Three PCA TX members contributed articles to the 2003 Annual Bulletin published by the PCA Inc.
Wilbarine Favre authored the article titled “The Baccarat Gridel Series,” which describes her collecting passion of building a complete series of the Gridel set of paperweights. The article includes 36 high quality images, including each of the 18 designs made during the period, and a close-up of each one to show the detail of the Gridel silhouette cane. The series were made between 1971 and 1979, and Wilbarine and her husband, John, now have 61 of them. Their set includes designs featuring all 18 of the Gridel silhouette canes, however some designs are duplicated with right facing or left facing figures. In all, the Baccarat factory made 7750 total weights with the Gridel design during the eight-year period.
Leslie Smith authored the article titled “Perthshire 2002, The Final Chapter,” which described the exhibit of the same name, featuring weights from the final year’s production before the Perthshire factory closed. The article included eight beautiful images of these paperweights.
Art Elder authored the article titled “The Stars of Texas” which described the background and details of how the pieces in the collection were selected and the exhibit was assembled. It also included the background of how the Stars of Texas book was published to document the exhibit. The article included images of eight antique and contemporary weights from the exhibit.
The “Texas Volunteers,” “The Stars of Texas,” and “Perthshire 2002, the Last Chapter” made quite a statement at the biennial PCA convention held in San Antonio in May 2003! Feedback has been coming in over the past months through letters and the newsletters of the various regional organizations. Some of their conclusions are listed below.
From the Cambridge Paperweight Circle newsletter editor Bob Hall, “The Texas PCA members kept all 280 visitors supplied with vast quantities of cookies of all flavours throughout the convention, and CPC visitors would like to say thank you for their hospitality and generosity to all the overseas visitors.” From CPC reviewer Angela Klemer, “What are the memories I brought back from Texas? Enormous chocolate chip cookies available in the hospitality suite.”
From the Delaware Valley PCA newsletter editor Stanley Kruger, “The Stars of Texas exhibit chronicles a vigorous paperweight galaxy drawn from all the Texas members. This powerhouse exhibit is truly a show of strength.”
From Anne Metcalfe of Sweetbriar Galleries, dealer from the UK,-- “Texas has the reputation of being bigger and better. When we went to the San Antonio Convention I was ready to be impressed. I was impressed too – by the warmth of our reception, by the heat of San Antonio and by the beauty of the town. Later I was impressed by other things – the sheer number of paperweight collectors in Texas and by their dynamism. There was also a fine display of choice weights lent by members of the Texas Chapter. This display was called ‘The Stars of Texas’ and we were given a photographic record of this display in the form of an excellent book. Just another thing that the members of the Texas Chapter did for their visitors – what fine hosts to take such endless trouble. I want to say to any of them reading this – don’t think it wasn’t appreciated. What I liked best was the warm smiles. Friendship is the greatest gift one collector can give another.”
In a note from Ed Poore of the Crystal Workshop and PCA TX member, “I want to thank you and all those that helped put on the PCA convention for a wonderful job that transformed in to a great time for everyone in attendance. Congratulations on a job well done.”
From Nancy Alfano, dealer and PCA TX advertiser, “I enjoyed the Convention very much and everyone I talked to was having a wonderful time. The Texas hospitality committee out did themselves. I have already gone through my book THE STARS OF TEXAS many times as has my husband. We are both so impressed with it. I can only imagine the amount of work you did to bring it all together. Great Job!”
From Jeff Kliment, California collector,--“Just a note to let you know how much I enjoyed my recent visit to San Antonio for the PCA convention. This evening I had some time to look through the "Stars of Texas" catalogue and it is a beautiful keepsake. Rest assured, your efforts, along with those of all the folks who contributed, are much appreciated. I will remember this event for many years to come, thanks to all of you.”
In a note from Roger Jacobsen, PCA TX Charter member, dealer, and advertiser, -- “Your volunteers did a great job for the PCA at the convention”.
The PCA Inc. Newsletter (July 15, 2003) included a group picture of the Texas Volunteers, and mentioned “Nearly everywhere you went, PCA Texas volunteers were nearby to help answer questions and point the correct way.”
From Patricia Mowatt, collector and new PCA Secretary,--“you really gave the Texas convention a good "flavor". Please thank everyone for me - an attendee who truly appreciated all that your volunteers did for the convention."
From Emily Kak, PCA administrator,-- “All the Texas volunteers made Tom and me so welcome and I thank you all, one more time. So many of your names have now been put to faces for us and I will always remember the fun times we had with you and the fact that you all worked so hard, but enjoyed it so much.”
From Harvey and Doris Robinson, dealers and PCA TX advertisers, -- “We want to thank all the Texas Chapter Members who helped with the PCA Convention in San Antonio in June. The displays were certainly extraordinary and we know from experience what hard work it must have taken to organize that part. But especially, it was the gracious, friendly and helpful attitude of the Texas Members that made us feel very welcome. We are still talking about how hospitable you all were. Thank you for your kindness; it was much appreciated.”
From Peggy Morrow, newsletter editor of the PCA Illinois, --- “The Texas PCA showed us what Texas hospitality is all about. Their volunteers guided the way, passed out handouts, answered questions, and provided thousands of home baked cookies. The convention featured two outstanding displays. The Texas PCA put together a show featuring members’ paperweights. Called “The Stars of Texas” a wonderful show catalogue was provided to all attendees. Also on display was collection of what are sadly the last Perthshires.”
From John Miles, President of PCA New Zealand, -- “Very many thanks indeed for the splendid publication “Stars of Texas”. What a lovely selection of paperweights you were able to share with the convention participants.”
From “The Paperweight Chase”, newsletter of the Ontario Paperweight Collectors Association -- “The Texas Volunteers made everyone feel welcome. The Stars of Texas book is a great addition to our library and something that will remind us of this brilliant exhibition for years to come.”
Way to go Team!!!
