Bonnie Staffel on sat 11 jul 09
Hi all, I think I can jump in here with some of my stories. While I did =3D
not
attend the universities where these men taught, I did gain knowledge =3D
through
a few of the things offered at that time. I attended the Toledo Museum =3D
of
Art glass blowing class taught by Fritz Dreisbach, who came just after
Harvey and Dominic Labino started the glass blowing classes in the =3D
garage on
the museum grounds. We used the glass balls that Dominic formulated for =3D
the
Libby Fiberglas Mfg. plant to make fiberglass from . Dominic was a =3D
frequent
demonstrator in those early years when he was working on how the ancient
Egyptians made the hollow glass pieces. I remember him using copper oval
core beads to wrap the strings of glass in the lampworking method. He =3D
also
loved to show off his fanciful animals and creations. He was also a =3D
personal
friend of mine. He was a consistent inventor and I also had the =3D
opportunity
to blow glass in his studio when our class visited him near Grand =3D
Rapids.
Another interesting connection was that my husband who was a very =3D
talented
artist joined a "rent and artist" company and he was hired by Libby
Fiberglas to draw a three dimensional drawing from the blueprints for =3D
the
executives to see what the engineers presented. They built a three =3D
story
building with the glass balls on the third floor melting in a special
furnace, and the threads then were pulled down to the first floor into =3D
the
Fiberglas insulation. =3D20
One of the perks of studying at the Toledo Museum glass studio was that =3D
a
lot of the guards were retired glass blowers. They would come in every =3D
once
in a while and show off their skills creating the forms they used to =3D
make in
the old days. They also gave a lot of information in the development of =3D
the
glass studio. There was a forum presented by the well known studio glass
blowers of the time, where they would talk about their experiences of =3D
being
a one-man studio operation. I raised the question about whether they =3D
would
ever take on apprentices (as I was into the apprenticeship program in my =
=3D
own
clay studio) and they rather laughed at the idea. Now many glass studios
have apprenticed helping in the various operations.=3D20
After using the glass balls at the museum class, and then going out to =3D
his
studio and blowing his glass, was like night and day. He was a =3D
perfectionist
and never would allow any seeds that were not part of the design of the
piece to be saved. His glass blew like honey and luckily I still have =3D
one or
two pieces that I made in his studio. I also have photos of me at the =3D
bench
but can't put my hands on the slides at the moment. We also traded one =3D
of my
big punch bowls for one of his green very thick jars. What a loss it was
when he passed away.=3D20
Our Museum was very much into the current scene of the studio pottery
movement as well and that is where I heard Leach's first lecture in the =3D
US
where he castigated the US for not having any culture. I was able to
purchase a few little pots which were made in his pottery as well as =3D
getting
his signature in his book I had been using. I then had the opportunity =3D
to
visit his pottery in the 80's when I was teaching in Denmark. It was =3D
like a
pilgrimage for me as it was one of my goals. This was after Bernard's =3D
death.
So I asked the sales girl if it would be possible to tour the pottery, =3D
she
said that it would not be convenient as they were loading the kiln. =3D
However,
I did my song and dance that I had come all the way from the US to be =3D
here,
a life long ambition, when Janet Leach arrived down from her apartment =3D
on
the second floor. What a thrill. We talked about an hour about Leach and =
=3D
her
work. I purchased some small pieces of hers that would fit into my =3D
luggage.
I will never forget that visit. She was not a big fan of her husband and
said some unflattering things about him.=3D20
I started out in clay at the Museum in their first year in 1948 in the =3D
hand
building class and my instructor was very encouraging to urge me to
continue. So the next year, Harvey Littleton became the teacher when he
graduated from Cranbrook. He also urged me to go to Cranbrook and I =3D
applied
for a scholarship from a local group who financed talented area artists =3D
to
further their education. The Museum also had an annual art competition =3D
and
when the clay became big, they included clay as a material for judging =3D
as
well.. I was fortunate to have received purchase awards as well as other
awards for my work. Too bad the now generation did not have that heady =3D
time.
Sixty years have gone by and am still working, although having a few
physical setbacks, am building up my strength again. My system of =3D
throwing
with coils and slabs has given me the ability to still make pots for =3D
which I
am grateful.=3D20
Thanks for listening.
Bonnie Staffel
.
http://webpages.charter.net/bstaffel/
http://vasefinder.com/bstaffelgallery1.html
DVD=3DA0 Throwing with Coils and Slabs
DVD=3DA0 Introduction to Wheel Work
Charter Member Potters Council
gayle bair on sun 12 jul 09
Bonnie,
It's more like...... THANK YOU for writing & sharing history with us.
Please don't stop!
Gayle Bair
Bainbridge Island WA
Tucson AZ
gayle@claybair.com
On Jul 11, 2009, at 7:37 PM, Bonnie Staffel wrote:
> Hi all, I think I can jump in here with some of my stories. While I
> did not
> attend the universities where these men taught, I did gain knowledge
> through
> a few of the things offered at that time. Snip>
> Thanks for listening.
