
received with great success and                                                shaped into an irregularly square
enthusiasm by the public, the         Among them the series entitled           mould.
press and critics, and then           Maschere italiane, the famous
travelled onto the Metropolitan       Fazzoletto vase, of which there          In the same period Bianconi
Museum of Art, New York, in           are several versions, with               made several glass animals,
2013 which was the first              different dimensions, styles and         where the virtuosity of the

                                  8
REVIEWS ON GLASS Nº 7 2019

                                                                         well as glasses from the 30s,
                                                                         including the Trinkservice n.
                                                                         248, the only glass service
                                                                         designed by Adolf Loos still in
                                                                         production today.

                                                                         The show also presented the
                                                                         ‘Boudoir d’une grande vedette’,
                                                                         the glass room designed by
                                                                         Josef Hoffmann for the Austrian
                                                                         Pavilion at the 1937 Paris
                                                                         World Exhibition, reconstructed
                                                                         by the MAK.

                                                                         The glass building, which
                                                                         resembled a monumental
                                                                         showcase, was the definition of
 LE STANZE DEL VETRO.                                                    a clichéd modern room: with
                                                                         mirrors on the walls, on the
                                                                         floor and sumptuous luxury
techniques mastered in Murano       pioneering developments of           furniture.
was combined with his               modern decorative and
playfulness and irony.              functional glass, working in close   J. & L. Lobmeyr delivered the
                                    connection with the furnaces.        glass for the room and a
In 2016 LE STANZE DEL                                                    chandelier designed by Haerdtl
VETRO realized a very fruitful      The cooperation between the          and Hoffmann. The wall
collaboration with the Museum       designers and the manufacturers      paneling was made of carved
MAK in Vienna offering for the      led to new projects like the         wood with a silver layering to
first time a comprehensive          ‘Wiener Werkstätte’ and the          support the glassy, bright,
overview of the period from the     ‘Werkbund’ aiming to glorify the     shimmering effect within the
final decades of the Austro-        production process and foster        room.
Hungarian Monarchy up to the        the collaboration between art,
end of the First Republic.          craft and industry.                  After its successful showing in
                                                                         Venice, this impressive
It was our second exhibition -      The show was complemented            exhibition was presented in the
after the ‘Glass from Finland in    with a layout featuring examples     MAK itself at the beginning of
the Bischofberger Collection’-      of the Wiener Werkstätte’s           2017 and will be travelling to
that focused on the international   wallpapers and textile designs       New York next year.
developments of glass in the        and presented the war and
20th century.                       classicist glasses shown at the      This slide refers to the
                                    Werkbund exhibition in Cologne       exhibition devoted to the
The protagonists of the Viennese    in 1914, the glass works shown       creative entrepreneur Paolo
Modernism, such as Hoffmann,        at the Exposition Internationale     Venini exhibiting 300 works that
Moser, Olbrich, Prutscher, and      des Arts décoratifs et industriels   recount his vision as well as
Loos, launched the first            modernes in Paris, in 1925, as       that of the artists who

                                                                         9
LECTURES

We are able to
offer most of
our exhibitions
to fellow
institutions
around the
world

                                      Ettore Sottsass: The glass exhibition View.

collaborated with him over the       a white lace-like pattern that            Tobia Scarpa, the son of Carlo
years.                               stands out against the coloured           Scarpa.
                                     surface, and the stunning
Milanese by birth and Muranese       mosaico tessuto multicolore.              To coincide with every exhibition
by choice, Paolo Venini was a                                                  a scholarly catalogue, edited by
great protagonist of 20th century    Venini himself designed the               some of the most important
glass, and made a decisive           Diamante series in the 1930s,             scholars in the field, is
contribution to keeping it alive     and the important series of               published by Skira for LE
with his enthusiastic work over      incisi glass that reflect the             STANZE DEL VETRO.
the course of almost forty years.    influence of Nordic design
                                     orientated towards delicate               On the occasion of the 100th
Paolo Venini, was a skilled          monochromes.                              anniversary of the birth of Italian
businessman, sensitive to the                                                  architect Ettore Sottsass, LE
trends of contemporary art as        The exhibition also features the          STANZE DEL VETRO celebrated
well as the demands of the           creations of those who                    his glass and crystal production
international market.                collaborated with him between             with the spring exhibition ‘Ettore
                                     the Thirties and Fifties: Tyra            Sottsass: the Glass’.
Several of his glass works           Lundgren, Gio Ponti, Piero
stemmed from a refined and           Fornasetti, Eugène Berman, Ken            Curated by Luca Massimo
innovative reinterpretation of       Scott who created the colourful           Barbero, Director of the Institute
traditional Murano techniques,       series of 18 stylised fish                of Art History of Fondazione
such as the zanfirico a reticello,   produced for the American                 Giorgio Cini, the show feautured
in monochrome and sometimes          department store Macy’s,                  200 works – mostly from the
richly coloured, together with the   Charles Lin Tissot, Riccardo              Ernest Mourmans collection –
mosaico zanfirico, decorated with    Licata, Massimo Vignelli and              many of which on show for the

