View allAll Photos Tagged specific
2010 © Molly Mellinger
All images are RAW and unedited. Purchased products will have basic editing included. If there are specific edit requests, please note in an email.
Print Rates
4”x6” Single Print: $7.00
5”x7” Single Print: $10.00
8”x10” Single Print: $15.00
Packages
Package 1
Four 4”x6” Prints: $25.00
Package 2
Two 4”x6” and one 8”x10” Prints: $27.00
Package 3
Two 5”x7” and one 8”x10” Prints: $30.00
Package 4
Two 8”x10” Prints: $25.00
Electronic Package
Also available are electronic versions of the images (which is a file that would be large enough to print a quality resolution image at 8x10") with copyright release to the images for $20 per image for the first 3 images and then $10 an image from then on processed on a CD.
Please send all orders to MMellinger13@sc.stephens.edu
Ordering Information
Please email all orders.
Include in email:
•Image name (i.e. img_1407)
•Quantity of image
•Size(s) of image
•Please repeat for each image ordered
•Return email address
Unless planning to pick up prints or CD please include mailing address for shipping prints to.
Order will take approximately 1-3 weeks to process.
If there is any sort delay in processing, I will email with details.
Once orders are finalized there is a no refund policy unless there is an error in processing.
Please send all orders to MMellinger13@sc.stephens.edu
Paul Devens
Drop
Site-specific, sound-based installation
Center for Jerusalem Studies- Al Quds Courtyard
Jerusalem Show VII: Fractures, Details
curated by Basak Senova
organized by Al Ma'mal
part of Qalandiya International II
Photo by Issa Freij
(HGM 5968 L 373, Heisey Glass Museum, Newark, Ohio, USA)
-----------------------------------
"4220 Janice" is the designation for a specific glass product design made in Newark, Ohio by the Heisey Glass Company (1896 to 1957). Heisey glass designs are called "patterns". Pattern designations include a number (not necessarily consecutively numbered during the history of the glass factory) and a name. Some pattern names were given by the Heisey company, while others were given by Heisey glass researchers.
"Cobalt" refers to a type of colored glass that Heisey produced. It is also known as "Stiegel Blue".
The source of silica for Heisey glass is apparently undocumented, but was possibly a sandstone deposit in the Glassrock area (Glenford & Chalfants area) of Perry County, Ohio (if anyone can provide verfication of this, please inform me). Quarries in the area targeted the Pennsylvanian-aged Massillon Sandstone (Pottsville Group) and processed it into glass sand suitable for glass making.
-----------------------------------
From Bredehoft (2004):
Stiegel Blue: 1932-1941. Commonly called cobalt blue. Heisey's has exceptionally good color.
-----------------------------------
From museum signage:
Augustus H. Heisey (1842-1922) emigrated from Germany with his family in 1843. They settled in Merrittown, Pennsylvania and after graduation from the Merrittown Academy, he worked for a short time in the printing business.
In 1861, he began his life-long career in the glass industry by taking a job as a clerk with the King Glass Company of Pittsburgh. After a stint in the Union Army, Heisey joined the Ripley Glass Company as a salesman. It was there that he earned his reputation of "the best glass salesman on the road".
In 1870, Heisey married Susan Duncan, daughter of George Duncan, then part-owner of the Ripley Company and later full owner, at which time he changed its name to George Duncan & Sons. A year later, he deeded a quarter interest to each of his two children. A few years after his death, A.H. Heisey and James Duncan became sole owners. In 1891, the company joined the U.S. Glass Company to escape its financial difficulties. Heisey was the commercial manager.
Heisey began to formulate plans for his own glass company in 1893. He chose Newark, Ohio because there was an abundance of natural gas nearby and, due to the efforts of the Newark Board of Trade, there was plenty of low cost labor available. Construction of the factory at 301 Oakwood Avenue began in 1895 and it opened in April of 1896 with one sixteen-pot furnace. In its heyday, the factory had three furnaces and employed nearly seven hundred people. There was a great demand for the fine glass and Heisey sold it all over the world.
The production in the early years was confined to pressed ware, in the style of imitation cut glass. The company also dealt extensively with hotel barware. By the late 1890s, Heisey revived the colonial patterns with flutes, scallops, and panels which had been so popular decades earlier. These were so well accepted that from that time on, at least one colonial line was made continuously until the factory closed.
