Plantain Paperweight
Artist
Paul Stankard
(American, b. 1943)
CultureAmerican
Dateca. 1974
MediumGlass
DimensionsOverall: 2 5/16 in. (5.9 cm)
Inscribed"39/50 1974 A 679" is inscribed on the bottom. Signed and dated "PS 1974."
Credit LineGift of John L. and Elizabeth L. Collins
Object number95.32.24
On View
Chrysler Museum of Art, Gallery 117, Study Gallery Case 2, Section 3 Sh1
Label Text19th-Century Glass Paperweights No paperweights were made before the mid 19th century, when three developments converged to create an unprecedented flurry of letter writing among the middle classes and hence the need for paperweights: The new paper made from wood pulp (instead of rags) made paper plentiful and cheap; steel pen nibs replaced quills, making writing easier; and improved postal systems greatly reduced the cost of mailing letters. The first glass paperweights were made in 1845 by Pietro Bigaglia of Venice, who looked to the glass millefiori decorated spheres of Renaissance Venice. (Millefiori, which means "a thousand flowers" in Italian, is the technique whereby glass rods with designs running end-to-end are drawn out while hot into thin rods, then cooled and cut into small cross sections showing the design.) The great French factories - Baccarat, Clichy and Saint-Louis - began making paperweights almost immediately, and so successfully that French paperweights became the world standard. French Miniture Glass Paperweights Attributed to the Compagnie des Cristalleries de Baccarat, Clichy, and the Compagnie des Cristalleries des Saint-Louis, ca. 1845-1855 Gifts of John L. and Elizabeth L. Collins 95.32 BACCARAT CLICHY SAINT-LOUIS Late-19th and Early 20th-Century Parisian Glass While the production of blown glass required a factory, the pâte-de-verre technique - where a paste made of ground glass was packed into a mold and fired until the glass fused - could be carried on in a small shop. So, too, could the decoration of glass blanks by such cold working techniques as enameling or cutting. Objects in this case were made by three of the best small workshops then operating in Paris. Edited By: GLY
Paul Stankard
early 20th century