                                10
REVIEWS ON GLASS Nº 7 2019

first time with an innovative        by the Native American                 Among the classical-shaped ones
exhibition set-up design by          ceremonial dolls.                      is the well-known Veronese vase
Annabelle Selldorf Studio.                                                  that was inspired by the one
                                     Many pieces had never been             depicted in the sixteenth-century
Rather than following a              exhibited before, such as the 22       Annunciation painting at the
chronological exploration, the       glass sculptures of different          Galleria dell’ Accademia in
show began with works from the       dimensions, some over a meter          Venice.
1980s, belonging to Sottsass’s       tall, produced at the Cenedese
Memphis series.                      glassworks in Murano that              The Cappellin Venini glass
                                     Sottsass originally designed for       production was immediately
The Memphis room made for a          the foyer of the “Millennium           distinguishable from the
dazzling opener: on a plinth in      House” in Doha, a vanity project       Murano craftsmanship of the
the center, eight whimsical yet      by the Emir of Qatar that was          time, both for its classical
elegant vases in vivid colors face   never realized.                        proportions and rigorous
a wall of backlit shelves, each                                             shapes, as well as for its
holding a piece from the 1986        The currently running exhibition       remarkable colours, mostly
series that highlight Sottsass’s     ‘Vittorio Zecchin: Transparent         delicate but at times intense
departure from functionality in      Glass for Cappellin and Venini’        and bright shades of yellow,
his work with glass.                 features 250 fine hand-blown           green, blue and amethyst.
                                     mostly monochrome works
These works also mark his            designed by the artist and painter     The exhibition ran until the 7th
unorthodox experimentation with      in the 1920s, when he was              of January 2018.
the medium where, for the first      appointed Artistic Director first at
time in 1986, he introduced the      the V.S.M. Cappellin Venini & Co.      We are able to offer most of our
use of chemical gluing               glassware company and then at          exhibitions to fellow institutions
techniques, breaking with the        the M.V.M. Cappellin & Co.             around the world. They can be
centuries-old Murano glass                                                  tailored to the size required,
tradition of joint heating.          Vittorio Zecchin was a                 from say a 100 to 350 works.
                                     revolutionary figure of twentieth-     The fact that catalogues are all
The following rooms featured         century glass, which he                produced also in English and
pieces produced with different       contributed to revive with the         that they comprise in each case
craftsmen testing the boundaries     support of two enlightened             all the works by each designer
of the medium, among other           entrepreneurs – Giacomo                or school, would enable the
things through combinations          Cappellin and Paolo Venini –           hosting museum to readily use
with materials such as marble        producing elegant glass works          our catalogue as their own, if
and clay.                            which introduced modernism to          necessary changing the
                                     Murano, though drawing                 frontmatter to suit their
The glass works gradually            inspiration from Venetian              needs.
become more geometrically            renaissance glass or paintings.
coherent such as in the ironic                                              We’d love to collaborate with
piece Asparagi sacri (sacred         The exhibition features his            any of you, and are ready to
asparagus), created in 1994 for      rigorous bowls and vases, some         start today. Please get in touch
Galerie Bruno Bischofberger, and     with a flat base, others with          with me at the following
then more earnestly, as in the       folds or pinches in the body or        address:
2004 series Kachinas, inspired       the neck.                              exhibitions@estanzedelvetro.

                                                                            11
LECTURES

Esther Pizarro and Emilio Elvira, MAVA Summer 2015.

                               12
REVIEWS ON GLASS Nº 7 2019

Glass,
                                     why not?
                                     María Luisa Martínez García. Contemporary Art Glass
                                     Museum in Alcorcón-MAVA

The boom of the Studio Glass         spontaneous work with a great        Tony Cragg, Jaume Plensa, Javier
movement took place between          conceptual load.                     Pérez and many others were
the 1960s and 1990s; a new                                                available to the general public
type of artist emerged dedicated     In the last ten years, since the     in exhibitions.
exclusively to glass, while the      beginning of the new
rest of the artists watched with     millennium, there has been a         They do not only present their
curiosity and amazement at the       change in the trend. There is        work in specialized glass
technical sophistication that they   increasingly a frequent presence     museums, but also in important
were developing.                     of glass in exhibitions, prizes,     centers of contemporary art,
                                     museums, galleries, and              such as Reina Sofía Museum,
For several decades they lived       publications. There has been a       Guggenheim Museum in Bilbao,
estranged. The first group           proliferation of glass teaching      the Tate Modern and the Center
focused on the material, getting     centers with students of all         Georges Pompidou, just to
caught-up in the technical           nationalities, who move quickly      mention a few.
difficulties and challenges. They    and comfortably through our
made the object itself the           global village. These                In “The Art of not making. The
ultimate objective of their          developments have heightened         new artist / artisan relationship,”
activity, turning “the medium        its growth and the general           Michael Petry writes about this
in the message.”                     interest in glass.                   new taste, this return to the
                                                                          recognition of the artisanal part
General contemporary artists,        The largest push occurred the        of the contemporary artist.
showed some contempt towards         glass art of international artists
an activity that requires so much    with enormous media impact like      Unfortunately, most of the new
effort and time in its production,   Kiki Smith, Mona Hatoum, Ai          artists who want to work with
and were in favor of a more          Weiwei, Fred Wilson, Jean Fabre,     glass, are not willing to devote