A.H. Heisey's name appears on many different design patents including some when he was with George Duncan & Sons. Heisey patterns that he was named the designer include 1225 Plain Band, 305 Punty and Diamond Point, and 1776 Kalonyal.
Other innovations instituted by A.H. Heisey were the pioneering in advertising glassware in magazines nationally, starting as early as 1910 and the first glass company to make fancy pressed stems. That idea caught on quickly and most hand-wrought stemware is made in this manner, even now.
-----------------------------------
Reference cited:
Bredehoft, N. (ed.) (2004) - Heisey glass formulas - and more, from the papers of Emmet E. Olson, Heisey chemist. The West Virginia Museum of American Glass. Ltd.'s Monograph 38.
-----------------------------------
Info. at:
en.wikipedia.org/wiki/Heisey_Glass_Company
and
and
I was hoping for a specific milestone pic this week but my body had other plans. My journey to a more healthy and fit person has been a long and educational road with many struggles as well as triumphs. I wouldn't trade it for the world but there are times when I wish there weren't so many lessons to be learned or hurdles to jump. So, here I am 66.5 lbs lighter and on the verge of being 5 sizes smaller than I was just a couple years ago. I am staying optimistic yet impatient while working towards my next few milestones.
Site-specific installation at 3216 Eastern Avenue by Lexie Mountain. An ode to the shell. Decades of tenancy rebuilt into a new narrative of promise and decay. Images that no longer exist. Hours of painstaking archaeology to fill in the gaps. See yourself in it. A project of UMBC's Center for Art, Design and Visual Culture in conjunction with Highlandtown Arts & Entertainment District.
Site specific performances by 3rd year BA dance students, taken place in different locations around the University Campus: John Banks Laboratories, rooftop of the Art & Design building, and science ‘dry’ lab in the MHT building.
date: 3/12/2015
photo by Fenia Kotsopoulou
(HGM 1467 M, Heisey Glass Museum, Newark, Ohio, USA)
-----------------------------------
"1519 Waverly" is the designation for a specific glass product design made in Newark, Ohio by the Heisey Glass Company (1896 to 1957). Heisey glass designs are called "patterns". Pattern designations include a number (not necessarily consecutively numbered during the history of the glass factory) and a name. Some pattern names were given by the Heisey company, while others were given by Heisey glass researchers.
The source of silica for Heisey glass is apparently undocumented, but was possibly a sandstone deposit in the Glassrock area (Glenford & Chalfants area) of Perry County, Ohio (if anyone can provide verfication of this, please inform me). Quarries in the area targeted the Pennsylvanian-aged Massillon Sandstone (Pottsville Group) and processed it into glass sand suitable for glass making.
-----------------------------------
From Bredehoft (2004):
Amber: A pale shade of amber and also a deeper amber was produced on occasion from the 1920s on, primarily for the Fred Harvey Restaurants of the Santa Fe Railroad. In 1951, Heisey listed amber in their catalogs and called it Sultana. Sultana was a medium to deep amber.
-----------------------------------
From museum signage:
Augustus H. Heisey (1842-1922) emigrated from Germany with his family in 1843. They settled in Merrittown, Pennsylvania and after graduation from the Merrittown Academy, he worked for a short time in the printing business.
In 1861, he began his life-long career in the glass industry by taking a job as a clerk with the King Glass Company of Pittsburgh. After a stint in the Union Army, Heisey joined the Ripley Glass Company as a salesman. It was there that he earned his reputation of "the best glass salesman on the road".
In 1870, Heisey married Susan Duncan, daughter of George Duncan, then part-owner of the Ripley Company and later full owner, at which time he changed its name to George Duncan & Sons. A year later, he deeded a quarter interest to each of his two children. A few years after his death, A.H. Heisey and James Duncan became sole owners. In 1891, the company joined the U.S. Glass Company to escape its financial difficulties. Heisey was the commercial manager.
Heisey began to formulate plans for his own glass company in 1893. He chose Newark, Ohio because there was an abundance of natural gas nearby and, due to the efforts of the Newark Board of Trade, there was plenty of low cost labor available. Construction of the factory at 301 Oakwood Avenue began in 1895 and it opened in April of 1896 with one sixteen-pot furnace. In its heyday, the factory had three furnaces and employed nearly seven hundred people. There was a great demand for the fine glass and Heisey sold it all over the world.