Niki Maas, PCA TX webmaster, has published information about paperweights and PCA TX for the web site and newsletter of the Glass and Pottery Sellers Association. Her article is reproduced (with approved editing) below for your enjoyment (please click on the above newsletter link for the entire article).
As a little girl, I was always mystified by the three paperweights my grandmother kept on her bookcase. I wondered how the colored “stuff” got inside. I really didn’t think too much more about it, other than to consider paperweights as something to keep paper from blowing around. Then in 1999, a friend had just told me about eBay. I turned over one of the plates my other grandmother had left me, and saw Red Wing and thought, “Hmmmm, wonder what that means?” So that was what started my collection of paperweights. Wait a minute - how did I get from Red Wing pottery to paperweights? While searching eBay to find the pattern name of the Red Wing plates I had always called “Granny’s Watermelon dishes,” (it’s Tampico, but that’s another story) I stumbled upon the paperweight category, and thought “Wow, a whole section for just paperweights -- how many different types can there be?”
Ohhh, I couldn’t believe my eyes. Four different paperweight categories: contemporary, studio, vintage, and other. I instantly remembered the awe I felt as a young girl upon gazing into the depths of the inexplicable glass orbs. As a beginning collector, I easily fell victim to the quantity is more syndrome. It took me awhile before I realized I had certain favorite styles (millefiori, especially Perthshire) and colors (purple, purple, and more purple). I’m now more selective in my acquisition and can actually pass up a paperweight in an estate sale. I’m often teased when someone finds I collect paperweights. “Just how much paper do you have anyway?” I’ll show them a picture or two of my more intricate Perthshires and usually the teaser is astounded at the minute details on the paperweights.
Here are some of my favorite paperweights in their categories.
Scottish Millefiori: The first paperweight I purchased on eBay was a Perthshire pressed daisy, about two inches in diameter. This started my Perthshire collection, which also includes several Perthshire paperweight doorknobs.
Frit: Often produced at the Millville factory in south NJ, I have no idea where mine actually came from, but I like them nonetheless. My “God Bless Our Home” weight looks in remarkably great condition. Another a “Dallas Times Herald” is a favorite, as are “Sweetheart” and “Best Friends.” They make you wonder about their previous owners.
Purple Favorites: Purple is the color I gravitate towards, so many of my paperweights are from that color spectrum. One of my favorites is a large lampworked lizard draped over the top of the weight by Michael Hunter of Twists Glass Studio in Scotland.
What Was I Thinking?: An eclectic group which most collectors have that speak for themselves!
What do baseball, cars, and paperweights have in common? There is a common thread when Randy Grubb is involved! Randy Grubb is one of the most talented contemporary paperweight artists, who spoke to PCA TX members at our June 15, 2002 meeting in San Antonio. In addition to his 18-year career of paperweight artistry, Randy spoke about his passion of designing and building custom cars. For over a year he worked on his Blastolene Special, a one of a kind 900 HP retro-style Indy racer that is 21 ½ feet long and weighs 8500 pounds. Pictures of the car and its description were included in our November 1, 2002 newsletter. It was also mentioned that Randy’s plan was to properly promote and market the car. He showed the car at numerous car shows. It was also featured in special articles in national car and hot rod magazines.
And in baseball terms, Randy “hit a Grand Slam
out of the park” with his marketing when he
sold the car for a very significant sum to Jay
Leno, the well known TV personality and car
enthusiast. In May 2003 Randy spent about six
weeks at Leno’s garage getting the car perfectly
finished, tuned, and ready for street use. Leno is
driving the Blastolene Special to various car
rallies and races in California, where they draw
much attention, thereby helping to promote
Randy’s car design talents to other car
enthusiasts.
So what are Randy’s plans now? He intends to continue making glass paperweights until his future direction becomes clearer. He hopes that with Leno’s promotion of Randy’s talents, other avid car collectors will ask him to design and build custom cars to their specifications. Randy says he is now working on converting a Peterbuilt truck into a “chopper.” Although we’re not quite sure what that means, we have to admit the project sounds interesting.
It is always nice to hear a success story about paperweight artists, even though it has nothing to do with paperweights. We wish Randy well in his future.
Bill Gudenrath, master glass blower and Artist in Residence at the Studio, Corning Museum of Glass, has a fascinating personality and career. As a production glassmaker, he understands the techniques and short cuts that experienced glass blowers use to increase their productivity. Bill is also a historian, teacher, and glass studio administrator. But his work as a production glass blower allows him to understand how the glass blowers of antiquity produced their pieces, and therefore, he is able to re-create their glass blowing techniques to determine how the ancient pieces were made.
Another little known fact about Bill is that he also attended the Julliard School of Music, and is a trained concert organist! He occasionally performs.
In a fascinating talk at the Forsyth Center Galleries at Texas A&M University in November 2002, Bill described what the Roman glass masters could, and could not have done when making the Portland Vase, the most famous glass object in the world. He is a glass blowing “Sherlock Holmes.”
The Portland Vase was produced by the Romans about the first century AD, when glass blowing techniques were less than one hundred years old. It is a masterpiece combining glass blowing, and overlay techniques with cameo carving. For years, scholars have speculated how such a masterpiece was produced at such an early age. The vase was recovered intact in Italy during the 1500s and was first recorded in 1601. It became known as the “Portland Vase” when it became a part of the collection of the British Museum. Unfortunately, while displayed in the museum in 1845, the vase was smashed to pieces by a madman. The piece was carefully put back together, and put on display again, this time in a protective case. Because of the damage, the piece must be conserved about every 40 years. Sometimes, the pieces are taken apart and re-glued together again. Bill Gudenrath was given the opportunity to study the pieces in the last restoration, which gave him a new insight and understanding of how the vase was made. He noticed a unique pattern of bubbles trapped between the inner layer of glass, and the outer overlay. The bubbles were elongated and distended. He also noted that the un-carved overlay varied considerably in thickness.