                                                                          13
LECTURES

                                        workshop that covers the three       I believe we can finally say that
                                        phases of creativity: research,      glass is a present element in the
                                        experimentation and production.      mind of any artist when facing
                                                                             how to materialize their creative
                                        For more than thirty years, it has   impulse.
                                        retained a magnificent collection
                                        of works produced in its             But precisely for this reason,
                                        facilities. This is due to the       our work must be perseverant
                                        highly qualified multi-lingual       and we, the museums whose
                                        technical team who are very          main function is to expose and
                                        receptive and open to the            educate, must also promote and
 Thinking in Glass exhibition in        exchanging of ideas and visions.     look to help substantiate this
 MAVA, 2016 March. © Phtoto,
                                                                             concern of a growing number of
 Markus Schroll.
                                        In addition, the Glasstress          artists who wish to use glass
                                        phenomenon is something that         in their works.
                                        deserves to be studied in depth
five, ten, or fifteen years of their    because of its media impact and      Most of our museums have
life to learn how to execute and        its international recognition        realized this and, some with
produce the pieces themselves.                                               more modest means and others
                                        Created in 2011 by the Berengo       with large and complete
In the 1980s and 1990s many             Foundation, the organization is      facilities, have a Studio or
training centers emerged for all        directed by Adriano Berengo, an      Workshop to offer artists.
levels of education, from small         audacious businessman with
craft workshops to university           many high-level, global contacts,    The artist must find in our
departments at major schools            including artists, gallerists and    institutions a welcoming place
and national centers. They were         museums. The Glasstress              beyond the exhibition of great
endowed with important                  exhibitions means only the last      works on which to be inspired.
technical facilities and great          reflection of a whole set of an      We must open our museums to
teachers, mostly artists                incredible work, that includes       accompany and stimulate them
themselves, some were                   communication, production,           to overcome the technical,
mentioned earlier.                      exhibition, collecting and the art   training and economic brake that
                                        market.                              involves the use of glass in their
Besides, there are some                                                      works.
landmarks places as CIRVA in            This portfolio of very diverse
Marseille, as an example, with a        activities, some more                MAVA launched two projects in
rigorous trajectory, but with an        commercial and others of a           recent the years, the first was
elitist and minority impact. In         more institutional nature, have      called Think in glass (2016) and
1983, the Center Internationel          borne fruit, bringing a great        the second Working Glass
de Recherche sur le Verre e les         legacy and an enormous amount        (2018).
Arts Plastiques was inaugurated,        of possibilities. The artist of
a center for contemporary art           today, as soon as he enters the      The goal of these projects is to
that includes a residence for           world of glass, immediately          stimulate the use of glass as a
artists, designers and architects.      perceives that he/she has many       medium among artists who have
It is a place for experimentation       possibilities at his disposal to     never used it in their works and
and creation; it contains a glass       use it.                              who probably would not have

                                   14
REVIEWS ON GLASS Nº 7 2019

                                                                         The museum offers its facilities
                                                                         and its technicians to new
                                                                         artists, and the non-glass artist,
                                                                         in return the museum receives
                                                                         attention and pieces for the
                                                                         collection. Attention is important
                                                                         to the development of the
                                                                         collection because we always use
                                                                         the collection to explain the
                                                                         possibilities offered by glass.
                                                                         The creation of a piece is equally
                                                                         important because, although the
 Working Glass.                                                          final piece is owned by the
                                                                         artist, many end up donating
                                                                         some works to MAVA. At the
done it if it were not for a          The second project, Working        conclusion of the collaboration,
proposal like ours.                   Glass, was with a group of         the works produced are shown in
                                      sixteen talented young artists,    the galleries and later
In the first project, nine mid-       some of them awarded with          exhibitions.
career Spanish artists were           Spanish Academy in Rome,
brought together for Think in         French Academy, or Fulbright       However, I must confess that for
glass. The artists come from          scholarships. The galleries        me the true objective of these
different fields: video, painting,    display their work at              projects, which are often
photography, sculpture, and           international fairs like ARCO,     difficult, complex and involve a
installation. They are artists with   ESTAMPA, MACO and at               lot of work, is to have that the
successful careers whose works        Spanish contemporary art           artist become infatuated by
can be seen in national and           museums. Among them there are      glass. Sylva Petrova told us in
international museums. We             street artists like E1000 and      her great book Czech Glass
proposed them to produce their        Pelucas, installers like Andrea    published in 2001:
projects at the MAVA’s workshop,      Canepa, painters like Ana H. del
getting involved in the process as    Amo, artists who work with         “It is well known that most of
much as each of them would like.      objects such as Jorge Perianes,    the people who have developed
                                      etc.                               their lives in artistic glass, have
Some artists provided drawings or                                        come to it by accident. Glass
models of their works, others         Working together for months at     has the special magic of
made the molds for the                the MAVA’s workshop, they          attracting people who come
thermoformed. A third group was       showed enormous enthusiasm         across it. A relationship between
involved in a much more active        and interest in glass, a new       them is established for life, no
way. They learned to make their       material that they had never       matter how much you are an
own pieces, like the Madrid artist    worked with before.                artist, a researcher or a
Esther Pizarro who molded                                                collector.”
borosilicate glass with torch         Finally, I would like to
assisted by Emilio Elvira, a          emphasize the importance           Today’s artists should wonder
scientific blower from the            of the synergies that this kind    about the use of glass,
Complutense University in Madrid.     of projects brings with them.      and think: why not?

                                                                         15
LECTURES

     Itinéraire de Momignies. Musée Royal de Mariemont. © IRPA-KIK.

                             16
REVIEWS ON GLASS Nº 7 2019

Momignies,
Beauwelz,
Macquenoise:

du verre
     au rêve
Retour sur 35 années de mystifications

                                    Janette Lefrancq. Musées Royaux d’Art et d’Histoire,
                                    Bruxelles

L’actuelle commune de               verre en raison des découvertes        1950, bien des professionnels de
Momignies, constituée des           — extraordinaires — qui y étaient      l’archéologie et de l’histoire
anciennes localités de Beauwelz,    faites et qui étaient toutes           nationale n’avaient pas manqué
Macquenoise et Momignies, est       publiées par Raymond Chambon.          de dénoncer le caractère
située dans le sud de la province   Doué d’un sens remarquable de la       invraisemblable des découvertes
de Hainaut en Belgique, et          publicité, ce dernier était parvenu,   faites sur ce territoire.
distante d’une vingtaine de Km au   en se créant un réseau
Sud-est de Sars-Poteries.           international de correspondants,       La verrerie de Momignies
                                    à faire reconnaître l’existence
Depuis la Deuxième Guerre           d’hypothétiques verreries des          Il existe bien une verrerie à
mondiale, ces trois villages ont    époques romaine, mérovingienne,        Momignies, spécialisée dans le
bénéficié d’une notoriété           médiévale et Renaissance               flaconnage pour la parfumerie et
particulière dans le domaine de     prétendument établies en ces           les cosmétiques. Fondée de
l’archéologie et de l’histoire du   lieux. Pourtant, depuis les années     manière indépendante en 1898

