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608:, she observed how "one change in the character of work and, consequently in the time necessary to accomplish results since I was last here, is very noteworthy. At that time he bought most of his glass and was just beginning to make some, and his finishes were in paint. Now he himself makes a large part of the glass and all the enamels, which he uses powders to use as paint." In addition to funding and visiting the project, Mary took an active role in its progress, going so far as to personally unpack each model and make arrangements for Rudolph's fieldwork in the
509:. At that time, botanical specimens were almost entirely showcased as dried, pressed and labeled specimens called "specimina exsiccata" (dried specimens), but this presented a number of problems. Pressed plant specimens were two-dimensional and tended to lose their color and form, making them difficult to use as accurate teaching tools. Dried specimens were also quite heavy and bulky, making their transport and storage expensive. Having already seen the intact Blaschka models at Harvard, Professor Goodale decided to commission the glass flowers.
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498:'s collection. In 1886, Goodale, traveled to Dresden to meet with the Blaschkas and request a series of glass botanical models for Harvard. Some reports claim that Goodale saw a few glass orchids in the room where they met, surviving from the work two decades earlier. Although initially reluctant, Leopold eventually agreed to send test-models to the U.S. Despite being badly damaged by U.S.
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have often said to people, is to get a good great-grandfather who loved glass; then he is to have a son with like tastes; he is to be your grandfather. He in turn will have a son who must, as your father, be passionately fond of glass. You, as his son, can then try your hand, and it is your own fault if you do not succeed. But, if you do not have such ancestors, it is not your fault.
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marine invertebrate models.However, in 1890, the
Blaschkas insisted that it was impossible for them to craft the botanical models for half the year and do the sea creatures during the other half, declaring that they “must give up either one or the other." To resolve this, the Blaschkas signed an exclusive ten-year contract with Harvard to make
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Claims arose that
Leopold and his son were using secret methods to make their glass models. These claims were refuted by Leopold himself. Blaschka stated "One cannot hurry glass. It will take its own time. If we try to hasten it beyond its limits, it resists and no longer obeys us. We have to humor
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It has been only within a comparatively short time that I have discovered the cause of the great reluctance of the elder
Blaschka to the undertaking at the outset. It appears upon inquiry that he had constructed a few models of plants before beginning the preparation of the animal models to which he
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This eventually evolved into a series of glass fruit models in both rotting and edible condition. Ames continued to exchange letters with Mary Lee Ware discussing the project and commented on the quality and speed of production declining with Rudolf's age, expressing concern whether
Blaschka could
558:, where they were at last destroyed by fire. The artist did not have courage to undertake the experiment again, when he was succeeding so well with his animal models. He regards it as a pleasant turn in his fortunes which permits him to devote all of his time to the subject of his earliest studies.
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Initially, the designs for these were based on drawings in books, but
Leopold was soon able to use his earlier drawings to produce models of other species. His reputation spread quickly. Demand for the models pushed Leopold to further the training of his son and apprentice, Rudolf Blaschka. A year
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Many people think that we have some secret apparatus by which we can squeeze glass suddenly into these forms, but it is not so. We have the touch. My son Rudolf has more than I have because he is my son and the touch increases in every generation. The only way to become a glass modeler of skill, I
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and her mother, Elizabeth C. Ware, already funders of
Harvard's botany department. Mary convinced her mother to underwrite the consignment of the glass models, and in 1887, the Blaschkas contracted half of their time to producing the models for Harvard with the remaining time dedicated to making
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Rudolf continued to work alone, but production slowed. By the early twentieth century, he found that he was unable to buy high quality glass and began making his own. This was confirmed by Mary Lee Ware during her 1908 visit to Rudolf. In a letter she later wrote to the second director of the
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It is a beautiful night in May. Hopefully, we look out over the darkness of the sea, which is as smooth as a mirror; there emerges all around in various places a flash like bundle of light beams, as if it is surrounded by thousands of sparks, that form true bundles of fire and of other bright
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The
Blaschkas used a mixture of clear and colored glass, sometimes supported with wire, to produce their models. Many pieces were painted by Rudolf. In order to represent plants which were not native to the Dresden area, father and son studied foreign plant collections at
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for his private collection. In 1862, "the prince exhibited about 100 models of orchids and other exotic plants, which he displayed on two artificial tree trunks in his palace in Prague." This royal commission brought
Blaschka's craft to the attention of Professor
894:, usually translated as "tact" in English. The German word has several different meanings, and in some cases is translated as "subtlety" or "heartbeat". In this context "the touch" or "the feeling" is closer to the intended meaning than the usual "tact".
