First, my apologies to Jenny Monroe. Yesterday I mangled her name. Sorry.

Saturday the Board of Directors of the Carder Steuben Club met. On our agenda were “future
projects”. Out of this came several novel and meaningful ideas on preserving the history and
promoting connections to collecting Carder’s works. However one idea, in particular, had a
particularly deep and meaningful dimension to it. This begins with a recognition that few museums and their curators give any recognition to the importance of the decorative arts and, in particular, art glass as an important and influential art form; let alone appropriate recognition for the impact of Mr. Carder’s artistic and historic influence on the development of art glass in America. Few understand that the granddaddy of the current studio art glass movement in America begins with Mr. Carder. His influence on the artists of today is ever present. But then, a large part of this e-mail list doesn’t need convincing of this, but you understand this and with great passion. The question is where to go from here. The Board may have stumbled on the answer–the big idea.

The Carder Steuben Club is contemplating providing funding to help museums assemble a collection of representative works of Mr. Carder. There are numerous museums in the communities we live in. These general museums are doing their best to preserve our artistic heritage. However, not only don’t they have Mr. Carder’s works; they don’t even have a clue of who Mr. Carder is. Many, if they understood this and could assemble a representative collection of his works, would be honored to place a representative collection of Mr. Carder’s works, front and center if donated to them. No, we’re not talking about decorated Aurenes and rarities. Yes, we’re talking about examples of colored crystals from the Victorian period, some examples of art deco. Perhaps a perfume, some table ware and shades, Of course a piece of Aurene to show his iridescence. His Cluthra, Verre de Soie, Grotesque, many colors, appliqués and on and on. For not a small fortune and by careful selection a wide range of techniques, periods and colors could find its place of honor.

Now, how can this come about. Well, first comes finding the museum and its curator who are
interested. Our members and e-mail list not only live in a wide variety of communities, but have many of these museum connections. That’s where we need your help in finding an interested benefactor. Next, the Club can do some funding. Also, we probably would need some contributions of glass from our constituency. If we have a museum to go to, we strongly suspect with some seed money from the Club that this could lead to a great partnership with our members and potentially we could place exhibits in several museums, libraries or universities on a regular year by year basis. Dream big and maybe the dream can be fulfilled. Hopefully, this idea will resonate with you. Well, we’ll see by your comment, suggestions and criticism. If we can stir up enough interest the Board will certainly be supportive.