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Reviews on Nº 7 2019 GLASS ICOM Glass Lectures: ICOM Glass Annual Meeting in Sars-Poteries (France) 2017
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.
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
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
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
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
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
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. 18
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. 24
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. 26
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