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owes his wide celebrity; but these models of plants were, he thought, not appreciated by the persons for whom he had made them. The first set of models passed through various vicissitudes, and finally found a home in the
Natural History Museum in
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Professor
Reichenbach admired the botanical models and convinced Leopold to try creating glass models of marine invertebrates. In the nineteenth century, the dominant method of displaying preserved marine invertebrates was
305:. Leopold developed a technique which he termed "glass-spinning" which permitted the construction of highly precise and detailed works in glass. He soon began to focus the business on manufacturing glass eyes.
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lighting spots, and the seemingly mirrored stars. There emerges close before us a small spot in a sharp greenish light, which becomes ever larger and larger and finally becomes a bright shining sunlike figure.
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A photo of the bouquet of glass flowers which, in 1889, Leopold Blaschka made and gifted to Elizabeth C. and Mary L. Ware which, at some later date, was given to Harvard and is now part of the Glass Flowers
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In total, Leopold and Rudolf made approximately 4,400 models for Harvard, 780 of which showed species at life-size. As of 2016, fewer than 75 per cent of the models are on regular display at the
386:, which were collected many years later. During this period, Blaschka did not make any money producing the models. Eventually, however, the models attracted the attention of Prince Camille de
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Over the course of their collective lives, Leopold and Rudolf crafted as many as ten thousand glass marine invertebrate models and 4,400 botanical models, the most famous being Harvard's
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Ames was less passionate about the Glass Flowers than his predecessor had been. However, he soon requested what he referred to as "Economic Botany", asking Rudolf to make glass models of
455:, founder of the Institute of Zoology, ordered 77 Blaschka models in order to illustrate zoology lessons. Some of these models are still on display at Treasure in the Aquarium-Museum in
435:, which involved taking a live specimen and placing it in a sealed jar, usually filled with alcohol. This killed the specimen and frequently decomposed the specimens beyond recognition.
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for 8,800 marks per year. New arrangements were also made to send the models directly to Harvard, where museum staff could open them safely under the observation of Customs staff.
282:, one of the three sons of Joseph Blaschke. Leopold himself would later Latinize the family name to Blaschka. He and his son were native to the Bohemian Czech-German borderland.
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Rudolf continued making models for Harvard until 1938. By then 80 years old, he announced his retirement. Neither he nor his father Leopold had taken on an
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to study additional plants, making extensive drawings and notes. At this point, the number of glass models sent annually to Harvard was approximately 120.
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in 1850. A year later, Leopold's father died. Leopold "sought consolation in the natural world, sketching the plants in the countryside around his home."
371:, Leopold focused on producing glass eyes, costume ornaments, lab equipment, and other goods and specialty items whose production was expected of master
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In 1846, Leopold married Caroline Zimmermann, and within four years their son Josef Augustin Blaschka was born. Caroline and Josef both died of
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646:. Unlike the glass sea creatures which were "a profitable global mail-order business", the Glass Flowers were commissioned solely for Harvard.
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Rossi-Wilcox, Susan M. "A Brief History of Harvard's Glass Flowers Collection and Its Development." Journal of Glass Studies (2015): 197-211.