                                                                           17
LECTURES

par Justin Gillet, elle a prospéré         Genappe en Brabant ; Robert                pour la première fois des
de manière exponentielle pendant           Colnet et Philippe Ferry                   documents originaux mettant en
plus d’un siècle en se rattachant à        demeurant près de Namur ;                  lumière l’existence jusqu’alors
de grands groupes industriels1.            Robert de Liège, Jean Ferry et             insoupçonnée, dans la région de
                                           François Colnet demeurant à                Chimay, d’une fabrication de verre
Depuis sa fondation en 1898, la            Fontaine-l’évêque, tous maîtres            à la façon de Venise, trente ans
verrerie de Momignies compte               verriers ».                                avant l’établissement des premiers
dans son personnel plusieurs                                                          verriers italiens à Anvers. Ces
collaborateurs répondant au nom            Au XVIIIe siècle, cette appellation        documents, ignorés de tous les
de Chambon : Achille, chef potier,         douteuse avait été décryptée               historiens, auraient selon lui
ensuite ses fils Robert et Roland,         « Maumigne » et assimilée au               appartenu à des archives privées
et bientôt Raymond Chambon né              XIXE siècle au village de                  ou seraient issus de ses propres
en 1922, habitant la verrerie au           Momignies, à l’Ouest de Chimay.            fouilles. Il a ensuite publié une
moins jusqu’en 1947 et devenu                                                         soixantaine d’articles relatifs à
agent commercial des Verreries             A partir de ces deux éléments :            différents sujets touchant au
mécaniques de Belgique.                    — l’existence d’une verrerie               verre, de l’époque romaine au XXe
                                           fondée en 1898 et un texte                 siècle.
Il est probable qu’Achille                 énonçant la probabilité d’une
Chambon, déjà intéressé par                verrerie de forêt au XVIe siècle —,        Chambon fut également parmi les
l’histoire locale, ait raconté à ses       Raymond Chambon a bâti une                 initiateurs de l’exposition Trois
fils une histoire romancée de cette        véritable légende faisant de               millénaires d’art verrier et des
verrerie qui les nourrissait, en lui       Momignies le centre du monde               premières Journées internationales
inventant des origines très                verrier nord-occidental, sans              du Verre, tenues à Liège en 1958,
anciennes et quasi-mythiques que           discontinuité depuis l’époque              à l’origine de l’AIHV, et sera
Raymond s’est ensuite employé              romaine jusqu’au XXe siècle.               encore dans les années 1970, le
sans relâche à documenter.                                                            fondateur et premier conservateur
                                           Raymond Chambon                            de Musée du Verre de Charleroi,
Il se basait pour cela sur des                                                        issu de sa propre collection, et le
documents d’archives publiés dès           Né en 1922 et mort en 1976 à               conseiller de Louis Mairiaux
18822, concernant les verreries de         54 ans, Chambon a le mérite                lorsque ce dernier s’engageait
forêt de la famille Colnet ou              d’avoir publié en 1955 le premier          dans la fondation du musée du
Colinet établies dans le Sud du            ouvrage de synthèse intitulé               verre de Sars-Poteries.
Hainaut avant 1559 : « Nicolas et          l’Histoire de la verrerie en
Adrien Colnet, demeurant à                 Belgique du IIe siècle à nos jours,        Il faut aussi citer son activité de
Barbanson ; Paul Ferry et Jean             un livre monumental qui a fait             marchand : fournisseur attitré du
Colnet demeurant à                         autorité pendant un demi-siècle,           château-fort d’Ecaussinnes-Lalaing
Froidchapelle ; Enguerrand et              tant à l’étranger qu’en Belgique.          où sont réunies les anciennes
François Colnet, demeurant à                                                          industries d’art du Hainaut, il y a
Ma……..ge (ou Ma……..gne) en                 Dans cette excellente synthèse             vendu une importante collection de
Hainaut ; Nicolas Colnet et                des écrits de ses prédécesseurs,           verrerie s’échelonnant du XVIe au
Guillaume Ferry demeurant à                Chambon prétend aussi révéler              XXe siècle.

1 Verreries réunies du Val-Saint-Lambert en 1953, Verlica (Empain-Schneider), Verlipack, Bouteilleries belges réunies vers
1960, Nouvelles verreries de Momignies (Heinz) en 1985 ; elle dépend depuis 1997 du groupe Gerresheimer.
2 A. Pinchart, Bulletin des Commissions Royales d’Art et d’Archéologie, 21, 1882, pp. 383-388, n. 3.

