Lampworked goblets represent the confluence of two interesting streams: the formal exploration of the goblet tradition, and the unique possibilities of lampwork technique.

The assembly of components at the bench, with a torch, gives rise to a unique perspective and attitude toward artistic composition. Ginny Ruffner has pointed out that lampwork is inherently additive; that is, one typically starts with a small mass of glass to which additional bits are added in succession. Furthermore, because the artist starts with linear elements (glass rods and tubes), works often have distinctly linear qualities. One sees in lampwork a (hopefully) unified finished object composed of (typically) recognizably distinct (often linear) components.

The use of a torch gives great flexibility in assembling the component parts. For example, there is no need for a work-in-progress to spin nicely on the end of a punty. In addition, a focused, directional flame allows access into recessed or hard-to-reach areas of a piece, unlike the encompassing heat of a furnace or glory hole, which can heat only from the outside. The use of borosilicate glasses, which are typically too stiff to be favored by furnace workers, also opens possibilities unique to lampwork. The difference is not one of merit or superiority” but of sensibility influenced by technique. Far be it from lampworkers for many years overlooked by the majority of art appreciators to claim their techniques are somehow “better” than others! Nonetheless, it is interesting to observe the compositional attitudes which arise from a particular technique.

Lampworked goblet in soft glass, Murano 2003  Info>>

As for the tradition of the goblet form, there is much one can say. The function of the goblet is, first of all, to hold a liquid, usually wine. By revealing the levels of meaning within this simple function a designer can elevate a goblet to the level of high art. Here we are especially interested in those aspects of the goblet which stand out for lampwork artists.

First of all, the goblet is nothing if not a somewhat linear assembly of distinct components: there is a top, a middle and a bottom. It is perhaps for this reason (not to mention their collectibility) that lampworkers have always been attracted to goblets. The goblet is a recognizable, functional form which can effectively be assembled from elements produced at the torch. And each of the elementsÑthe bowl, the stem and the footÑhas functional and aesthetic roles which are highlighted in unique ways by different lampwork artists.

Historically, lampworked goblets often mimicked the formal traditions established in other glassworking techniques. The twentieth century dragon-stem goblets of Karl Muller serve as an example. Some of these works qualify as reproductions Mullers remarkable goblets were mistakenly identified as authentic Renaissance glass for many years. Other, more modern, pieces take these traditions and expand upon them, pushing the limits of intricacy, complexity, delicacy and therefore sensibility to new levels practical only for lampwork technique. The formal tradition of the goblet, based largely in other techniques, has branched off into a unique style exemplified in the work of modern lampworkers. While this article is too brief to give a thorough survey of contemporary lampworked goblets, we can sample the developments in this field by noting how a few artists treat the primary elements of the goblet form.

Lampworked goblet in soft glass, Murano 2003  Info>>

The Bowl

The liquid is held, obviously enough, in the bowl or top of the goblet. This containment is an aesthetic as well as a practical task. In displaying wine, a goblet has already begun to make a statement about the occasion, whether an informal gathering of friends or a politically sensitive affair of state. The goblet may tell us something of the meaning this drink has: it may commemorate an auspicious event or consecrate a shared venture (in religion, business or romance). Perhaps there is an engraving or other decoration to advertise the social standing of our host. On the other hand, there may be old lipstick stains, cracks or scuff-marks to tell us the history of this glass and set a different mood!

Among lampworkers, some of the most sublime goblet bowls are created by Roger Parramore, who pays respect to the Venetian tradition. His scientifically-derived technique produces simple, dramatic, deliciously satisfying forms. Other artists, such as Shane Fero, Fred Birkhill and Robert Mickelsen, emphasize the bowls aesthetic role through rich, elaborate coloration. 

The Stem

The practical function of the stem is to support the bowl full of drink and to provide a grip for the hand. Esthetically, the stem performs many other functions while serving its utilitarian purpose. For example, the physical strength of the stem can be contrasted with a fascinating delicacy of appearance, and its design can create a delightful visual tension between the other elements of the goblet form. The untitled piece by Horst-Jurgen Walther in the collection of the Corning Museum of Glass is an excellent example of this tension, highlighted to invoke the tenderness of new organic growth.