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By 1880, Rudolf was assisting his father in producing the glass models, including the production of 131 Glass sea creature models for the
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noted that the activity of the Blaschkas was "greatly increased by their exclusive devotion to a single line of work." Writing for the
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Oakes Ames Correspondence: Botany Libraries, Archives of the Economic Botany Herbarium of Oakes Ames, Harvard University Herbaria
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Goodale was convinced that Blaschka's glass art was a worthy investment for Harvard, which was a global centre for the study of
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in the Ware Collection. Older exhibitions contained up to 3,000 models, but this number was reduced during renovations of the
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In 1853, Leopold travelled to the United States. While on route, the ship was delayed at sea for two weeks due to a lack of
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Their models showcased a range of plant specimens. In total, up to 164 taxonomic families and a diversity of plant part
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822:.Sigwart, Julia D. "Crystal creatures: context for the Dublin Blaschka Congress." Historical Biology 20.1 (2008): 1-10.
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1359:"The Archives of Rudolph and Leopold Blaschka and the Ware Collection of Blaschka Glass Models of Plants"
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jointly purchased the remaining Blaschka studio materials from Frieda Blaschka's niece, Gertrud Pones.
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They also grew some from seeds sent from the United States. In 1892, Rudolf was sent on a trip to the
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in 1857. Prince Camille, an enthusiast of natural sciences, commissioned Leopold to craft 100 glass
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In his free time, he created glass models of plants. These would eventually become the basis of the
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of today's Czech Republic. He then joined the family business which produced glass ornaments and
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1433:"Back to Back Bay After an Absence of Ten Years". The New York Times. June 10, 1951. p. XX17.
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1445:"Enchanted invertebrates: Blaschka models and other simulacra in National Museums Scotland"
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1503:"Leopold and Rudolf Blaschka Collection, Natural History Museum of the University of Pisa"
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Annual reports of the President and Treasurer of Harvard College 1890-1891, pp. 160-163 -
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Growing With the Grain: Dynamic Families Shaping History from Ancient Times to the Present
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Leopold and Rudolf and their spouses are buried together in the Hosterwitz cemetery in
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766:. Translated by Pentzold, Benjamin. Archived from the original on September 10, 2002.
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Rudolf (standing), Caroline, and Leopold Blaschka in the garden of their Dresden home
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http://www.cmog.org/publication/drawing-upon-nature-studies-blaschkas-glass-models-0
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A Sea of Glass: Searching for the Blaschkas’ Fragile Legacy in an Ocean at Risk
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Out of the Teeming Sea: Cornell Collection of Blaschka Invertebrate Models
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and Rudolf left no successor, as he and his wife Frieda had no children.
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Annual reports of the President and Treasurer of Harvard College 1890-1891
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1419:"Bohemian maker's retirement completes Harvard glass-flower collection".
760:"The Association "Naturwissenschaftliche Glaskunst - Blaschka-Haus e.V.""
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842:. Organisms and Environments, 13. (1st, hardcover ed.). Oakland:
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To cover the expensive enterprise, Goodale approached former student
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Schultes, Richard Evans; Davis, William A.; Burger, Hillel (1982).
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after the success of the glass sea anemones, the family moved to
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Drawing upon Nature: Studies for the Blaschkas’ Glass Models -
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Leopold died in 1895 while Rudolf was on a second trip to the
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https://iiif.lib.harvard.edu/manifests/view/drs:427018526$ 1i
1027:"Blaschkas' Glass Models of Invertebrate Animals (1863–1890)"
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The grave of Leopold, Caroline, Rudolf and Frieda Blaschka
494:, who was in the process of establishing and building the
403:, then director of the Natural History Museum in Dresden.
375:. He married his second wife, Caroline Riegel, in 1854.
1536:"Sea creatures of the deep - the Blaschka Glass models"
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Memoirs of the National Academy of Sciences: Volume XXI
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to give young Rudolf better educational opportunities.
