Glass Flowers

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Blaschka glass model of Asarum canadense Glass Flowers - Canada Wild Ginger (00454).jpg
Blaschka glass model of Asarum canadense

The Ware Collection of Blaschka Glass Models of Plants (or simply the Glass Flowers) is a collection of highly realistic glass botanical models at the Harvard Museum of Natural History in Cambridge, Massachusetts.

Contents

Created by Leopold and Rudolf Blaschka from 1887 through 1936 at their studio in Hosterwitz, near Dresden, Germany, the collection was commissioned by George Lincoln Goodale, the first director of Harvard's Botanical Museum, and was financed by Mary Lee Ware and her mother Elizabeth C. Ware. [1] It includes 847 life-size models (representing 780 species and varieties of plants in 164 families) and some 3,000 detail models such as of plant parts and anatomical sections. The collection comprises approximately 4,400 individual glass models representing over 830 plant species. Among the models, 64 glass sculptures depict the effect of fungi, in particular plant diseases of Rosaceae by phytopathogens. [2]

Background

Rudolf (standing) and Leopold Blaschka Rudolf, Leopold and Caroline Blaschka in garden cropped.jpg
Rudolf (standing) and Leopold Blaschka

Starting in 1863 the Blaschkas had a thriving business making glass models of marine invertebrates, selling them to museums and private collectors in a global enterprise (see Glass sea creatures ). [3]

At the time botanical specimens were pressed, carefully labeled, and put on display. The pressing lost the three-dimensional aspect of the specimens, and the formerly living tissues lost their color. In 1886 the Blaschkas were approached by Professor Goodale, who after seeing their marine models, went to Dresden to ask them to make a series of glass botanical models for Harvard, which would be three-dimensional and with stable color. [4] [5] Leopold was hesitant but eventually agreed to make some sample models which, though badly damaged in customs, [6] convinced Goodale of their value in botanical teaching. [4] [5]

To fund the project Goodale approached his former student Mary Lee Ware and her mother, Elizabeth C. Ware, who were already liberal benefactors of Harvard's botanical department. [7] The original arrangement (in 1887) provided that the Blaschkas would work half time on the project, but in 1890 a new arrangement called for them to work full-time. [8] [9] The work continued until 1936, at which point Leopold and Elizabeth had both died. [5]

The collection is formally dedicated to Dr. Charles Eliot Ware, the deceased father and husband of Mary and Elizabeth Ware, respectively. [4]

The models

"In memory of physician Charles Eliot Ware (1814-1887), a graduate of this university. These models were presented by his wife and daughter who survived him. He sincerely cherished and deeply loved native plants as friends." Ware Dedication plaque.jpg
"In memory of physician Charles Eliot Ware (1814–1887), a graduate of this university. These models were presented by his wife and daughter who survived him. He sincerely cherished and deeply loved native plants as friends."

The models are glass with wire supports (internal or external), glue, a variety of organic media,[ further explanation needed ] and paint or enamel coloring. [10] The Boston Globe has called them "anatomically perfect and, given all the glass-workers who've tried and failed, unreproducible." [11] [12]

It is often said that the Blaschkas employed secret techniques now lost; in fact their techniques were common at the time, but their skill, enthusiasm, and meticulous study and observation of their subjects in life were extraordinary, which Leopold ascribed to familial tradition, in a letter to Mary Lee Ware: "Many people think that we have some secret apparatus by which we can squeeze glass suddenly into these forms  ... The only way to become a glass modeler of skill, I have often said to people, is to get a good great-grandfather who loved glass."

Cactus model GlassFlowers2HMNH.jpg
Cactus model

The Blaschkas' primary technique was lampworking, in which glass is melted over a flame fed by air from a foot-powered bellows, then shaped using tools to pinch, pull or cut; forms were blown as well. [13] Their old-fashioned Bohemian lamp-working table is part of the museum exhibit. Over the years Rudolf brought more and more of the entire production process under his personal control, eventually even manufacturing his own glass and colorants. [14]

Botanist Donald Schnell has called the models "enchanting", and relates his surprise at finding that the models faithfully depict an unpublished detail of a bee's behavior while pollinating a particular plant—a detail which he had privately hypothesized. [15] Whitehouse and Small wrote that "the superiority in design and construction of the Blaschka models surpasses all modern model making to date and the skill and art of the Blaschkas rests in peace for eternity."[ citation needed ]

Public response

Part of the exhibit Glass Flowers (00484).jpg
Part of the exhibit

The Glass Flowers is one of the most noted tourist attractions of the Boston area. More than 210,000 visitors view the collection annually. In 1936, when Harvard invited the public to tour the campus in honor of its tercentenary, a New York Times reporter taking the tour commented "Tercentenary or no, the chief focus of interest remains the famous glass flowers, the first of which was put on exhibition in 1893, and which with additions at intervals since, have never failed to draw exclamations of wonder or disbelief from visitors." [16] Many visitors initially believe the Glass Flowers to be real, organic, plants and soon after entering or leaving exhibition inquire "Where are the glass flowers?" [17] [18]