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REVIEWS ON GLASS Nº 7 2019

Raymond Chambon a surtout                      Schuermans y écrit en 1883          gallo-romains et les verres anciens
accumulé un impressionnant                     une phrase inspirante pour le       à la façon de Venise, alors
fonds de documentation relatif à               futur faussaire3 : « un moyen       partiellement exposés dans
toute espèce de verre de Belgique,             de reconnaître la fabrication       quelques vitrines.
fonds acheté à prix d’or à sa veuve            des Pays-Bas serait la
par le Corning Museum of Glass,                découverte de quelque album         La Monstrance de Beauwelz
vers 1980.                                     des profils ayant servi en nos
                                               anciennes verreries… on             Toujours est-il qu’en 1943, en
Raymond Chambon s’est intéressé                pourra[it] s’édifier de plus près   pleine guerre, alors qu’il n’a que
très jeune à l’histoire locale ainsi           sur les types qui ont servi de      21 ans, il publie Deux verres
qu’à l’histoire de la verrerie et              modèles à nos anciens               offerts à Charles Quint et à
possédait une connaissance                     verriers ».                         Philippe II en 1549 6 . Il y dévoile
approfondie des deux domaines ;                                                    pour la première fois un manuscrit
on décèle dans ses écrits qu’il a           • La verrerie et ses artistes au       qu’il prétend avoir découvert par
lu tous les grands classiques,                Pays de Liège, de Florent            hasard en 1941 : La Monstrance
notamment :                                   PHolien, 1899.                       des biaux verres qui se font aux
                                                                                   verries des franches villes de
• Histoire du Pays de Chimay de             • Les deux articles d’Armand           Mommiegnies et de Biaulwelz,
  Gustave Hagemans, publié en                 Baar : Evolution de la               paroisse dudit Mommiegnies, terre
  1866 ; un ouvrage fantaisiste               fabrication du verre en              de Chimay en Hainault, plus
  où l’auteur décrit de façon très            Belgique, particulièrement à         connue sous les appellations de
  lyrique une visite fictive de               Anvers et à Liège du XVIe au         Monstrance de Beauwelz ou de
  Charles-Quint à Chimay en                   XVIIIe siècle4 et Verrerie des       Catalogue Colinet.
  1549, et sa découverte des                  Flandres, Fabrication
  forges, un élément détourné                 anversoise5. Ces trois derniers      Ce manuscrit est alors présenté
  par Chambon au profit de la                 ayant l’avantage d’être              comme un catalogue de la
  visite de la verrerie de                    abondamment illustrés mais           production des Colnet ou Colinet
  Beauwelz.                                   faisant, comme ceux de               dans leur fournaise de Beauwelz
                                              Schuermans, la part trop belle       au XVIe s. Celui-ci multiplie les
• Les 12 Lettres au Bulletin des              aux verreries d’Anvers et de         avantages d’illustrer un certain
  Commissions royales d’Art et                Liège.                               nombre de modèles de verres de
  d’Archéologie publiées par                                                       luxe à la vénitienne, de verres
  Henri scHuermans, de 1879 à               Il a aussi utilisé de vieux manuels    ordinaires à l’allemande et de
  1893 : un gros millier de                 comme ceux de Sauzay (1884) ou         bouteilles ; d’indiquer leur
  pages qui constituent encore              de Gerspach (1885).                    appellation et les techniques
  aujourd’hui la base de toute                                                     utilisées, de livrer une liste de
  recherche sur le verre à la               Il a certainement visité, avant la     clients, mais surtout d’entrer en
  façon de Venise de Belgique,              guerre de 1940-1945, les Musées        matière par l’illustration et la
  mais qui sont totalement                  Royaux d’Art et d’Histoire dont il     description de deux pièces
  dépourvues d’illustrations.               connaissait parfaitement les verres    extraordinaires offertes

3   Bulletin des Commissions Royales d’Art et d’Archéologie, 22, 1883, p. 159.
4   Annales de la Fédération Historique de Belgique, 29, 1932, pp. 264-272.
5   Revue Belge d’Archéologie et d’Histoire de l’Art, 8, 1938, pp. 211-240.
6   Apollo Chronique des Arts, (Bruxelles), 21, pp. 14-16.

                                                                                   19
LECTURES

personnellement à Charles-Quint            de l’ancienneté de la Monstrance            lors du 17e colloque de l’AIHV à
et au futur Philippe II lors de leur       est A.-E. tHeuerKauff-lieDerwalD,           Anvers en 200611.
prétendue visite au four de                en 1968 : la Monstrance, censée
Beauwelz en 1549. Relevons                 dater du XVIe siècle illustre un            Chantal fontaine avait remarqué
principalement une nef en verre            roemer qui ne peut pas être                 que les dessins illustrant la
longue de 1,25 m, remplie de               antérieur à l’extrême fin du                Monstrance de Beauwelz et la
personnages et d’animaux, dont             XVIIIe s.9.                                 Copie (en 4e main) du Journal
on trouve la source d’inspiration                                                      d’Amandt Colinet étaient si
dans la Nef de Charles-Quint, une          Il faut néanmoins attendre la fin           ressemblants qu’ils ne
pièce d’orfèvrerie automate d’un           des années 1990 pour que le                 pouvaient avoir été exécutés
mètre de long7.                            Musée de Corning, entame une                que par une même main, donc
                                           recherche scientifique visant à             que monstrance et copie du
La plupart des historiens du verre         déterminer la falsification du              journal étaient contemporains.
les plus réputés ont cru à                 manuscrit. C’est Jutta Page, alors          J’ai ensuite pu démontrer que,
l’authenticité de ce document et y         conservatrice des verres                    bien que volontairement
ont souvent eu recours pour                européens, qui se charge de                 déformée, l’écriture de la Copie
appuyer l’une ou l’autre thèse,            l’étude ; ses résultats sont                du Journal était exactement la
argumenter une terminologie ou             présentés en 1998 à Anvers et               même que celle d’une lettre
une chronologie8. Il semble                publiés en 200210. J. Page                  autographe écrite par Chambon
cependant qu’en Belgique, la               conclut que le manuscrit est une            en 1947. Raymond Chambon
Monstrance ait assez tôt rencontré         copie maladroite ou un montage              était donc l’auteur et le
des détracteurs puisque Chambon            d’antiquaire du XIXe siècle car,            réalisateur de la Monstrance, de
s’est empressé de découvrir des            selon les échos recueillis auprès           la Copie du Journal d’Amand
soi-disant preuves de son                  de ses correspondants américains,           Colinet et de la Requête au
authenticité dans la copie de deux         Chambon serait un homme                     Prince de Chimay !
autres manuscrits : le Journal             parfaitement intègre, charmant et
d’Amandt Colinet et la Requête au          totalement incapable de la                  L’Itinéraire de Momignies
prince de Chimay, signalés dès             moindre malhonnêteté ; il se
1955 dans son Histoire de la               serait donc laissé abuser.                  En 1947, Chambon annonce la
Verrerie en Belgique. Mais, afin de                                                    découverte d’une dalle de terre
compliquer les choses, il les              La perception qu’on en a en                 cuite reproduisant le tracé des
présente comme des copies                  Belgique est cependant assez                voies romaines de Marseille à
en 4e main.                                différente puisqu’on le sait lié à la       Bavay et de Boulogne à Trêves
                                           découverte d’un certain nombre              avec les noms des principales
La première personne qui émette            d’autres documents des plus                 villes de Gaule connues par la
publiquement des doutes à propos           douteux que j’ai passés en revue            Tabula Peutingeriana et l’Itinéraire

