Thomas Dreiling of Brooklyn responds to John Clayton’s missive on the fact that museums seem
loath to collect and display the decorative arts. Also, a note from Dick Stark of Bethesda, MD on the Brooklyn Museum.

Thomas Dreiling:
That’s very disheartening to hear, although I guess it doesn’t surprise me. Back in the eighties I lived in Kansas City and went to an incredible auction of American Brilliant Cut Glass. The owner was at the preview and I commented on how many “museum” pieces were in the auction. He said, right, “museum” pieces. It turns out that he had offered the collection to several Midwestern museums and all had said no thank you. They didn’t even want to “cherry pick” and just take best of the best, they didn’t want any of it. The auction netted over $250,000 so it was a valuable collection. I just have to believe that there are some other museums out there as enlightened as The Wichita Museum of Art. Maybe the Corning could make some inquiries and find some who would be
interested in Carder Steuben. It looks like we have our work cut out for us!

From Dick Stark:
I think the Brooklyn Museum has or had great Steuben…. they de-accessioned some great stuff due to financial problems. The Metropolitan didn’t seem to think Steuben too worthy. I don’t think they have any important examples.

Elizabeth Creech of Brevard, NC provides some good perspective on the
commentary about finding a museum or other place to gift our special glass
collections.

Dear Alan,
Thanks to you and to John Clayton for sharing some good “food for thought,” for
those of us thinking about donating our glass collections, or even selected pieces,
to museums or other public venues. John has very succinctly expressed the
questions we need to honestly ask ourselves.

As a former President and Board member of another collecting group,
we explored (and continue to) similar issues when members starting asking, “Who
would take my collection..I would like for it to stay intact….my kids are not
interested…they would not know how to dispose of it….etc.”
The fact is, most museums (libraries, colleges, etc.) are underfunded and
understaffed. A good example seen on a recent visit to New Orleans, an art
museum with a fabulous glass collection, by the way…major leaks in ceiling still
not repaired from hurricane damage, outside maintenance, such as grass
cutting, being done by volunteers. Certainly no funds for capital improvements,
such as gallery expansion to house additional collections. Indeed, many would see
such donations as a needed source of capital when de-accessioned. Of necessity,
museums have to be very selective in what they will accept, and what is “world class”
in our eyes may not be to them, when they examine what we have to offer.
Then there is a group who say–well, we will just start our own museum. Consider
the amount of endowment that would require!!! Where to put it, so that people
will come to see? Buildings, maintenance, staffing…all requiring continuing
funding. Maybe the traveling RV is not a bad idea!
This is not to say we should not continue to explore venues which will accept and
display our glass, even if only on a temporary basis. We need to show the art
world and our local communities these great Carder treasures. This may be a way
to stimulate interest in institutions making room for permanent acquisitions and
displays. The discussion at the seminar this year should be lively and worthwhile. I’m just
sorry I cannot be there!
Elizabeth Creech

From Debbie Tarsitano
Glad you are all thinking of Universities and Library’s. They are great places and I feel just as respectable and worthy as Museums. I actually feel they may become the new museums of today as collectors give their collections to them. They are very flexible and simply, put out what they have, acquire more and show it to everyone. I really think it is important for professors to see the work and they will spread the word and talk to their students about it. I hope to have more exhibitions at universities and at this point I think it is as good as having a show in an art gallery. Warhol had an early exhibition at the University of Pennsylvania. I know some students who wish they bought his work back then after seeing it. Library’s and Universities and are filled with educated people, they have great taste! Building up our learning institutions really makes this country great and our libraries and Universities more powerful. This helps the students.
(University of Texas A&M has a world class glass collection try them)
Thanks,
Debbie
Debbie Tarsitano
Tarsitano Studio