>
> Bonnie Staffel
>
> .
Frances Howard on sun 12 jul 09
I too am fascinated by the reminiscences of Bonnie and every one else about
the pottery and other arts scenes from 50 years ago. There is no better wa=
y
to find out how things were than by reading their letters which have such
freshness, spontaneity and charm and a truthfulness which is hardly ever in
books.
I feel so privileged to read about this history from those who made it.
What a fantastic amount of in depth knowledge you are giving us!
So many different facets. Frances Howard----- Original Message ----- ere
is in ClayartFrom: "Bonnie Staffel"
To:
Sent: Saturday, July 11, 2009 11:37 PM
Subject: Hamada Leach / thoughts - rambling
Hi all, I think I can jump in here with some of my stories. While I did not
attend the universities where these men taught, I did gain knowledge throug=
h
a few of the things offered at that time. I attended the Toledo Museum of
Art glass blowing class taught by Fritz Dreisbach, who came just after
Harvey and Dominic Labino started the glass blowing classes in the garage o=
n
the museum grounds. We used the glass balls that Dominic formulated for the
Libby Fiberglas Mfg. plant to make fiberglass from . Dominic was a frequent
demonstrator in those early years when he was working on how the ancient
Egyptians made the hollow glass pieces. I remember him using copper oval
core beads to wrap the strings of glass in the lampworking method. He also
loved to show off his fanciful animals and creations. He was also a persona=
l
friend of mine. He was a consistent inventor and I also had the opportunity
to blow glass in his studio when our class visited him near Grand Rapids.
Another interesting connection was that my husband who was a very talented
artist joined a "rent and artist" company and he was hired by Libby
Fiberglas to draw a three dimensional drawing from the blueprints for the
executives to see what the engineers presented. They built a three story
building with the glass balls on the third floor melting in a special
furnace, and the threads then were pulled down to the first floor into the
Fiberglas insulation.
One of the perks of studying at the Toledo Museum glass studio was that a
lot of the guards were retired glass blowers. They would come in every once
in a while and show off their skills creating the forms they used to make i=
n
the old days. They also gave a lot of information in the development of the
glass studio. There was a forum presented by the well known studio glass
blowers of the time, where they would talk about their experiences of being
a one-man studio operation. I raised the question about whether they would
ever take on apprentices (as I was into the apprenticeship program in my ow=
n
clay studio) and they rather laughed at the idea. Now many glass studios
have apprenticed helping in the various operations.
After using the glass balls at the museum class, and then going out to his
studio and blowing his glass, was like night and day. He was a perfectionis=
t
and never would allow any seeds that were not part of the design of the
piece to be saved. His glass blew like honey and luckily I still have one o=
r
two pieces that I made in his studio. I also have photos of me at the bench
but can't put my hands on the slides at the moment. We also traded one of m=
y
big punch bowls for one of his green very thick jars. What a loss it was
when he passed away.
Our Museum was very much into the current scene of the studio pottery
movement as well and that is where I heard Leach's first lecture in the US
where he castigated the US for not having any culture. I was able to
purchase a few little pots which were made in his pottery as well as gettin=
g
his signature in his book I had been using. I then had the opportunity to
visit his pottery in the 80's when I was teaching in Denmark. It was like a
pilgrimage for me as it was one of my goals. This was after Bernard's death=
.
So I asked the sales girl if it would be possible to tour the pottery, she
said that it would not be convenient as they were loading the kiln. However=
,
I did my song and dance that I had come all the way from the US to be here,
a life long ambition, when Janet Leach arrived down from her apartment on
the second floor. What a thrill. We talked about an hour about Leach and he=
r
work. I purchased some small pieces of hers that would fit into my luggage.
I will never forget that visit. She was not a big fan of her husband and
said some unflattering things about him.
I started out in clay at the Museum in their first year in 1948 in the hand
building class and my instructor was very encouraging to urge me to
continue. So the next year, Harvey Littleton became the teacher when he
graduated from Cranbrook. He also urged me to go to Cranbrook and I applied
for a scholarship from a local group who financed talented area artists to
further their education. The Museum also had an annual art competition and
when the clay became big, they included clay as a material for judging as
well.. I was fortunate to have received purchase awards as well as other
awards for my work. Too bad the now generation did not have that heady time=
.
Sixty years have gone by and am still working, although having a few
physical setbacks, am building up my strength again. My system of throwing
with coils and slabs has given me the ability to still make pots for which =
I
am grateful.
Thanks for listening.
Bonnie Staffel
.
http://webpages.charter.net/bstaffel/
http://vasefinder.com/bstaffelgallery1.html
DVD Throwing with Coils and Slabs
DVD Introduction to Wheel Work
Charter Member Potters Council
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