7 Musée National de la Renaissance à Ecouen, Inv. E.Cl. 2739.
8 Notamment : J. Barrelet, 1954 ; B. Klesse, 1963 ; D. HarDen, e.a., 1968 ; r. cHarleston, 1977 ; H. tait, 1979 ; O.
DraHotová, 1983 ; l. engen, e.a., 1989, etc.
9 A.-E. Theuerkauff-Liederwald, Der Römer, Studien zu einer Glasform, Journal of Glass Studies, 10, 1968, pp. 121-123.
10 J.-A. Page, The ‘Catalogue Colinet’: a mid-16th century manuscript? dans J. Veeckmann, dir., Majolica and Glass from Italy
to Antwerp and Beyond, Anvers, 2002, pp. 243-262.
11 J. Lefrancq, Apports et incidences de l’œuvre de Raymond Chambon sur l’histoire de la verrerie en Belgique, Annales du
17e congrès de l’Association Internationale d’Histoire du Verre, Anvers, 2009, pp. 339-343.

                                    20
REVIEWS ON GLASS Nº 7 2019

                                                                                         raisin, considérées comme des
                                                                                         chefs-d’œuvre de la verrerie
                                                                                         antique15. Cet objet à la cavité
                                                                                         trop réduite pour constituer un
                                                                                         élément de moule bivalve, et
                                                                                         pourvu de canaux semblables à
                                                                                         ceux des moules de fonte oppose
                                                                                         rapidement Chambon aux milieux
                                                                                         de l’archéologie professionnelle.

                                                                                         Après sa mort, une analyse par
                                                                                         thermoluminescence commandée
 Itinéraire de Momignies. Musée Royal de Mariemont. Détail des chaussées                 par le Musée de Charleroi à
 Bavay-Cologne et Bavay-Trêves. © IRPA-KIK.                                              l’université de Bordeaux-Talence
                                                                                         établit la modernité du prétendu
d’Antonin. Il s’agirait, selon lui, de      voire à une mystification pure et            moule en situant sa fabrication
la copie d’une pierre antique,              simple et est suivi en cela par              dans les années 1890-1930. Les
destinée aux rouliers transportant          plusieurs archéologues belges.               nouvelles analyses menées à
de Méditerranée jusqu’en                                                                 l’Institut Royal du Patrimoine
Thiérache la soude indispensable            Une analyse par                              Artistique établissent aujourd’hui
à la fabrication du verre.                  thermoluminescence effectuée à               qu’il s’agit d’un faux absolu16.
                                            Oxford à la demande d’Albert
Bien qu’ayant aussitôt exprimé              Deman situe la cuisson entre                 Les verreries forestières du Pays
ses doutes parce que l’Itinéraire           1500 et 1650, une date                       de Chimay
respecte l’orientation et les               difficilement crédible selon
proportions géographiques,                  l’auteur14.                                  Confronté aux critiques du monde
ignorées dans l’Antiquité,                                                               archéologique, Chambon publie,
Germaine Faider-Feytmans achète             Le moule de grappe de                        en 1959, Les verreries forestières
la pièce pour le Musée de                   Macquenoise                                  du Pays de Chimay du XIIe au
Mariemont12.                                                                             XVIIIe siècle d’après les
                                            En 1950, Chambon déclare avoir               documents d’archives17.
Paul Lebel en fait ensuite une              trouvé vers 1942-43, dans la forêt
violente critique, basée sur la             de Macquenoise, un objet en terre            Il y présente une série de
réalisation, la cuisson et                  cuite qu’il interprète comme un              documents, textes et plans,
l’épigraphie de la dalle13. Il              moule ayant servi à souffler les             attestant selon lui de l’existence
conclut à une blague d’étudiants,           fioles en forme de grappe de                 ininterrompue de fours de verriers

12 G. F[aider]-F[eytmans], Archéologie, l’Antiquité Classique, 18, 1949, pp. 135-136.
13 P. Lebel, La carte routière de Momignies (Belgique), un original antique ou un faux moderne ? Revue Archéologique de l’Est
et du Centre-Est, 3, 1952, pp. 43-51.
14 a. Deman, m.-tH. raePsaet-cHarlier, Les Inscriptions Latines de Belgique (ILB) 1985.
15 Cf. les exemplaires trouvés en fouille dans des tumuli romains à Fresin/Vorsen (MRAH, Bruxelles) et à Heerlen (Musée de Leyde).
16 cH. fontaine-HoDiamont, r. margos, m. van Bos, l. fontaine, Du vrai au faux, Pour en finir avec le moule à grappe « gallo-
romain » de Macquenoise, Bulletin de l’Association Française pour l’Archéologie du Verre, 2020 à paraître.
17 Publications de la Société d’Histoire régionale de Rance, 4, 1959-60, pp. 111-180.

