Photograph by Ed Pollard, Canon EOS 5D Mark II digital slr-2015.

Adeline's Portal

Artist Beth Lipman (American, born 1971)

CultureAmerican

Date2013

MediumBlown, fused, cast, sculpted, flame-worked, cut, and etched glass; with painted wood base, glue, and other materials

DimensionsDimensions variable

SignedSigned by the artist on the large central “Hurricane Lamp” element with the artist’s etched initials “B.C.L.”

Credit LineMuseum purchase with funds provided by the Friends of the Historic Houses

Object number2014.1

Collections

Glass Art

On View

On view

DescriptionAdeline’s Portal is a large installation of hundreds of objects made of colorless glass. The components are made with a variety of techniques, including blowing, fusing, etching, casting, and flame-working. Each component of the installation interprets an object located within the Moses Myers House or refers to an aspect or episode of this work’s creation process. Accompanying the glass components are three wooden tables, painted white. The piece is signed by the artist on the large central “Hurricane Lamp” element with the artist’s etched initials “B.C.L.”
Label TextBeth Lipman American (b. 1971) Adeline’s Portal, 2013 Blown, fused, cast, sculpted, flame-worked, cut, and etched glass; with painted wood base, glue, and other materials; dimensions variable Chrysler Museum of Art, Norfolk, VA Museum purchase with funds provided by the Friends of the Historic Houses 2014.1 ProvenanceCreated at the Chrysler Museum of Art Glass Studio, March 16-24, 2013; purchased from the artist via Claire Oliver Gallery, New York, NY, by Chrysler Museum of Art, March 2014.Exhibition History"Adeline's Portal," Moses Myers House, Norfolk, VA, March 29, 2013 - present.Published ReferencesTeresa Annas, “Myers House Inspires a Glass Act,” The Virginian-Pilot, March 20, 2013. Corning Museum of Glass, "Recent Important Acquisitions," _New Glass Review_ 36 (2015): 116. Diane C. Wright (editor), _Glass Masterworks from the Chrysler Museum of Art_ (Seattle: University of Washington Press, 2017), pg. 200-203.