The production in the early years was confined to pressed ware, in the style of imitation cut glass. The company also dealt extensively with hotel barware. By the late 1890s, Heisey revived the colonial patterns with flutes, scallops, and panels which had been so popular decades earlier. These were so well accepted that from that time on, at least one colonial line was made continuously until the factory closed.
A.H. Heisey's name appears on many different design patents including some when he was with George Duncan & Sons. Heisey patterns that he was named the designer include 1225 Plain Band, 305 Punty and Diamond Point, and 1776 Kalonyal.
Other innovations instituted by A.H. Heisey were the pioneering in advertising glassware in magazines nationally, starting as early as 1910 and the first glass company to make fancy pressed stems. That idea caught on quickly and most hand-wrought stemware is made in this manner, even now.
-----------------------------------
Reference cited:
Bredehoft, N. (ed.) (2004) - Heisey glass formulas - and more, from the papers of Emmet E. Olson, Heisey chemist. The West Virginia Museum of American Glass. Ltd.'s Monograph 38.
-----------------------------------
Info. at:
en.wikipedia.org/wiki/Heisey_Glass_Company
and
and
Site-specific installation made up of two wide tin pools, which contain a SCOBY crop (a symbiotic colony of bacteria and yeasts). The exhibition space is entirely connected to various sensors controlled by Arduino. While the public walks around the room, a series of water pumps and sounds are activated as response of the crop to those space stimuli. The Holobiont concept refers to beings formed by the association of different species, which in this case give rise to techno-ecological relations. Holobiont´s main objective is to build a space where different degrees of living and technological complexity coexist and interconnect with each other.
Credit: Diego Silva
(HGM 1786 M, Heisey Glass Museum, Newark, Ohio, USA)
-----------------------------------
"113 Mars" is the designation for a specific glass product design made in Newark, Ohio by the Heisey Glass Company (1896 to 1957). Heisey glass designs are called "patterns". Pattern designations include a number (not necessarily consecutively numbered during the history of the glass factory) and a name. Some pattern names were given by the Heisey company, while others were given by Heisey glass researchers.
"Marigold" refers to a type of colored glass that Heisey made - in this case, yellowish. One of the ingredients in Heisey's Marigold glass was "sodium uranite", a radioactive sodium-uranium oxide compound.
The source of silica for Heisey glass is apparently undocumented, but was possibly a sandstone deposit in the Glassrock area (Glenford & Chalfants area) of Perry County, Ohio (if anyone can provide verfication of this, please inform me). Quarries in the area targeted the Pennsylvanian-aged Massillon Sandstone (Pottsville Group) and processed it into glass sand suitable for glass making.
-----------------------------------
From Bredehoft (2004):
Marigold: 1927-1928. A brassy, greenish yellow color, very like the marigold flower. A rather unstable glass that sometimes deteriorates. Because of production problems, it was eventually replaced by Sahara.
-----------------------------------
From museum signage:
Marigold
1929-1930
Crazing and breakage is common in pieces of Marigold because of deterioration due to an unstable glass compound.
-----------------------------------
From museum signage:
Augustus H. Heisey (1842-1922) emigrated from Germany with his family in 1843. They settled in Merrittown, Pennsylvania and after graduation from the Merrittown Academy, he worked for a short time in the printing business.
In 1861, he began his life-long career in the glass industry by taking a job as a clerk with the King Glass Company of Pittsburgh. After a stint in the Union Army, Heisey joined the Ripley Glass Company as a salesman. It was there that he earned his reputation of "the best glass salesman on the road".
In 1870, Heisey married Susan Duncan, daughter of George Duncan, then part-owner of the Ripley Company and later full owner, at which time he changed its name to George Duncan & Sons. A year later, he deeded a quarter interest to each of his two children. A few years after his death, A.H. Heisey and James Duncan became sole owners. In 1891, the company joined the U.S. Glass Company to escape its financial difficulties. Heisey was the commercial manager.
Heisey began to formulate plans for his own glass company in 1893. He chose Newark, Ohio because there was an abundance of natural gas nearby and, due to the efforts of the Newark Board of Trade, there was plenty of low cost labor available. Construction of the factory at 301 Oakwood Avenue began in 1895 and it opened in April of 1896 with one sixteen-pot furnace. In its heyday, the factory had three furnaces and employed nearly seven hundred people. There was a great demand for the fine glass and Heisey sold it all over the world.