Bill then blew copies of the vase blank, with intentional bubble patterns in the glass, and stretched and manipulated the blanks to observe the changes of the shape of the bubbles. He determined that the Portland vase would have originally been rounded at the base, rather than flat. Although this seems impractical today, this shape was actually common in both pottery and glass objects of this time. At some later date, the rounded base was broken off and made into a flat-bottomed vase. Another question was how the Roman glass blowers made the glass blank in layers. Nineteenth century glass blowers made similar pieces by first blowing the outer layer into a hot metal cup form, and then blowing the inner layer inside that. Bill believes the Romans produced the Portland blank by first gathering the molten inner layer of glass, and then dipping that hot gather into another molten pot to form the outer layer of glass, and then blowing the two layers together in one operation.
It takes a master glass blower and detective to understand the intricacies of how the ancient craftsmen produced their art. It was a fascinating talk.
The drawing for the millefiori paperweight made by Jim Brown was held at the close of the October 11, 2003 meeting in Austin. The lucky winner was Layne Sedate of San Antonio. Layne is the son of long time PCA TX member Bernie Sedate of Odessa. The weight was valued at $400.
Jim Brown, talented paperweight artist and PCA TX member, donated the paperweight to PCA TX after the PCA convention. Jim mentioned how much he appreciated all the work of our members at the convention, and that he wanted to show his appreciation for their volunteered time and for the expenses our organization incurred. We are grateful to Jim for his generous donation.
We are delighted to report that the raffle brought in $725 in ticket sales, and thank everyone for their support. We particularly thank Lowell and Zoë Switzer for conducting the raffle in accordance with state regulations for non-profit organizations.
PCA convention participants in San Antonio encountered a rare treat when they viewed the special exhibit of PCA TX members Leslie and Angie Smith, titled “Perthshire 2002, The Final Chapter”. The Smiths were able to obtain a complete set of the final year’s Annual Collection of limited edition designs made by the Perthshire factory before they closed unexpectedly last year. This was quite a feat, considering that the factory closed so abruptly and their marketing distribution was so disorganized. About 50 weights from the 2002 collection were exhibited. Additionally, examples of the past years' special-edition weights were included, with one weight for each of the 34 years Perthshire was in operation.
The exhibit was on view during the 2003 convention, which attracted much interest. The exhibit of the 2002 weights will be on view at the Bergstrom - Mahler Museum in Neenah, WI until January 2004.
The Smiths also thoughtfully donated a CD to the PCA TX library that contains 117 images of paperweights in the exhibit. The CD also contains images of 52 Perthshire double-encased double-overlay paperweights, and nine slide shows by Perthshire, including the accompanying text. This is a very valuable addition to the library. Thanks Les & Angie!
After nearly three years of planning, this exhibition of the 159 finest weights from Texas collections finally came to fruition, and with much acclaim by the attendees at the PCA Convention in San Antonio. It was described there as a “powerhouse exhibit and a show of strength” by Stanley Kruger, president of the Delaware Valley Paperweight Collectors Association.
The idea for this exhibit was conceived in August 2000 when Al Bates, President of the Paperweight Collectors’ Association, Inc. (PCA), asked if the PCA TX could provide an exhibit of paperweights to coincide with the PCA convention being considered for San Antonio, in 2003. The idea was both daunting and exciting. We were certainly aware that there were outstanding weights in Texas collections; and when combined, they would form a very respectable exhibit, so the challenge was accepted.
A major problem was how to curate the exhibit, and how to conduct the physical complexities of actually gathering the weights from many individual collectors, insuring them, and transporting them to the exhibit site, setting up the display, security, etc. In talking about this problem with Tim Novak, Director of the Forsyth Center Galleries at Texas A&M University, he said that they would be pleased to curate the exhibit, and asked if I would be the co-curator. It is rewarding that the exhibit of this collection will be extended for six months to be displayed in the Forsyth Center Galleries at Texas A&M University, where it will be seen and enjoyed by an estimated 15,000 of their visitors.
Members were asked to nominate weights in their collections that they wanted to be considered for the exhibit. Committees were formed to review the nominated weights and to select the best. We are grateful and appreciative for everyone’s encouragement and unanimous support.
Specifically to be recognized are the 12 PCA TX collector families that have agreed to lend their weights for this exhibit. Whatever pleasure the exhibit brings to the viewer is the direct result of their generosity. It should also be recognized that the lenders, in the spirit of presenting a unified exhibit, have agreed to not be identified as the lender of each weight. They have preferred to be recognized as a group, and to consider the collection as a joint effort of all Texas members.
Particular thanks and appreciation should be given to the selection committees that visited each lender’s home and made the hard decisions during the selection process. The committee for antique weights included myself as chair, James Hale, Jan Whitley, and Clarice Tripp. Carl Carter chaired the committee for contemporary weights. The selection committee members contributed their broad and discerning knowledge to select a variety of well-executed paperweights worthy of this exhibit, and we acknowledge their help.
The exhibit includes many rare weights that have not been seen by the public for many years and others that may seem familiar because their pictures are featured in established reference publications. Also included are the more common designs, but these weights have been restricted to what are believed to be very well-executed examples - ones that are sharp and clear, symmetrical, well-centered, and have no flaws.
The catalogue to document the exhibit is another example of total cooperation. A quality publication requires a lot of experience, expertise, knowledge, and money, of which we only had a little of each. When Larry Selman of Paperweight Press was asked if he would help with the publication, he graciously agreed, provided that we would provide the images and text, with us doing the majority of the work. PCA TX members agreed to fund the expense of the photography and to provide a copy of the catalogue for convention participants. The Forsyth Center Galleries agreed to collect the weights and supervise the photography and organize the page layouts. Cory Arcak, Registrar at the Forsyth Center Galleries, visited most of the lenders' homes to collect the weights, make a condition report, and transport them to Texas A&M University. She set them up for being photographed, and helped in the decisions of how they should best be recorded. Larry Wadsworth, a photographer with the Biomedical Communications Section of Texas A&M University, was able to take the images during the 2002 Summer Session using the finest state of the art equipment. Art Elder coordinated getting the paperweight descriptions and provenance information from the lenders and putting them into a consistent format, and getting the text from contributing authors. The descriptions, text, and proofreading required a lot of help from a lot of people, which was freely given and gratefully accepted.
