Category Archives: glass art

Announcement: JULIE BOLTON

julie 2014Hello,

My name is Julie Bolton and I’m a glass designer/maker and a member of ‘Genuine Jersey’.
I work in my glass studio in the beautiful grounds of Samares Manor.
I attended Wolverhampton University for 3 years (the largest glass art school in Europe), there I studied glass in all its forms and received a BA(Hons) 3d Art/Design glass and printmaking.
My special area is casting , mostly using the lost wax or ‘cire perdue’ method.
My cast work is mainly sculptural, I’m lucky enough to have  great sources of inspiration (Laliques’ Glass Church),  just a couple of miles away from where I work and  the wonderful grounds of Samares Manor also a constant source of organic forms.
I also use many other ways of expressing my art with glass : e.g. Fusing , Slumping , mixing glass with other media,  jewellery and glass with silver.

carving wax in my studio

I was awarded ‘Best Glass’ at the ‘Artizans’ showcase in 2004 , since then I mostly work to commission.

I also make items available to the general public which can be bought  from Coopers Coffee Shop at Castle Quay,  St. Helier (near to the harbour ) or there is a smaller selection at the   ‘Harbour Gallery’  St. Aubin.
I’ve been working with glass for over 14 years now, though my interest in it probably started when I was much younger, as my father used to take me to visit great cathedrals such as Chartres, in France, where we lived.
On this website I aim to put various glass articles that I hope you will find of interest, concerning the art of glass producing.
Please submit comments if there is something glass related you would like to see in particular or need help with.

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GLASS ART AND METALS

These amazing gates at Millbrook Manor in Jersey were made by a collaboration of Artists.

 There are two iron gates each with two cast glass heads back to back. The heads are held in place with a copper band.

 The four heads are made of two slightly different designs and were cast with bullseye billets.

The glass was cast by Julie Bolton at Jersey Glass Art studio.

There are up lighters that highlight the gates and illuminate the glass at night time.

GLASS HEAD

 The initial design was by Neil Mackenzie

The metals were forged by members of Rylance Limited

 The team of metalworkers and blacksmiths were : Nathan Twomey, Kate Webber and Fil Guy.

The gilding was done by Catriona Ellery.

GATES WITH GLASS

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THE GLASS CHURCH

 

 

Most of St Matthew’s Church (the Glass Church as it is known locally) at Millbrook in Jersey is decorated in art deco style Lalique glass dating back to 1934.

The picture below is of one of the lamps inside the front door of the ‘Glass Church‘ designed and made by Rene Lalique.

Glass Art lamp

It is said to be the only church that French master glass artist Rene Lalique designed for.

Below is a picture of the windows that are all around the Glass Church.

Rene Lalique

The glass art work for the church was commissioned and paid for by Lady Trent who lived in Jersey across the road from the glass church.

Here is a picture of the front doors taken from the inside of the Glass Church

Rene Lalique

The Glass Church was was done in memory of her husband, Jesse Boot, who was the founder of Boots the Chemist.

This is the magnificent alter cross in the Glass Church.

Rene lalique

Renee Lalique is recognised as one of the world’s greatest glass art makers and jewellery designers

of the art Nouveau and art Deco periods.

This is a picture of the glass font in the Glass Church, it is signed by Rene Lalique on the base.

Rene lalique

These are the interior walls of the Glass Church which separate areas of the church.

Rene lalique

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Lalique at The Corning Museum

Jersey Glass art

Exhibition in 2014 to Showcase Museum’s Outstanding Lalique Collection

Corning, NY— The Corning Museum of Glass has received an important collection of approximately 400 objects by the famous luxury glassmaker René Lalique (French, 1860–1945), from Maryland collectors Stanford and Elaine Steppa. Combined with the Museum’s existing holdings of glass objects and wax and plaster models by Lalique, the Glenn and Mary Lou Utt Archive related to Lalique designs for the fragrance industry, the drawings and photographs housed in the Rakow Research Library, the gift of the Steppa Collection makes the Museum a preeminent international repository for the study of Lalique glass. The Museum will showcase its Lalique collection in a major exhibition to be held in 2014.

The Steppa Collection encompasses a wide range of Lalique’s best-known works including perfume bottles and pressed-glass vases, as well as ashtrays, boxes, clocks, car mascots, lamps, statuettes, inkwells and blotters, and tableware dating primarily to the years between 1912 and 1936. It joins the Museum’s current holdings of 200 objects by Lalique, as well as more than 2,000 photographs and design drawings in the Museum’s public-access Rakow Research Library.

“This gift significantly broadens our Lalique collection, providing a fantastic overview of the wide range of luxury objects that Lalique’s factory produced during his lifetime,” says curator of modern glass Tina Oldknow. “We look forward to showcasing the full breadth of Lalique’s artistic output in our 2014 exhibition.”

jersey glass art

A highlight of the donated collection is the heavy cire perdue vase called Martins-Pecheurs sur fond de roseaux (Kingfishers on a background of reeds) [2011.3.188], created in 1930. Cire perdue, or lost wax, is a technique commonly used for casting bronze, and it was mastered by Lalique for creating glass objects. The Museum’s collection contains several original wax molds from the Lalique glassworks, which would have been used to create other unique cire perdue glass vessels, including a mold with the same kingfisher design as the Steppa vase. Other significant objects include the remarkable clock, Le Jour et la nuit (Day and night) [2011.3.276], and the iconic Art Deco statuette of a dancer, Suzanne [2011.3.256].

Jersey glass art

Lalique embraced the idea of the Gesamtkunstwerk, or total work of art. This concept was reflected in most Art Nouveau interiors, where a single motif or theme might be present on all of the furnishings of a room. Lalique began his career as an innovative Art Nouveau jeweler who incorporated glass into many of his bijouterie creations. The flacons that Lalique designed for well-known parfumiers, such as François Coty, helped to elevate the status of perfume, and propelled French perfume into international luxury markets.

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KILN FORMED GLASS

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FUSED GLASS

It is generally agreed that the Mesopotamians did the first fusing and casting in the 2nd millennium B.C.
Early warm glass processes evolved from ceramics/metalworking techniques.
Glass was classed as a precious material alongside gold and silver.
Next came the Egyptians, who by the later half of the 2nd millennium B.C. were proficient in both casting and fusing. They also developed the technique of working with glass rods (now known as lampworking).
Romans and Greeks adapted and improved on early techniques from the 3rd century B.C. till the birth of Christ.
The development of kiln forming was put on hold when a new approach – Glassblowing was developed by the Romans.
Blowing became popular due to its greater efficiency, repeatability and lower cost.
Warm glass techniques were forgotten until they were rediscovered in Europe during the 19th Century.
One of the first areas to be developed was the ‘Pate de Verre’ movement in France.
Henri Cros, Albert Dammouse and Gabriel Argy-Rousseau developed methods for casting with a paste made from small glass particles.
In the early 20th century The Studio Glass movement, led by Harvey Littleton and centered on blowing brought respectability to working with glass.
The Bullseye Glass Co. formed by 3 glassblowers, played a significant role in the development of ‘Warm glass’. They led the first major research in the development of ‘tested compatible’ glass made specifically for fusing.
Today, after nearly 2 centuries of re-discovery, warm glass continues to develop and grow as a viable artistic discipline. The increasing availability of better materials and the continued experimentation of artists leaves warm glass poised for continuing growth during the 21st Century and beyond.

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