                                                                                         21
LECTURES

dans cette zone géographique. Il             1594 et gravé des armes et d’une
prétend avoir vu ces documents               devise des Croÿ, princes de
aux Archives de l’Etat à Mons                Chimay et propriétaires du
avant le bombardement qui a                  Château d’Ecaussinnes au XVIe s.
anéanti une partie du bâtiment et            Le but mercantile est ici évident :
des fonds en mai 194018.                     verre façon de Venise à la potasse
Ailleurs, il annonce qu’il                   de fougère, armoiries liées à
argumentera sa démonstration                 Chimay et à Ecaussinnes ; on peut
dans un second article … qui                 s’interroger sur le prix alors exigé
n’est jamais paru !                          pour un monument d’apparence
                                             tellement probante !
Maintenant que les Archives de
Mons sont à nouveau accessibles,             Chambon fait donc très tôt figure
Benoît Painchart, a                          de cas d’école : amoureux de son
systématiquement vérifié toute               Pays de Chimay dont il cherche à
l’histoire des Colnet. L’ensemble            dorer l’image, selon les uns il
de son étude fait apparaître                 passe pour un mythomane qui,
qu’aucun des documents                       afin de servir sa cause, se                  Petit roemer en verre clair. Château
présentés par Chambon n’a jamais                                                          d’Écaussinnes-Lalaing. Détail de la
existé19 ! Toute l’histoire des                                                           devise « OV QVE SOIT CROŸ
verreries anciennes de la région de                                                       1594 ». © IRPA-KIK.
Chimay est donc le fruit de son
imagination !

Les gravures récentes sur verres
anciens

Lorsque vers 2000, j’étudiais les
verres anciens du Château
d’Ecaussinnes, pour la plupart
vendus par Chambon dans les
années 1960, j’y avais dénombré
9 verres anciens, d’époques et
d’origines différentes,
médiocrement gravés au XXe
siècle dans le but de faire croire à
une fabrication de Beauwelz. Le
                                              Petit roemer en verre clair, fin XVIIe-     Petit roemer en verre clair. Château
plus significatif est un petit                                                            d’Écaussinnes-Lalaing. Détail des
                                              XVIIIe s. Château d’Écaussinnes-
roemer en verre clair d’une forme             Lalaing. © IRPA-KIK.                        armoiries Croÿ. © IRPA-KIK.
tardive (fin XVIIe-XVIIIe s.), daté

18   Alors qu’il n’avait pas 18 ans !
19 B. PaincHart, L’activité verrière des Colinet au Sart de Chimay, XIIIe-XVIIIe siècles, Eclats de Verre, 21, 2013, pp. 60-67 ;
22, 2013, pp. 34-46 ; 23, 2014, pp. 8-16 ; 24, 2014, pp. 19-31 ; 25, 2015, pp. 18-27 ; 26, 2015, pp. 8-18 ;
particulièrement 22, 2013, pp. 34-46.

                                        22
REVIEWS ON GLASS Nº 7 2019

transforme en faussaire ; pour            disculpent complètement de toute
d’autres, type même de l’amateur          malversation, avançant
local, il se laisse naïvement             uniquement sa naïveté.
tromper par les plus grossières
falsifications pour peu qu’elles          Les verres falsifiés conservés au
intéressent sa région. En raison de       Musée de Charleroi
sa gentillesse, de son travail
acharné et de ses qualités                Le plus aberrent est que même le
d’historien local, le bénéfice du         Musée du Verre de Charleroi, dont
doute lui est accordé par d’aucuns        il est l’initiateur, et qui recèle des
et il finit par être considéré            pièces tout à fait remarquables,
comme un aimable benêt.                   conserve aussi des pièces
                                          dénaturées conçues pour
Depuis les années 2000, de                démontrer l’existence de verreries
nouvelles études démontrent               anciennes dans la région de                Gobelet romain du Ier siècle.
cependant que les nombreux faux           Chimay, mais aussi de Charleroi.           Musée du Verre de Charleroi. Fond
présents dans sa collection ne se                                                    gravé d’un chrisme. © IRPA-KIK.
rapportent pas uniquement à la            Des verres antiques falsifiés y ont
région de Chimay.                         notamment été repérés, comme ce
                                                                                    gobelet découvert et publié par
Le catalogue de la verrerie Zoude                                                   Chantal fontaine : un verre du Ier
de Namur                                                                            siècle, grossièrement gravé de
                                                                                    scènes chrétiennes copiées de la
Cet autre catalogue manuscrit                                                       Coupe d’Homblières, célèbre objet
datant prétendument de 1762,                                                        paléochrétien du IVe siècle
également arrivé à Corning avec                                                     découvert dans la région de l’Aisne
l’ensemble du fonds documentaire                                                    et conservé au Musée du Louvre21.
de Chambon, présentait une
origine assez obscure pour être                                                     Conclusion
analysé. Publiées en 2007 par
watts et tait, les conclusions sont                                                 Un esprit régionaliste poussé à
sans appel : il s’agit d’un faux                                                    l’extrême, dit esprit de clocher, la
grossièrement réalisé, en 2                                                         recherche de satisfaction d’une
exemplaires suivant le même                                                         vanité personnelle, un certain
processus que la Monstrance de                                                      mercantilisme, ont poussé
Beauwelz et le Journal d’Amandt                                                     Chambon à donner à ses rêves
Colinet20. Mais en raison de la            Gobelet romain du Ier siècle.            une apparence de réalité ; malgré
                                           Musée du Verre de Charleroi.
relation de confiance que                                                           son aspect matériel, celle-ci ne
                                           Gravure inspirée de la coupe
Chambon avait anciennement                 d’Homblières. © IRPA-KIK.                résiste plus aujourd’hui à une
établie avec Tait, les auteurs le                                                   analyse sérieuse.