A number of items to reflect on. As to gifts to universities and libraries I’m
reminded of a tour last year at the Symposium by Tom Dimitroff. Tom took us
to the school that he & Peetie had taught at. I think it is now for primary
grades but had been a high school. Could be wrong about that. Anyhow, when
Frederick Carder was head of the library board he contributed a number of
pieces of his glass to the school. It is now in what I remember to be two
relatively small cases at the center of the school. Just a few well chosen
charming pieces of art glass that graces the school and has a long lasting
importance and influence. Yes, a gift to a university or library may have a more
profound influence and be appreciated much more than being buried at a large
institution.
Next, Bea Weiskopf points out tax rules on charitable gifts:
Also keep in mind that you will need a professional appraisal for donation and
IRS form 8283 completed by an appraiser that is accredited or certified and a
member in good standing of a professional appraisal organization. See www.isaappraisers.
org for an appraiser in your area.
Bea Weiskopf, ISA AM
Accredited Member
International Society of Appraisers

Where to go with you collection. Scott Hansen suggests:
In the next iteration of your email newsletter, send everyone to
www.historicalglassmuseum.com to see what a dedicated group of people can
accomplish in a little over 30 years – don’t miss the picture of some of their
Carder Steuben. You can also send everyone to wvmag.bglances.com (DON’T put
www. in front) to see what Dean Six and his colleagues have accomplished there.
I’ll bet he hasn’t filled the Carder Steuben cases we paid for last year.

Then Karen & Cy Beeman of Media, PA suggest:
Try Wheaton Arts. They display mainly if not totally American glass

Finally, Dick Stark of Bethesda has the question of seeking help in a different
way. By talking to the curators: Wouldn’t it appear that the museums should play some role in the acquisition process? Gary Baker, formerly of the Chrysler is a top notch curator who knows the ropes better than anyone I can think of may be a resource.

From glass artist Debbie Tarsitano of Westford, Mass.
Hi All,
Many universities have art collections, and galleries to show them in. The University of Texas A&M is often interested in acquiring collections. They have a world class collection of paperweights and Cameo Glass over a million dollars in value. It is displayed beautifully and they are revising their display’s this year to make it better.
Collectors often give my paperweights to their university, many of them have given very valuable collections. Some set up galleries in their family name.I am having a show in the spring at the University of Connecticut at Storrs. They are very much interested in showing artworks and have many shows promoting art and artists, they also own a valuable collection of art. They often have shows displaying their own collections. Believe it or not many town libraries have collections of art and show it. My own Westford library owns beautiful and valuable artworks which they display out, and in cases. Its a great way to enrich the town you live in.
You can donate cases, but most libraries and Universities have the space and cases. There is a paperweight case in the Belmont Ma. library. It was given by a collector in memory of her husband. It has been there for the last 10 years. Universities and Libraries are often more than trilled to have work donated to them and show it. A friend gave his paperweight collection and a case to a library in Maine where children never see art glass. He is gone but his collection is there for everyone to see. Another friend who is gone gave his collection to his University of Illinois at Urbana.
Sincerely,
Debbie
Debbie Tarsitano
Tarsitano Studio

Audrey Lipton of Manhattan provides a thought provoking suggestion on how to change museum
dynamics towards Carder Steuben.

The upcoming symposium offers a superb opportunity for exploring and identifying reasons why
Carder Steuben and other examples of innovative glassmaking are by-passed by so many American museums. We know how the club members feel about the subject. Why not go to the source and contact some leading museums that have decorative arts collections and ask those curators why they have concluded that the works of 19th and 20th century glass makers, other than Tiffany and some contemporary studio artists, are not worthy of owning or displaying. From their responses it might be possible to devise a program designed to alter their perceptions. After all, it would be unthinkable to visit the Victoria and Albert Museum in London and not see work from an entire century. Yet, such omission is commonplace in most of our major arts institutions. Clearly, without Carder, there would not have been the current studio glass movement. To ignore such an important link in the evolution of glassmaking is a blind spot that must be corrected. Tina Oldknow and Jane Spillman, who will be at the symposium, should be able to offer some valuable information as they are respected experts and major figures in the curatorial world.