The production in the early years was confined to pressed ware, in the style of imitation cut glass. The company also dealt extensively with hotel barware. By the late 1890s, Heisey revived the colonial patterns with flutes, scallops, and panels which had been so popular decades earlier. These were so well accepted that from that time on, at least one colonial line was made continuously until the factory closed.
A.H. Heisey's name appears on many different design patents including some when he was with George Duncan & Sons. Heisey patterns that he was named the designer include 1225 Plain Band, 305 Punty and Diamond Point, and 1776 Kalonyal.
Other innovations instituted by A.H. Heisey were the pioneering in advertising glassware in magazines nationally, starting as early as 1910 and the first glass company to make fancy pressed stems. That idea caught on quickly and most hand-wrought stemware is made in this manner, even now.
-----------------------------------
Reference cited:
Bredehoft, N. (ed.) (2004) - Heisey glass formulas - and more, from the papers of Emmet E. Olson, Heisey chemist. The West Virginia Museum of American Glass. Ltd.'s Monograph 38.
-----------------------------------
Info. at:
en.wikipedia.org/wiki/Heisey_Glass_Company
and
and
Treptow. Aus der Serie „DRAF (Deutsch russisch amerikanische Freundschaft)“
Site-specific Performance und Intervention
Sowjetisches Ehrenmal im Treptower Park, Berlin 2015
Video, Fotografie und Installation
Performance: Markus Wintersberger
Fotografie / Video: Andrea Nagl
Nagl ~ Wintersberger 2015
Treptow. Aus der Serie „DRAF (Deutsch russisch amerikanische Freundschaft)“
Site-specific Performance und Intervention
Sowjetisches Ehrenmal im Treptower Park, Berlin 2015
Video, Fotografie und Installation
Performance: Markus Wintersberger
Fotografie / Video: Andrea Nagl
Nagl ~ Wintersberger 2015
Developed music for site-specific work in collaboration with choreographer Teresa Fellion and dance company at natural quarry in Newport, RI. Incorporated elements of Gregorian Chant, Dvorak's 9th Symphony, modal improvisation, strings and percussion, while playing with reverberant echo and acoustics of the quarry.
'“Goin’ home, goin’ home,” the musicians sang. All together, the religious or spiritual allusion to returning to a better place after this life was clear. The piece showed us the power of life in our body, and the blessings waiting for us as they move from this Earth' –Kathryn Boland, Dance Informa
(HGM 1944 M, Heisey Glass Museum, Newark, Ohio, USA)
-----------------------------------
"1951 Cabochon" is the designation for a specific glass product design made in Newark, Ohio by the Heisey Glass Company (1896 to 1957). Heisey glass designs are called "patterns". Pattern designations include a number (not necessarily consecutively numbered during the history of the glass factory) and a name. Some pattern names were given by the Heisey company, while others were given by Heisey glass researchers.
"Dawn" refers to a type of colored glass that Heisey made - in this case, smoky gray.
The source of silica for Heisey glass is apparently undocumented, but was possibly a sandstone deposit in the Glassrock area (Glenford & Chalfants area) of Perry County, Ohio (if anyone can provide verfication of this, please inform me). Quarries in the area targeted the Pennsylvanian-aged Massillon Sandstone (Pottsville Group) and processed it into glass sand suitable for glass making.
-----------------------------------
From Bredehoft (2004):
Dawn: 1955-1957. A charcoal or smoke colored glass with lavender tints. According to the Olson formulas it was most likely developed fom "Swedish Smoke Glass".
-----------------------------------
From museum signage:
Augustus H. Heisey (1842-1922) emigrated from Germany with his family in 1843. They settled in Merrittown, Pennsylvania and after graduation from the Merrittown Academy, he worked for a short time in the printing business.
In 1861, he began his life-long career in the glass industry by taking a job as a clerk with the King Glass Company of Pittsburgh. After a stint in the Union Army, Heisey joined the Ripley Glass Company as a salesman. It was there that he earned his reputation of "the best glass salesman on the road".
In 1870, Heisey married Susan Duncan, daughter of George Duncan, then part-owner of the Ripley Company and later full owner, at which time he changed its name to George Duncan & Sons. A year later, he deeded a quarter interest to each of his two children. A few years after his death, A.H. Heisey and James Duncan became sole owners. In 1891, the company joined the U.S. Glass Company to escape its financial difficulties. Heisey was the commercial manager.