The exhibit has been a labor of love and an enjoyable project. The results are certainly rewarding. It has demonstrated to the paperweight world the number of outstanding weights in Texas collections. We particularly hope the exhibit will have some lasting legacy as a collection of weights from private Texas collections that otherwise would not have been viewed and enjoyed by the public.
The 50th Anniversary PCA Convention was a great success, thanks, in part to all the great members from our own PCA TX group who answered the call to duty. I personally thank all of you who participated with such willingness and enthusiasm. With Zoë Switzer and Freda Sonnie on the “Local Arrangements” Committee, we planned a real Texas kind of meeting. To Art and Joyce Elder, Lowell and Zoë Switzer and Freda Sonnie for putting together and transporting all the registration packets and goody bags – a special acclamation. Add special thanks to Barbara Dokell who transported some of the many boxes. These volunteers arrived a day in advance to assure the decorating and registration process went well.
The table decorations were appreciated by attendees and were the creativity of Zoë Switzer and Freda Sonnie. Freda made the large Texas-style arrangement at the Registration Desk. Art Elder and Ron Gauny donated cowboy boots to hold bluebonnets and lariats. Joyce Elder and Jayne Gilbert brought large silver trays for cookies to show that Texans appreciate some of the finer things, too.
Greatly appreciated by all attendees were those volunteers who provided the dozens and dozens of cookies: Carl Carter (really his Mother, Wanda), Joyce Elder, Barbara Dokell, Zoë Switzer, Marion Bates, Freda Sonnie, Sonny Sedate, Marie Peiter, Joan Gremmel, Sue Soy, Fran VanWinkle and Jan Whitley. Thanks for promoting our Texas meeting tradition.
Other Texas members served as room hosts or worked in the Hospitality Room. Special thanks to Sunny Peer, Ron Gauny, Bernie Sedate, Sonny Sedate, Bob White, Marion Bates, Carl Carter, Barbara Dokell, Art and Joyce Elder, Joyce Glore, Joan and Ralph Gremmel, James Hale, Jack Jordan, Sue Soy, Bill and Ida Luttrell, Gene and Marie Peiter, Lowell and Zoë Switzer, and Fran VanWinkle.
Other Texas volunteers had special jobs that added to the success of the San Antonio meeting. A big bouquet to Leslie and Angie Smith for the wonderful Perthshire exhibit, to Tim Novak for spearheading the trip to Texas A&M and the paperweight exhibit, and to Al Bates for representing us well as President. And an extra big thank you to Art Elder and his committee in assembling the “Stars of Texas” exhibit and the wonderful book given to all attendees.
I know we returned from San Antonio tired, broke and happy! Seems those are the earmarks of knowing we hosted a wonderful meeting in Texas! We can rest on our laurels knowing we worked together willingly, had a great time doing it and appreciate even more our PCA friendships. A special salute to all the Texas Volunteers. I am grateful to all of you for your contributions.
PCA TX has, to date, donated 10 catalogs of the “Stars of Texas” exhibit to libraries both in Texas and across the nation. Members were asked at our June 21 meeting if they had a local library they wanted our organization to donate a catalogue to, and catalogues were given to members to distribute, with the provision that PCA TX receive a confirmation of the donation from the library. This confirmation step was necessary to document donations by our organization for bookkeeping purposes.
To date, books have been donated to the following local Texas libraries:
Donations have also been made to the libraries of the following major universities and museums:
Al Bates, PCA TX member, completed his second two-year term as president of the national PCA Inc. at their biennial convention in San Antonio, May 14-16, 2003. He was succeeded by incoming president William Gaskill. Al agreed to become president in 1999, and is now looking forward to a more restful retirement. For this article, he has reflected on the past four years, and his most vivid memories of the experience. The following are his very interesting thoughts on what it meant to him. Al was the seventh president of the PCA in their 50-year history. We thank him for sharing his thoughts with us.
“I would like to share some thoughts with you on what it meant to me, as well as to Marion, to serve as the President of PCA, Inc. The idea of being President of PCA, Inc. was the farthest thing from my mind until mid-1998. Actually, the trip to the Chicago convention in May 1999 began in October 1992 when I became Acting President of PCA Texas upon the resignation of the then President. Serving as Vice President, President and newsletter editor of PCA Texas for more than five years prepared me for the decision I made in September 1998 to stand for nomination and election as PCA, Inc. President.
Several PCA, Inc. members contacted me in 1997 and 1998 urging me to consider running for the office but one member in particular made such a persuasive argument that I decided to run. I made the decision because I believed that my experience in managing the affairs of PCA Texas, as well as my many years of experience in the business world, qualified me to make a significant contribution to PCA, Inc.
In my candidacy letter to PCA, Inc. members in the fall of 1998, I wrote “My goals as President of PCA, Inc. will be to maintain and improve the fiscal health of the organization, to increase membership, to increase public awareness of PCA, Inc., to broaden the educational programs and to provide the members with interesting, entertaining and educational newsletters, bulletins and conventions.”
Looking back over the past four years, I believe that I accomplished most of what I set out to do. I am particularly pleased that the financial condition of the association is significantly improved over what it was when I took office. During the period from April 30, 1999 through April 30, 2003, total assets increased by more than $26,000.
The Board approved several contributions and grants to museums and other paperweight collectors associations to further knowledge about paperweights and paperweight collecting.
Another milestone, of which I am particularly proud, was the hiring of a paid administrative assistant. This took a tremendous time burden off the backs of the Secretary and me. I don’t believe that the organization can ever again operate without a paid administrative assistant.
Another important accomplishment of my administration was the improvements in the PCA, Inc. website. Previously, we were merely a presence on the Internet. After the new website was developed and significant content was added by the Education Committee, our website became a “must visit” site for anyone interested in paperweights. Unfortunately, the goal of increased membership was not realized, but a new membership committee made serious efforts to reach that objective.
