From The Home of David Chadwick-Brown

Further commentary by D C-B on the Kneeling Girl Plaque and Cire Perdue piece addressed in yesterday’s Gazette.

I have had green and yellow versions of the kneeling girl plaque for years. Then suddenly there appeared six of them in Corning, all at the same time, and none had had the sprue trimmed off. I was musing to you that perhaps the reason it wasn’t finished off was because alabaster did not show through well enough to be made into a lamp plaque. Of course, all I would need to do is hold my three before a light bulb to see if my surmise were correct…! I can remember when I first started collecting, 40 years ago, I couldn’t figure out why that plaque was shown in the middle of shades. Some years later I became aware that it was made to be displayed with back-illumination – hence qualified as a ‘shade.’

As for the below Cire Perdue piece, I believe I once read that it was the only time they made it in other than uncolored glass. (There is a crack around the base of that bowl, though it has not seemed to affect the integrity of the piece.)

This Cire Perdue piece was shown in the 1993-1994 CMoG exhibit, called Brilliance in Glass: The Lost Wax Glass Sculpture of Frederick Carder, curated by Bobby Rockwell, Robyn Peterson, and Tom Dimitroff.