Heisey began to formulate plans for his own glass company in 1893. He chose Newark, Ohio because there was an abundance of natural gas nearby and, due to the efforts of the Newark Board of Trade, there was plenty of low cost labor available. Construction of the factory at 301 Oakwood Avenue began in 1895 and it opened in April of 1896 with one sixteen-pot furnace. In its heyday, the factory had three furnaces and employed nearly seven hundred people. There was a great demand for the fine glass and Heisey sold it all over the world.
The production in the early years was confined to pressed ware, in the style of imitation cut glass. The company also dealt extensively with hotel barware. By the late 1890s, Heisey revived the colonial patterns with flutes, scallops, and panels which had been so popular decades earlier. These were so well accepted that from that time on, at least one colonial line was made continuously until the factory closed.
A.H. Heisey's name appears on many different design patents including some when he was with George Duncan & Sons. Heisey patterns that he was named the designer include 1225 Plain Band, 305 Punty and Diamond Point, and 1776 Kalonyal.
Other innovations instituted by A.H. Heisey were the pioneering in advertising glassware in magazines nationally, starting as early as 1910 and the first glass company to make fancy pressed stems. That idea caught on quickly and most hand-wrought stemware is made in this manner, even now.
-----------------------------------
Reference cited:
Bredehoft, N. (ed.) (2004) - Heisey glass formulas - and more, from the papers of Emmet E. Olson, Heisey chemist. The West Virginia Museum of American Glass. Ltd.'s Monograph 38.
-----------------------------------
Info. at:
en.wikipedia.org/wiki/Heisey_Glass_Company
and
and
On 16-17 May 2016 a series of event under the title Global Urbanisms, Regional Specificities were organised by Jenifer Robinson (UCL Dept of Geography and Urban Laboratory) and Tamar Garb (UCL Institute of Advanced Studies) This included evening public sessions addressing regional perspective on planetary urbanism and thinking around the urban in the Global South, as well as a closed symposium during the day. The events explored very active debates within in urban studies addressing the limits of universalist theorisations of the urban, while at the same time seeking to engage with the globalisation of urban processes.
Treptow. Aus der Serie „DRAF (Deutsch russisch amerikanische Freundschaft)“
Site-specific Performance und Intervention
Sowjetisches Ehrenmal im Treptower Park, Berlin 2015
Video, Fotografie und Installation
Performance: Markus Wintersberger
Fotografie / Video: Andrea Nagl
Nagl ~ Wintersberger 2015
On 16-17 May 2016 a series of event under the title Global Urbanisms, Regional Specificities were organised by Jenifer Robinson (UCL Dept of Geography and Urban Laboratory) and Tamar Garb (UCL Institute of Advanced Studies) This included evening public sessions addressing regional perspective on planetary urbanism and thinking around the urban in the Global South, as well as a closed symposium during the day. The events explored very active debates within in urban studies addressing the limits of universalist theorisations of the urban, while at the same time seeking to engage with the globalisation of urban processes.
The specific culture (Celestial?) responsible for the quartz based artifacts clearly held heat based technologies capable of manipulating quartz that our modern world has most likely not yet had the opportunity to grasp. Some of the most precious quartz artifacts found on this site are no larger than a walnut or apricot; so it is easy to understand exactly how this ancient culture was dismissed across deep time as unusual accidents of nature. It wasn't until someone individually came across such a site with the opportunity and available time to literally spend years studying these individual stones on a singular basis because of their unusual nature. You literally need to live next to these stones with the opportunity to study them day after day, and these stones must be readily available to watch them as the sun passes across the horizon from day to day, season to season, and year to year under different moisture conditions and temperature ranges. The micro images found on these stones are so small, that is by far the greatest hurdle understanding this ancient unknown culture. Without the previous spiral shell artifact and the image on the interior of it's carved spiral; perhaps I never would have seen this quartz fragment with a separate two-sided figural inlay with the blue sphere at the base of the silhouette image line. It would be easy enough to disregard this quartz piece as simply unusual; however how could anyone explain the mere presence of this piece on an ancient mound with these unusual characteristics being arbitrary or accidental??? All of a sudden this two-sided figural image becomes possible and clear as a bell. The blue quartz micro sphere is located at the mid-point of the lower Hypotenuse of this figural stone; Earth's location within the galaxy. It is a dark rainy day so I will work to get clearer images of the figures carved into this unusual quartz fragment; North America, culture unknown.