At least two poems feature the flowers:

Mark Doty (winner of the National Book Award for Poetry in 2008), "The Ware Collection of Glass Flowers and Fruit, Harvard Museum", in My Alexandria, 1993, [19]

The Blaschka-Haus in Dresden-Hosterwitz Dresdnerstr101 dresden1.jpg
The Blaschka-Haus in Dresden-Hosterwitz

He's built a perfection out of hunger,
fused layer upon layer, swirled until
what can't be tasted, won't yield,
almost satisfies, an art
mouthed to the shape of how soft things are,
how good, before they disappear.

Marianne Moore wrote in a poem, "Silence",

My father used to say,
"Superior people never make long visits,
have to be shown Longfellow's grave,
or the glass flowers at Harvard."

See also

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Stuart Oliver Ridley (1853–1935) was an English cleric and zoologist.

Elizabeth Hodges Clark was an American museum assistant, secretary and scientific illustrator employed by the Harvard's Museum of Comparative Zoology (MCZ) from 1873 to at least 1910. As an assistant, Clark categorized marine specimens and, later, accepted a promotion to become the personal secretary to museum director Alexander Agassiz, a job which left Clark in charge of the day-to-day management of the MCZ when the younger Agassiz was afield.

References

  1. ↑ McFadden, Robert D. (1976-03-08). "Blaschka Plants Blend Science and Artistry". The New York Times. ISSN   0362-4331 . Retrieved 2022-10-07.
  2. ↑ Tribe, Henry T. (November 1998). "The Dillon Weston glass models of microfungi". Mycologist. 12 (4): 171. doi:10.1016/s0269-915x(98)80074-8. ISSN   0269-915X.
  3. ↑ "Exhibition, talk, film explore a sea of glass".
  4. 1 2 3 "Glass Flowers: The Ware Collection of Blaschka Glass Models of Plants".
  5. 1 2 3 http://www.nasonline.org/publications/biographical-memoirs/memoir-pdfs/goodale-george.pdf National Academy of Sciences Biographical Memoir
  6. ↑ Harvard University. Botanical Museum (1982). The glass flowers at Harvard. Internet Archive. New York : Dutton. p. 3. ISBN   978-0-525-93250-5.
  7. ↑ Flowers that never fade / Franklin Baldwin Wiley. Boston Bradlee Whidden, Publisher 1897
  8. ↑ Schultes, Richard Evans., William A. Davis, and Hillel Burger. The Glass Flowers at Harvard. New York: Dutton, 1982. Print.
  9. ↑ The Archives of Rudolph and Leopold Blaschka and the Ware Collection of Blaschka Glass Models of Plants - http://botlib.huh.harvard.edu/libraries/glass.htm Archived 2016-06-23 at the Wayback Machine
  10. ↑ NcNally, Rika Smith and Nancy Buschini (1993). Journal of the American Institute for Conservation, Volume 32, Number 3, Article 2 (pp. 231 to 240)
  11. ↑ Writer, Alvin Powell Harvard Staff (2016-05-17). "Putting the Glass Flowers in new light". Harvard Gazette. Retrieved 2022-10-07.
  12. ↑ Harvard's glass flowers return - https://www.bostonglobe.com/arts/theater-art/2016/05/24/harvard-glass-flowers-return/SwICUX1ZgpsP3CPPeMbpuO/story.html
  13. ↑ "Glass Dictionary". Corning Museum of Glass. Retrieved 6 August 2013.
  14. ↑ Daston, Lorraine (2004). "The Glass Flowers". Things that talk : object lessons from art and science. New York: Zone Books. ISBN   978-1-890951-43-6.
  15. ↑ Schnell, Donald (2002). Carnivorous Plants of the United States and Canada. Timber Press. ISBN   0-88192-540-3.
  16. ↑ "Back to Back Bay After an Absence of Ten Years". The New York Times. June 10, 1951. p. XX17.
  17. ↑ Swinney, Geoffrey N. (2008-02-01). "Enchanted invertebrates: Blaschka models and other simulacra in National Museums Scotland". Historical Biology. 20 (1): 39–50. Bibcode:2008HBio...20...39S. doi:10.1080/08912960701677036. ISSN   0891-2963. S2CID   84854344.
  18. ↑ Rossi-Wilcox SM. 2008. From reference specimen to Verisimilitude: the Blaschkas' penchant for botanical accuracy. Hist Biol 20(1):11–18.
  19. ↑ "CABINET // Great Vitreous Tact". cabinetmagazine.org.
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