These accomplishments were the result of work by a dedicated team of officers, directors, committee chairs and committee members, as well as many hours of work by the dealer representative to the Board. I could not have accomplished nearly as much without their help and support.
My administration was one of transition; transition from an East coast-centered organization to one with a national and international perspective. Administration members were from states ranging from New York, New Jersey, Maryland and Florida, Illinois, Oklahoma, Texas and California. Consequently, holding a board meeting was not as simple as asking all the Board members over for lunch prepared by the President’s wife and an afternoon board meeting. It was necessary to plan to hold board meetings in different locations to lessen travel burden on all the members.
It was also a time of transition from an organization where decisions concerning important matters were often made on an ad hoc basis. It soon became apparent that written policies and procedures were required to consistently and fairly administer the organization. This was accomplished by the development and adoption of 32 policies and procedures. To accomplish the goals of the Board, it was also necessary to rewrite the association’s bylaws. Two committees worked untold hours to accomplish these tasks.
Along with all of the accomplishments came disappointments. As is the case in most relational situations, compromises are required. The compromises, in most cases, were not difficult to make because they were arrived at after reasoned discussions among the Board members. One of my biggest disappointments was the lack of interest by PCA, Inc. members in serving the organization. It was very disappointing when the call for nominations for officers went out in September 2002 and only two people were nominated and neither of them would serve. Much like many other organizations administered by volunteer officers, the attitude seems to be “let someone else do it.” I don’t know how PCA, Inc. can continue to operate in an efficient and worthwhile manner unless more qualified people become willing to serve.
After a feeling of accomplishment, the thing I will most remember about the job of President is how many hours I devoted to the job. I cannot come close to calculating the time I spent on PCA, Inc. business. Each of us operates in his or her own way and some people might be able to perform the job without spending as much time. I gave the time and effort I thought was necessary to do the job right. Delegation of authority and responsibility works only when there is someone to whom one can delegate.
Time demands and stress extended to other members of the family. Marion was very much involved in the PCA, Inc. work. She encouraged me when I was discouraged, calmed me when I was angry and rejoiced and celebrated with me when things went well.
I will have fond memories of the good (I believe excellent) conventions in Corning and San Antonio. I think these two conventions attained high levels of education and enjoyment for the attendees.
Marion and I will always cherish the friendships we made with the people we worked with and with other paperweight collectors from around the world. As we travel in the coming years, we will look forward to renewing these friendships.
I have no regrets about the decision to run for PCA, Inc. President. The past four years have been a lot of hard work but also a lot of fun. Thanks to all who in greater and lesser ways helped make it possible.”
Al Bates was the guest speaker at the Oklahoma PCA meeting in Tulsa on March 23, 2003. He spoke on “Advertising, Commemorative, and Souvenir Paperweights”, and shared the speaker's podium with Drew Ebelhare, who spoke on “What’s New With Drew”.
Al also visited Ontario, Canada in August 2002 to give the same program for their PCA organization. PCA TX is planning to schedule a time for Al to give his talk to our group, but a date has not yet been set.
The exhibit of contemporary Baccarat and Saint Louis paperweights opened on March 29 with surprising success at the Abbaye des Prémontrés, near Metz, in the Lorraine region. It was organized by The Cultural Center of the Lorraine Region of France. The exhibit features approximately 600 pieces, mostly from the archive collections of the Baccarat and Saint-Louis factories. The remainder was loaned by private collectors in France and around the world. Nancy Alfano reports the following about the exhibit reception.
“The gala opening was attended by 200 people including the presidents of Baccarat and St. Louis. Gerard Ingold was also there. The press covered the event. Everyone there seemed pleased at how well it looks.
The first day it opened to the public, over 200 hundred people were standing in line waiting for the door to open and the organizers were shocked. They had originally expected this to be a small sleepy little exhibit - pretty but not a big crowd pleaser. In the first week they had two busloads from Germany and large local crowds every single day. The response has been overwhelmingly positive.
Mrs. Sylvie Tridon, the Cultural Director of the Abbaye, worked on this exhibit for six months so every detail is just lovely. Originally the exhibit was to last only one month and close at the end of April. Then they extended it to June and now it is set for a closing date of July 14. Quiet rumors now say it may close in September.”
This leaves time for Texas collectors to attend this once in a lifetime exhibit. A complete Baccarat collection has never been assembled previously. Contact Nancy Alfano for details at Portia Paperweights.
The Paperweight Collectors Association of Texas was formally founded June 28, 1986 as a relationship of collectors and dealers of antique and contemporary glass paperweights. The purpose of the association was and is to further interest in the art of paperweights and to share group knowledge. Development of PCA/TX was the inspiration of Carl Carter, George Grupe, Harvey Jones and Robert White. From the very beginning of this organization the drive of their actions was to educate and inform as many people as possible about, the art, science, craft, structure and the history of art-glass paperweights. These aims, with structure and bylaws, were approached from many angles through the subsequent years and growing membership.
The organization began by meeting in restaurants, motels and each other's homes. But, as our numbers grew we had to move to larger quarters. By the 2nd year we went from 11 members to 65. Paul and Margaret Jokelson honored us by attending and speaking at our 1st. Anniversary meeting. Early meeting topics or themes were: my latest, first, holiday, flora & fauna paperweight; millefiori, lampwork, torch work, overlays, sulphides, and cut weights, etc. The theme was a great way to break the ice and start conversations among the participants.
As part of our fundamental outreach to our members and potential new members, newsletters were important. We only had 2 newsletters the first year and now have 4 or 5 a year. The newsletter’s focus was to provide information to collectors about new and antique weights, publications, artists, auction dates and dealer schedules. As our newsletter grew we published interviews with such notables as Paul Jokelson, Charles Kazuin, Gerrie Casper, Debbie and Delmo Tarsitano. We also inserted color photographs in our newsletter. We added advertisers to help offset expenses. To expand our membership and educational goals we began to have meetings in several major Texas cities. In 1988 we added field trips to our meetings and started to visit private collections in members’ and other’s homes and artists’ studios. Our first major fundraising project was a raffle of a Chapter weight, of lamp work Texas bluebonnets, by Ken Rosenfeld. This was followed by raffles of other artists’ donated weights, silent auctions and Association “T” shirts.