Aus der Serie „Denudation“.
Site-specific Performance und Intervention
Hohe Tauern, Großvenediger August 2014
Video, Fotografie und Installation
Performance: Andrea Nagl & Markus Wintersberger
Fotografie / Video: Andrea Nagl & Markus Wintersberger
Nagl ~ Wintersberger 2014 / 2015
2010 © Molly Mellinger
All images are RAW and unedited. Purchased products will have basic editing included. If there are specific edit requests, please note in an email.
Print Rates
4”x6” Single Print: $7.00
5”x7” Single Print: $10.00
8”x10” Single Print: $15.00
Packages
Package 1
Four 4”x6” Prints: $25.00
Package 2
Two 4”x6” and one 8”x10” Prints: $27.00
Package 3
Two 5”x7” and one 8”x10” Prints: $30.00
Package 4
Two 8”x10” Prints: $25.00
Electronic Package
Also available are electronic versions of the images (which is a file that would be large enough to print a quality resolution image at 8x10") with copyright release to the images for $20 per image for the first 3 images and then $10 an image from then on processed on a CD.
Please send all orders to MMellinger13@sc.stephens.edu
Ordering Information
Please email all orders.
Include in email:
•Image name (i.e. img_1407)
•Quantity of image
•Size(s) of image
•Please repeat for each image ordered
•Return email address
Unless planning to pick up prints or CD please include mailing address for shipping prints to.
Order will take approximately 1-3 weeks to process.
If there is any sort delay in processing, I will email with details.
Once orders are finalized there is a no refund policy unless there is an error in processing.
Please send all orders to MMellinger13@sc.stephens.edu
(HGM 2014.25.2, Heisey Glass Museum, Newark, Ohio, USA)
-----------------------------------
"1415 Twentieth Century" is the designation for a specific glass product design made in Newark, Ohio by the Heisey Glass Company (1896 to 1957). Heisey glass designs are called "patterns". Pattern designations include a number (not necessarily consecutively numbered during the history of the glass factory) and a name. Some pattern names were given by the Heisey company, while others were given by Heisey glass researchers.
"Dawn" refers to a type of colored glass that Heisey made - in this case, smoky gray.
The source of silica for Heisey glass is apparently undocumented, but was possibly a sandstone deposit in the Glassrock area (Glenford & Chalfants area) of Perry County, Ohio (if anyone can provide verfication of this, please inform me). Quarries in the area targeted the Pennsylvanian-aged Massillon Sandstone (Pottsville Group) and processed it into glass sand suitable for glass making.
-----------------------------------
From Bredehoft (2004):
Dawn: 1955-1957. A charcoal or smoke colored glass with lavender tints. According to the Olson formulas it was most likely developed fom "Swedish Smoke Glass".
-----------------------------------
From museum signage:
Augustus H. Heisey (1842-1922) emigrated from Germany with his family in 1843. They settled in Merrittown, Pennsylvania and after graduation from the Merrittown Academy, he worked for a short time in the printing business.
In 1861, he began his life-long career in the glass industry by taking a job as a clerk with the King Glass Company of Pittsburgh. After a stint in the Union Army, Heisey joined the Ripley Glass Company as a salesman. It was there that he earned his reputation of "the best glass salesman on the road".
In 1870, Heisey married Susan Duncan, daughter of George Duncan, then part-owner of the Ripley Company and later full owner, at which time he changed its name to George Duncan & Sons. A year later, he deeded a quarter interest to each of his two children. A few years after his death, A.H. Heisey and James Duncan became sole owners. In 1891, the company joined the U.S. Glass Company to escape its financial difficulties. Heisey was the commercial manager.
Heisey began to formulate plans for his own glass company in 1893. He chose Newark, Ohio because there was an abundance of natural gas nearby and, due to the efforts of the Newark Board of Trade, there was plenty of low cost labor available. Construction of the factory at 301 Oakwood Avenue began in 1895 and it opened in April of 1896 with one sixteen-pot furnace. In its heyday, the factory had three furnaces and employed nearly seven hundred people. There was a great demand for the fine glass and Heisey sold it all over the world.
The production in the early years was confined to pressed ware, in the style of imitation cut glass. The company also dealt extensively with hotel barware. By the late 1890s, Heisey revived the colonial patterns with flutes, scallops, and panels which had been so popular decades earlier. These were so well accepted that from that time on, at least one colonial line was made continuously until the factory closed.