The stem is the most linear element of the goblet, and given the linear tendencies of lampwork, we can expect to see some interesting twists and curves in stems by lampwork artists. 

Lampworked goblet in soft glass, Murano 2003  Info>>

Lampworked goblet in soft glass, Murano 2003  Info>>

The Foot

Functionally and esthetically, a goblets success may rest on its foot. The foot must first of all support the entire goblet adequately. Its width and shape must somehow balance with the bowl, either by complement or by contrast. To function properly, the foot must rest flat. Having said these things, we must observe that some of the most interesting variations on the goblet come from violating our expectations of the traditional functions of each component. One might dispense with the foot altogether!             

In one sense, the function of the foot is to enable one to pause in drinking, perhaps to cut off a bite of ones dinner. A goblet without a foot would demand the exclusive attention of its user, or would require a specific circumstance. I have seen interesting lampworked goblets designed for an afternoon of lounging on the beach. They consisted of a bowl and a long spike for a stem. The drinkers impaled the stems into the sand between sips, which worked better than a conventional foot under the circumstances.

The sensibilities of modern lampworkers bring a playfulness to the goblet tradition. Art need not be “serious” to inspire delight in the viewer. In serving wine, goblets invite a mood of celebration, whimsy or intimacy. Shane Feros “Tribute to Mir” is playful invocation of the spirit of the Spanish Master. Fred Birkhills Flagellate goblets have already started to enjoy a party, before the wine is even poured. 

In contrast to the staid formality of ancient goblets seen in museums (which were meant to communicate dignity and grace elegant tables) contemporary lampworked goblets often strive for whimsy, humor or surprising formal statements.

Glass, an inherently fragile material, must usually be sheltered from danger: A delicate, ethereal goblet, appreciated as a pure form, must be protected from rough handling or accidental breakage. At the same time, to be trusted in use, a functional goblet should appear and feel solid. Some modern goblets defy both of these assumptions by introducing an element of motionÑeither literal, as in Sally Praschs “Bouncing Drinking Goblets” with their spring-like stems, or implied, such as in my own “Flow” Goblets and the works of many other artists.

Lampworked goblet in soft glass, Murano 2003  Info>>

Even the notion of function can be turned on its head. Utility can be denied for the sake of a visual statement, as in the folded bowl of one of Donovan Boutzs pieces. Or the act of drinking can take on new implications. Sally Praschs Musical Goblet carries beads in a hollow stem; as the glass is tipped, the beads tumble through the curved tube, sounding musical notes as they bounce along the inner wall.

Commemoration and story telling are also traditions in the history of goblet making. Contemporary lampworked goblets exert the freedom to honor the ordinary or to give an ironic twist to a story. As an example, Don Niblacks Crystal River Goblets seem to invite us to dream of a fishing trip. Brian Kerkvliets Toast to Juggling the Complexities of Life is a hieratic celebration of the ordinary challenges of the artists lifestyle.

A somewhat more serious mood is expressed by the strongly linear forms of Susan Plums Copa de Ceremonia 1, or in the ecclesiastical stemware of Roger Parramore. Clearly ceremonial in nature, these works are nonetheless accessible to the modern hand, as are the tribally-inspired Fertility Goblets of Emilio Santini.

Any brute can guzzle wine straight from the bottle. When we decide to use a glass we take a step toward a higher level of culture. 

The path thus embarked upon is an unending aesthetic adventure which can, metaphorically, reveal to us many mysteries of the human condition. Contemporary lampworked goblets span the spectrum from simple and charming to elaborate and challenging. Aware of the traditions that precede us, we must also strive to break new ground and embody our personal, modern sensibilities. In this way, lampworkers do their part to maintain and enliven the vibrant tradition of the goblet form. Cheers!

c. Bandhu Scott Dunham

Bandhu Scott Dunham is an American lampworker and the owner of Salusa Glassworks, Incorporated.  He has taught at numerous schools and studios, including the Penland School of Crafts, The Studio of the Corning Museum and the Niijima Glass Art Center.  Bandhu is also the author of Contemporary Lampworking: A Practical Guide to Shaping Glass in the Flame.