20 D. c. watts, H. Tait, Assessing the Authenticity of the Putative Sebastien Zoude Catalogue of 1762, Journal of Glass
Studies, 49, 2007, pp. 153-178.
21 cH. fontaine-HoDiamont, H. wouters, Deux verres d’époque romaine, falsifiés par une gravure moderne. Un héritage de
Raymond Chambon, Bulletin de l’Institut Royal du Patrimoine Artistique, 33, 2009-2012, pp. 29-50.

                                                                                     23
LECTURES

Glass in the Celje
Region from the 18 Century                                                     th
                                           to the Present
Jože Rataj. Celje Regional            Research into the glassmaking        but they were not writing
                                      tradition in our part of the world   specifically about glassmaking.
Museum                                did not begin until the              Instead, they touched on glass in
                                      nineteenth century, with the         connection with forestry, through
                                      development of the domestic          accounts of their travels or
                                      glassmaking industry. Numerous       geographical sketches of the
                                      authors addressed the subject,       area. One example is the diary

 Postcard Loka pri Žusmu, around 1900. © Archive Celje Regional Museum.

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REVIEWS ON GLASS Nº 7 2019

kept by Archduke Johann of
Styria from 1810-1812, who got
to know the glassworks in the
surrounding forests during his
visits to the spa at Rogaška
Slatina.1 This was followed by a
series of articles by Rudolf
Gustav Puff, Johann Gabriel
Seidl and Gustav Mally withthe
first encyclopaedic editions that
mention our lands. One of these
was Topographical Lexicon of
Styria by Carl Schmutz,2 the first
work of its kind since the
completion of the Josephinian
Land Survey in the second half
of the eighteenth century.3 After         Man cutters at work in the Rogaška glassworks, mid-20th century. © Archive
                                          Celje Regional Museum.
this Georg Göth published an
extensive questionnaire that
collected data through a series
of special forms.4 A number of
contemporary newspapers also
began publishing news on
economic activity and local
events, where information about
glassworks and glassworkers is
recorded. Some notable
newspapers included the
Steiermärkische Zeitschrift,
Carinthia and Industrie- und
Gewerbeblatt. These were joined
in the second half of the
nineteenth century by Slovene-
language newspapers such as
Slovenski gospodar, and Slovenec.
Another important source are
                                          Children at work in the Hrastnik glassworks, 1920. © Archive Celje Regional
reports on the provincial                 Museum.
exhibitions that began to be held

1 Schlossar, Anton, Erzherzog Johanns Tagesbuchaufzeichnungen von seinem Aufenthalte im Kurorte Rohitsch Sauerbrunn
und über seine Reisen in Untersteiermark aus den Jahren 1810, 1811 und 1812, Graz, Leykam, 1912.
2 Schmutz, Carl, Historisch-Topographisches Lexikon von Steiermark mit historischen Notizen und Anmerkungen, Graz, 1823.
3 Josephinische Landesaufnahme 1763-1787 für das Gebiet der Republik Slowenien, Landesbeschreibung, 5. zvezek, ZRC
SAZU in Arhiv Republike Slovenije, Ljubljana, 1999.
4 Kuret, Niko, Slovensko Štajersko pred marčno revolucijo 1848.

                                                                                   25
LECTURES

 1.    Macelj, 1660-1710
 2.    Stara Glažuta – Dobovec, 1700 – 1750
 3.    Čača vas (Jelovec), 1750 – 1843
 4.    Log ob Sotli (Trlično), 1794 – 1864
 5.    Stara glažuta pod Vetrnikom, 1739 – 1784
 6.    Nova glažuta pod Vetrnikom, 1784
 7.    Polana pod Lisco, 1780 – 1800
 8.    Jurklošter (Mišji dol), 1800 – 1860
 9.    Svetli dol pod Svetino, 1753 - 1780
 10.   Liboje (sv. Neža), 1794 – 1885
 11.   Ojstrica pri Taboru, 1792 – 1840
 12.   Hrastje, 1739 – 1750                       STILL OPERATING GLASSWORKS
 13.   Dobrina, 1780 – 1820
 14.   Loka pri Žusmu, 1836 – 1886                22. Steklarna Hrastnik, 1860 -
 15.   Olimje pri Podčetrtku, 1873 – 1885         23. Steklarna sv. Križ Rogaška Slatina, 1927 –
 16.   Zagorje ob Savi, 1804 – 1928
 17.   Trbovlje, 1824 – 1873
 18.   Žiče, 1672 - ?; 1700 - 1764
 19.   Vitanje, 1697 – 1762?
 20.   Rakovec nad Vitanjem, 1781 – 1874
 21.   Steklarska šola Rogaška Slatina, 1947 – 2009

 Map of glassworks in the Celje Region.

in the 1830s and reports from                                  is Johann Slokar’s history of the    Minařik and his fundamental
the Styrian Chamber of Trade                                   Austrian industry,5 which            work Pohorske steklarne [Pohorje
and Commerce in Graz, which                                    actually represents an               Glassworks],7 which might
represent one of the                                           introduction to the study of         almost be described as a
fundamental sources for the                                    industry in Styria. Slokar was       “textbook of glassmaking”.
study of the economic history of                               followed by numerous authors         Minařik’s work covered a number
Styria in the second half of the                               who also covered the economic        of locations in the area around
nineteenth century.                                            aspects of a given region in the     Celje, the glassworks belonging
                                                               context of broader local history.6   to the former Žiče Charterhouse,
Another important source for the                               For the Pohorje, a particular        and two glassworks in the Vitanje
history of glassmaking in Styria                               mention should go to Franc           area. His work is being

5 Slokar, Johann, Geschichte der österreichischen Industrie und ihre Förderung unter Kaiser Franz I., Verlag von F. Tempsky,
Wien, 1914.
6 Pogatschnigg, Valentin, Beiträge zur Geschichte der steirischen Glasindustrie, Graz, 1894.
7 Minařik, Franc, Pohorske steklarne, Založba Obzorja, Maribor, 1966.

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