In 1989, through gratis work and expertise by a couple of members, PCA/TX applied for and received exemption from Federal Income Tax under section 501 (A) as an educational organization described in section 501(c)(3). We became the 3rd largest PCA out of 15 in the world, with 105 members. To enhance our educational objectives, members developed a traveling display of paperweights, books and related objects, which were displayed in Texas libraries. We developed a speaker’s bureau so that members could present informative talks about paperweights to other social and service clubs and organizations. Members’ articles about their collections and PCA/TX were published in Texas newspapers.
As we grew we started attracting important local and distant paperweight dealers and glass artists. Some local galleries hosted meetings at their shops and sponsored speakers. In 1991 Larry Selman came to our Dallas meeting bringing Randy Grubb as guest artist, which attracted our largest attendance. This marked our first 5 years. Membership decided to hold a contest to find an Association logo. A swirl-weight design with a central Texas five pointed star cane and repeated state silhouettes canes was adopted. As a result of numerous loyal dealer visits and annual 3-day gallery extravaganzas we were able to meet many U.S. and overseas artists and learn about them, their craft and artistry on a first-name basis. These attractions helped recruit new members. Over the years we benefited from 34 different guest speakers and 16 different paperweight sellers/dealers.
In 1993 PCA/TX learned of the Bill and Irma Runyon Art Collection at Texas A&M University. We had no idea how important this collection and the Forsyth Center Galleries would become to PCA/TX. Timothy Novak, Director/Curator, invited the association to consider holding meetings at the Forsyth Center Galleries where we would be exposed to the rare glass and art collection and fine facilities. In 1994 the first significant exhibition of paperweights to be shown in Texas was organized by the Art Museum of Santa Cruz County, California, sponsored in part by L. H. Selman, Ltd and the International Paperweight Society. “The Art of the Paperweight - Challenging Traditions”. With the cooperation of Texas A&M and Mr. Novak, the exhibit was beautifully displayed in the Forsyth Center Galleries. We felt so fortunate to have attracted such an important exhibit to Texas whose focus was strictly on fine art-glass paperweights.
To enhance our recruitment, one member developed a membership brochure to be distributed in area museums and glass/gift galleries. In 1995 a member organized and still is custodian of the circulating PCA/TX Library. The club has a considerable assortment of books, journals, auction catalogs and bulletins, videotapes and related literature all centered on paperweights. These materials are for the use of our members to help educate and further their knowledge about paperweights and the makers.
1996 was a big year for PCA/TX. We celebrated our 10th Anniversary. The MSC (Memorial Student Center) Forsyth Center Galleries at Texas A&M University hosted our event with a large, special, member’s paperweight exhibit and commemorative picture catalog “A Texas Paperweight Celebration” published by The Forsyth Center Galleries. Through the exhibit and beautiful catalog we reached 8618 people who viewed the exhibit and visited with the PCA/TX member docents. PCA/TX started its own home page this year on the World Wide Web as another way to extend our reach. Our web address has recently changed to www.pcatx.org.
The following year our membership grew to 135. As the years went by our association with this university service has endured and grown. The Galleries have hosted a number of our meetings and they have arranged numerous special events for our organization including meetings, paperweight exhibits and foreign travel tours. We owe a great deal of thanks to them for helping further the art of the paperweight. Without their support, both educationally and financially, we could not have come so far so fast. Their organization, Friends of the Forsyth (FOF), is a big part of the reason for the catalog and exhibit “The Stars of Texas”. The membership of the Paperweight Collectors Association of Texas, Inc., gives them our gratitude.
We have come a long way in 17 years. One of our member couples, Don & Ruth Smith, upon his death, donated part of their collection to FOF. We received financial donations from ExxonMobil Cultural Matching Gift Program, thanks to our Federal educational status and thanks to their retired employee, Arthur R. Elder, our current President. PCA/TX has donated many paperweight-related books to libraries across the state. It made numerous financial donations including the scholarship fund honoring Paul Stankard at the Corning Museum of Glass in Corning, New York, and the Speakers Bureau of the American Museum of Glass in Wheaton Village at Millville, New Jersey. The Paperweight Collectors Association of Texas, Inc. is now fully incorporated giving us strength to reach more people and further education about paperweights. There are many people to thank who have helped make PCA/TX, Inc. the outstanding organization it is today. The list is endless. Please consider joining us as we reach for the Stars of Texas.
The PCA TX Mission Statement “Our purpose is to foster the public awareness of paperweights and related glass art works, and promote education about the history and artistic merits of the glass paperweight art form. To accomplish this, we provide a forum for education and fellowship with other paperweight collectors, and promote sharing knowledge with other interested people. Our goal is to provide an atmosphere that is both entertaining and educational so that interested individuals may learn more fully about the fascination of glass paperweights and better appreciate their history and beauty.”
In looking for information and instruction these artists are overlooking something valuable. Their growing interest lacks an understanding of where encased flamework art came from, and even more importantly, where it is going within the art glass field. Once you learn to encase your designs, your challenge is to find acceptance by the art glass world and sales outlets for your work.
In the last 60 years of resurrecting the encased flamework art form, there have been steps forward, but these steps have been small, and slow. There are critics who properly observe that paperweight artists have excellent technical skills yet lack really innovative designs. To overcome these criticisms, which are sincere, new artists need to explore bold new approaches to encased flamework design. New visions will create new challenges and new challenges will lead to a fresh re-birth of the field. The idea that “it all has been done before” is limiting and untrue as you can see from the history of the art form.