A.H. Heisey's name appears on many different design patents including some when he was with George Duncan & Sons. Heisey patterns that he was named the designer include 1225 Plain Band, 305 Punty and Diamond Point, and 1776 Kalonyal.
Other innovations instituted by A.H. Heisey were the pioneering in advertising glassware in magazines nationally, starting as early as 1910 and the first glass company to make fancy pressed stems. That idea caught on quickly and most hand-wrought stemware is made in this manner, even now.
-----------------------------------
Reference cited:
Bredehoft, N. (ed.) (2004) - Heisey glass formulas - and more, from the papers of Emmet E. Olson, Heisey chemist. The West Virginia Museum of American Glass. Ltd.'s Monograph 38.
-----------------------------------
Info. at:
en.wikipedia.org/wiki/Heisey_Glass_Company
and
and
Canon FTB - 55mm lens
35mm film
This is my first roll of film to develop so obviously I have plenty of room for improvement! This specific roll of film is one my dad gave me from the 60's so some exposures didn't do so well on such old film.
Site-specific installation at 3216 Eastern Avenue by Lexie Mountain. An ode to the shell. Decades of tenancy rebuilt into a new narrative of promise and decay. Images that no longer exist. Hours of painstaking archaeology to fill in the gaps. See yourself in it. A project of UMBC's Center for Art, Design and Visual Culture in conjunction with Highlandtown Arts & Entertainment District.
LMRFC II (17) vs. Oakmedians II (40) – 11.01.2025
INFO: All the photographs from Lytchett Minster RFC second team home game against Oakmedians II, regardless of their quality, all photos are included in this collection.
These images are directly sourced from my camera's memory card, and no edits have been applied unless explicitly mentioned in the photo’s information. A second album with some of the best photos which will be edited.
Please note that downloads on Flickr are disabled, and all photos are compressed and available to view in low resolution only. If you're interested in a specific photo, kindly make a note of the corresponding page number and then count down (from the left to right) to the photo in question (sadly this is the only way for me to find the photo as Flickr, at this moment, does not post any photo or identification numbers) send the number, along with your full name, player number, and position, via email to bernhard@bmkmedia.uk and wite in the subject line: Photo Request and the game itself as well as the date of the game i.e.: LMRFC vs. The team – xx.xx.xxxx
Alternatively, you also can contact me via Facebook Messenger at Bernhard Koster but please be aware that I may not see your message request (in particular should you not be on my Facebook Friends list) and I would need your email address plus all the above-mentioned information as Facebook is compressing photos and you would not get the full-sized photo.
The original, uncompressed versions of the photo(s) are suitable for A2-sized prints (40 x 60, portrait, or 60 x 40 landscape). If a photo is cropped, the printable size will decrease to A3.
NEW:
I am now able to print photos with my Canon inagePROGRAF PRO-300 up to a borderless A3 size or an A3+ on high quality photo paper. Please contact me for paper finishes available (Pro Photo Gloss, Ultra Pearlescent Hi-White, and my personal favourite Velvet Fine Art Paper). If you prefer a different paper finish, please ask me and I be able order the paper for you. (This can take up to 4-5 working days to arrive). I ONLY USE ORIGINAL CANON INK
I also be able to print photos of 6x4 gloss on original Canon paper and ink with a dedicated Canon 6x4 Printer
Please contact me about the cost
I DO NOT CHARGE: for a limited number of digital photos and any associated light editing. If you require more photos, please contact me beforehand as it may be easier of sending you the photos on a memory stick. The cost for the memory stick and postage will be arranged at the time of your photos requested.
However, if you wish to contribute financially to support the maintenance and enhancement of my camera equipment, I'll provide a PayPal link in the email when sending you the photo(s).
I DO CHARGE: for 6x4 glossy or any larger prints plus the postage via 24 hour Royal Mail tracked delivery.
If you plan to use the photo(s) for any commercial purposes (advertisements, magazine prints, etc.) or any non-personal use, please contact me in advance. Ensure proper crediting by acknowledging me as the photographer. In case of printed use (magazine, newspaper, fan magazine), kindly send me a copy. For advertisements, provide a link to the location of the advertisement can be found. This helps me to keep my portfolio up to date.
For non-commercial use or social media purposes (Facebook, Instagram, TikTok, etc.), always credit me as bmkmediauk or Bernhard Koster and would appreciate a link to the usage online or a printed media example if printed media is used.