Paperweights made in the 19th century captured floral designs, reptiles and millifiori canes in very traditional Victorian styles and primarily encased them in a globe of clear crystal. The artists of the 19th century generally produced their work in a factory setting as an aside to producing other useful glassware. Paperweights were production items, unsigned by individual artists. Compared to artists today, little or nothing is known about who specifically created the designs and what motivated their artistry. Even the factory often did not sign the work and collectors have come to identify work by the motifs and glass types used.
In a nineteenth century society with fancy desks and paper, paperweights were functional; a standard part of a desk set as well as decorative tokens given as objects of esteem. There were a few exceptions; factories would occasionally produce a commemorative or special work to demonstrate their best capabilities and secret techniques. Today such special works are the rarest of the rare and all antique works are in museums, dealers’ hands, or private collections.
Traditional antique paperweight designs primarily included flowers, reptiles and fruit, along with arrangements of millefiore canes. Except for a few antique examples of square plaques, paperweights were round. Centering the design was very important, and almost all designs were prisoners of this idea. This concentricity rule - that designs had to be centered - restricted variety in design motifs as artists struggled for tightly balanced, harmonious designs that fit in a small round space.
Antique paperweight collectors set an early standard for what was expected in a successful design from artists. Today many collectors consider centering an important value point in acquiring antique paperweights. An un-centered design cuts market value in half. Badly placed bubbles also severely cut the market value of a piece to collectors. The collectors’ emphasis on technical perfection therefore led the 20th century artists to place greater emphasis on encasement quality than on innovative design. The established market demanded that artists not sacrifice quality for the sake of a more dramatic design or message.
Following the heyday of antique paperweights, in the mid 20th century, artists began creating work relying somewhat on updated versions of antique traditions. Between 1920 and 1950 factories were still making paperweights in the U.S., Murano, China (Peking glass), Czechoslovakia and France.
A new paperweight movement started in the 1940’s. Pioneer in glass and dean of the American paperweight revival, Charles Kaziun, resurrected the field in the 1940’s. Kaziun set new artistic standards for encased flamework paperweights; working from his small Massachusetts home studio Kaziun beat a path that all contemporary artists followed. Other artists in America began to open small home studios. These artists introduced several differences from the past: (1.) Individual artists made the work in private studios, (2.) Encased flamework was usually the only type of glass art produced in the studio. (3.) Artists built and owned their own small studio usually at their home, in a garage or basement. (4.) Artists either created the equipment needed by hand or picked up items here and there. (5.) Artists worked alone or with one assistant. (6.) Unlike the artists of the antique genre, 20th century artists always signed and sometimes numbered each piece with their name and date. (7.) There was no instruction. Left over information and working materials filtered down from the earlier century. Retired artists also shared snippets of information or provided reference material written long ago. Twentieth century artists had to figure things out on their own through costly and often disappointing trial and error.
Many collectors did not know very much about what they were buying and knew even less about how paperweights were made. Unlike other art glass forms; the mystery of paperweight making was an intriguing part of its mystique like that surrounding a magician’s repertoire. Once artists figured out the process for themselves, few shared it in order to preserve the intrigue.
Until 1955 paperweight collecting was totally unorganized. Most collectors bought antique paperweights, which at that time were plentiful and affordable. In the early 1950’s Mr. Paul Jokelson, an avid antique paperweight collector and importer, founded the Paperweight Collectors Association. Mr. Jokelson promoted paperweights and created a forum where new artists like Kaziun could show and sell their work and collectors could get together and learn the history. Mr. Jokelson wrote and published books documenting the field, giving it historical credibility. Many other artists followed Charles Kaziun in the 1960’s and 70’s still laboring under a blanket of secrecy about how they created their work. These artists based their designs on the proven formula: round, clean, bubble-free, centered designs still ruled.
Following another antique tradition, many twentieth century artists made multiples of the same design. Collectors liked being able to own popular designs, which further encouraged repetition. Consequently the economics of making multiples created the income needed to run a studio. The major problem was that repetitive designs did not allow the art form to be valued as fine art. Repetition of design kept paperweights a part of the past, to be viewed as craft by the fine art field.
Individual artists were not factories; producing their art was very expensive so repetitive designs were purely an economic choice by artists and dealers. This formula, which worked economically, unfortunately conflicted with the standards of the art world. (If the paperweight revival had pursued individual, one-of-a-kind works of art, the development and progress of encased flamework would have been staggering. The result would be rapidly changing and developing designs.)
By the late 1970’s antique paperweights had become very hard to find and the multiple contemporary work filled the gap. Now in the year 2002 antique paperweights have vanished from the market and are found only in a few specialty galleries and at auctions. With the onset of the modern makers, a fresh supply was readily available all the time to perpetuate the field as the antique weights disappeared into museums and private collections.
By 1976 about a dozen artists in America were creating what they referred to as “lampwork” paperweights. Due to twenty years of promotional effort by Paul Jokelson, the Corning Museum of Glass, and other paperweight dealers, thousands of people were collecting antique and modern paperweights in an organized fashion. Paperweight auctions by large auction houses such as Sotheby’s and Christie’s sold primarily antique paperweights using modern work as a warm up in the first 10 to 20 lots of each auction. Higher value was still placed on antique paperweights as modern artists struggled to create their own niche.
By the 1980’s some paperweight makers grew tired of traditional formats and work formulas and began aspiring to make fine art. These artists began to play with shape as well as expanded design ideas that went beyond the restrictions of antique motifs. Although traditional work remained in demand, these adventuresome artists moved away from multiples of the same designs and toward individual artistic expressions. Leaving behind repetitive designs also left behind their economic benefits. Fewer more individualistic designs moved these artists away from the antique dealer market and toward art galleries as sales outlets.
It has been a long time since there was a useful need for paperweights. We now live in a paperless society. In the 19th century, paperweights were considered inexpensive decorative baubles to be left on desks. In the 21st century glass artists now have a new challenge: to make individual works of fine glass art. Some modern paperweight artists have stepped beyond the traditional with serious designs at prices equal to contemporary art glass. Now, many fine galleries choose not to carry work that is too reminiscent of the antique and not innovative enough to appeal to fine art collectors.