Please remember that if you plan to use the photo(s) for any commercial purposes (advertisements, magazine prints, etc.) or any non-personal use, please contact me in advance. Ensure proper crediting by acknowledging me as the photographer. In case of printed use (magazine, newspaper, fan magazine), kindly send me a copy. For advertisements, provide a link to the location of the advertisement can be found. This helps me to keep my portfolio up to date.
The copyright for all my photos will remain with me (Bernhard Koster aka bmkmediauk) unless otherwise agreed upon in writing.
Site specific performances by 3rd year BA dance students, taken place in different locations around the University Campus: John Banks Laboratories, rooftop of the Art & Design building, and science ‘dry’ lab in the MHT building.
date: 3/12/2015
photo by Fenia Kotsopoulou
(HGM 5792 M, Heisey Glass Museum, Newark, Ohio, USA)
-----------------------------------
"4205 Valli" is the designation for a specific glass product design made in Newark, Ohio by the Heisey Glass Company (1896 to 1957). Heisey glass designs are called "patterns". Pattern designations include a number (not necessarily consecutively numbered during the history of the glass factory) and a name. Some pattern names were given by the Heisey company, while others were given by Heisey glass researchers.
The source of silica for Heisey glass is apparently undocumented, but was possibly a sandstone deposit in the Glassrock area (Glenford & Chalfants area) of Perry County, Ohio (if anyone can provide verfication of this, please inform me). Quarries in the area targeted the Pennsylvanian-aged Massillon Sandstone (Pottsville Group) and processed it into glass sand suitable for glass making.
-----------------------------------
From Bredehoft (2004):
Hawthorne: 1927 only. Replaced by Alexandrite. A light purple or lavender shade. Varies quite a lot in tone. Apparently the company had trouble controlling the color, possibly due to their inability to control the flamingo color base.
-----------------------------------
From museum signage:
Augustus H. Heisey (1842-1922) emigrated from Germany with his family in 1843. They settled in Merrittown, Pennsylvania and after graduation from the Merrittown Academy, he worked for a short time in the printing business.
In 1861, he began his life-long career in the glass industry by taking a job as a clerk with the King Glass Company of Pittsburgh. After a stint in the Union Army, Heisey joined the Ripley Glass Company as a salesman. It was there that he earned his reputation of "the best glass salesman on the road".
In 1870, Heisey married Susan Duncan, daughter of George Duncan, then part-owner of the Ripley Company and later full owner, at which time he changed its name to George Duncan & Sons. A year later, he deeded a quarter interest to each of his two children. A few years after his death, A.H. Heisey and James Duncan became sole owners. In 1891, the company joined the U.S. Glass Company to escape its financial difficulties. Heisey was the commercial manager.
Heisey began to formulate plans for his own glass company in 1893. He chose Newark, Ohio because there was an abundance of natural gas nearby and, due to the efforts of the Newark Board of Trade, there was plenty of low cost labor available. Construction of the factory at 301 Oakwood Avenue began in 1895 and it opened in April of 1896 with one sixteen-pot furnace. In its heyday, the factory had three furnaces and employed nearly seven hundred people. There was a great demand for the fine glass and Heisey sold it all over the world.
The production in the early years was confined to pressed ware, in the style of imitation cut glass. The company also dealt extensively with hotel barware. By the late 1890s, Heisey revived the colonial patterns with flutes, scallops, and panels which had been so popular decades earlier. These were so well accepted that from that time on, at least one colonial line was made continuously until the factory closed.
A.H. Heisey's name appears on many different design patents including some when he was with George Duncan & Sons. Heisey patterns that he was named the designer include 1225 Plain Band, 305 Punty and Diamond Point, and 1776 Kalonyal.
Other innovations instituted by A.H. Heisey were the pioneering in advertising glassware in magazines nationally, starting as early as 1910 and the first glass company to make fancy pressed stems. That idea caught on quickly and most hand-wrought stemware is made in this manner, even now.
-----------------------------------
Reference cited:
Bredehoft, N. (ed.) (2004) - Heisey glass formulas - and more, from the papers of Emmet E. Olson, Heisey chemist. The West Virginia Museum of American Glass. Ltd.'s Monograph 38.
-----------------------------------
Info. at:
en.wikipedia.org/wiki/Heisey_Glass_Company
and
and