In addition to design, size is an issue. Some critics say that larger scale pieces have greater credibility in art glass circles than small scale encased flamework. On the other hand, thousands of collectors like the intimacy of paperweights because of their small size. Gay Taylor, Director of Wheaton Village in Millville, New Jersey and the sponsor of the Wheaton Glass Lovers’ Weekend says; “ I have always felt that collectors love paperweights because, unlike other forms of glass art, collectors can hold them in their hands and experience them in a way that other glass forms can not be experienced”.
It is true: paperweights and flamework encasements can be held and enjoyed in ways that other forms of glass cannot. Why should small size limit the acceptance of works within the art glass community? What about beauty, emotion, meaning, form? Is it all about size? Large or small, the collecting experience is the same in both cases, just enjoyed in different ways. The intimate glass creations of flamework encasements invite the beholder into the art to connect to the mental and emotional dimension of each piece. Collectors hold the work meditatively and explore the design. Smaller size seems too shallow a criticism for serious art lovers to accept.
The time has come for artists to build a strong modern field that should be called “encased flamework”. Just as Dale Chihuly departed from the style of Louis Comfort Tiffany and Galle, modern encased flameworkers can transcend fashions of design and shape to bring their art to a new higher level as full members of the fine art community.
Encased flamework is a relatively new form of glass art dating only from the 1840’s. Compare this to blown and other art glass forms that have been around for centuries.
All art forms have evolved from a starting point. Like cave paintings to the Sistine Chapel of Michelangelo and Picasso’s works, art is growth in concept and design, large scale and small.
Encasing flamework is a growing segment of fine glass art. The field now needs to be defined by richer content and more depth of emotion in the work. Challenge yourselves by making work that conveys your own important message and become a part of the movement to expand and elevate the field of encased flamework for the 21st century.
The above article may not be reproduced or published without the consent of the author, Debbie Tarsitano.
PCA TX president Art Elder contacted the George Bush Presidential Library and Museum recently and gave them specific details of the donated weight. Amy Day, their Registrar, located the weight and sent photographs to document they had it correctly registered. Because of our interest, they intend to exhibit the weight in a new display of “Gifts of the People” in the near future. Amy asked that we tell our members that they are “grateful for the gift to President Bush and the support of the exhibits at the George Bush Presidential Library and Museum”. The George Bush Presidential Library and Museum is located at Texas A&M University in College Station, TX.
To our knowledge, this is the first time a complete collection of more than 500 pieces will be exhibited from the archive collections of the Baccarat and Saint-Louis factories. Some of the weights are from private collections
For additional information, contact the organizer. Additional information is available from Nancy Alfano.
Jeannine Gappa, of Vetro Glassblowing Studio & Gallery, tells us “we opened our doors in 1998 with one of our main goals being to educate the public about art glass/glassblowing. In pursuing this goal, we have become one of the few studios in the country that is open to the public on a regular basis for live demos. Also in pursuit of this goal, we now offer glassblowing and paperweight-making classes”. Their telephone is 817-232-9436. They are located in Grapevine, TX, in the same building as Grapevine Art Glass, owned by PCA TX member Betty Hansen. Some members will remember that Betty hosted a PCA TX meeting there in 1998.
Friday night attendees enjoyed dinner at Epicures Cafe. On Saturday morning, following a tour of contemporary western art on exhibit in Forsyth Center Galleries, Tim Novak, Director, opened the program with announcements, one being Friends of Forsyth dues have been abolished. This should expand their mailing list for programs and exhibits.
In his talk on Mary Cassatt, the only American and one of the two women artists to exhibit with the Impressionists in France, Tim interwove into his presentation bits of her personal life and how it influenced her work. He pointed out the emotion conveyed and sensuality in her art. We appreciate her talent even more when we consider her ability to create a beautiful painting from the awkward poses of squirming babies in the arms of their mothers. It was a further delight to be able to view one of the famous Cassatt paintings Tim spoke about, “Mother in a Large Hat, Holding Her Nude Baby”. This painting is part of the Runyon endowment and is on permanent exhibit in the Galleries.
Art Elder, geologist, Friends of Forsyth docent, and paperweight scholar, followed Tim with a clear, in-depth look at Clichy paperweights from the Don and Ruth Smith Collection. His handouts included a quote from foremost paperweight authority, Paul Hollister, and a time line of Clichy's history, dating back to 1837. Art mentioned while they were not the earliest of the three French glasshouses to make paperweights, they were considered the finest. Art used slides of examples from the Smith collection to illustrate the unique characteristics that identify and bear out the quality of Clichy weights. Having the weights on hand to examine for the identifying canes, rich colors and other earmarks reinforced Art's informative talk.
After lunch, the group toured exhibits of the Weems collection of antique maps and ship models, and John Cunningham's sculptures in other galleries in the MSC.
The afternoon speaker, Bill Gudenrath, multi-talented Artist in Residence, Corning Museum of Glass, charmed the audience with his easygoing approachable personality and the brilliance in his work. The Houston born artist's fascination with glass led to a job blowing laboratory glass at the tender age of eleven. He showed slides that displayed his artistry in creating exquisite functional crystal objects available at Tiffany's in New York, Bergdorf Goodman, and various galleries.
A cocktail reception and dinner in the Regent's room, followed by dessert in Forsyth Galleries brought a delightful weekend to a close.
I always learn something when I attend these Friends of Forsyth weekends. This time, in addition to exposure to all of the above, I heard the word FOMO, an acronym for Fear of Missing Out, not a happy condition. Avoid FOMO and come to the next Forsyth event. You will be glad you did!
We'll also have on show the complete Runyon Steuben collection, and anticipate having other lent Steuben glass to show as well. As always, the meals will be excellent, the entertainment entertaining and the glass companionship unequalled. There will be a modest charge to participants to help us defray expenses.
Most paperweight images courtesy L. H. Selman
PCA TX Webmaster: Niki Maas
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