354:. During this time, Leopold studied and sketched local
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1201:"Biographical Memoir George Lincoln Goodale 1839–1923"
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The Ware Collection of Blaschka Glass Models of Plants
253:, and gems. Members of the Blaschka family worked in
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Blaschka collection at Natural History Museum, London
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Things That Talk: Object Lessons from Art and Science
1058:"A Tale of Two Glassworkers and Their Marine Marvels"
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continue to produce models of satisfactory quality.
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Museum of Natural History of the University of Pisa
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541:by insects; others were diseased in various ways.
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776:: CS1 maint: bot: original URL status unknown (
1390:"Blaschkas' Glass Botanical Models (1886–1936)"
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931:"The Fragile Beauty of Harvard's Glass Flowers"
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1312:"Blaschka Plants Blend Science and Artistry"
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471:Part of the Harvard Glass Flowers collection
1388:Rossi-Wilcox, Susan M. (January 15, 2013).
1009:https://www.youtube.com/watch?v=rHOx5H5vNx4
1007:The Story of Rudolf and Leopold Blaschka -
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1119:"The Collections of the Aquarium-Museum"
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1538:National Museum of Wales. 15 May 2007.
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1025:Whitehouse, David (November 3, 2011).
992:"Heraldika a genealogie č. 1 - 2/2010"
595:A section of the Glass Flowers exhibit
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237:The Blaschka family's roots trace to
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118:Caroline Zimmermann, Caroline Riegel
1443:Swinney, Geoffrey N. (2008-02-01).
1270:. Lady Illyria Press. p. 184.
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1310:McFadden, Robert D. (1976-03-08).
896:https://m.interglot.com/de/en/Takt
671:bombing of Dresden in World War II
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718:Harvard Museum of Natural History
679:Harvard Museum of Natural History
669:The Blaschka studio survived the
640:Harvard Museum of Natural History
205:(17 June 1857 – 1 May 1939) were
1612:20th-century German male artists
1597:19th-century German male artists
1423:. February 28, 1938. p. 24.
1238:Wiley, Franklin Baldwin (1897).
959:Richard, Frances (Spring 2002).
410:Blaschka model of sea anemones (
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1056:Leibach, Julie (May 13, 2016).
937:. February 2004. Archived from
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1199:B. L. Robinson (Autumn 1924).
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844:University of California Press
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1637:20th-century German botanists
1632:19th-century German botanists
1607:20th-century German sculptors
1602:19th-century German sculptors
890:The German word used here is
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488:Museum of Comparative Zoology
342:Blaschka model of jellyfish (
285:Leopold was apprenticed to a
1266:Emison, Patricia A. (2005).
924:The Glass Flowers at Harvard
604:Botanical Museum, Professor
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1363:Harvard University Herbaria
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563:Production of Glass Flowers
424:Natural History Museum Pisa
412:Natural History Museum Pisa
344:Natural History Museum Pisa
319:The Blaschka-Haus house in
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1242:. Boston: Bradlee Whidden.
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328:Glass marine invertebrates
1461:10.1080/08912960701677036
1343:Daston, Lorraine (2004).
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1240:Flowers That Never Fade
1147:Corning Museum of Glass
1080:Corning Museum of Glass
1031:Corning Museum of Glass
675:Corning Museum of Glass
422:Blaschka glass models (
1617:German Bohemian people
1076:"The Blaschka Archive"
961:"Great Vitreous Tract"
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644:museum's collections
463:Contact with Harvard
382:, also known as the
356:marine invertebrates
274:Leopold was born in
27:German glass artists
1543:"The Glass Flowers"
1172:"The Glass Flowers"
1143:"The Glass Flowers"
926:. New York: Dutton.
723:Blaschka Collection
453:Edouard Van Beneden
334:Glass sea creatures
219:glass sea creatures
109:Glass sea creatures
1449:Historical Biology
1316:The New York Times
1149:. October 18, 2011
758:Dühning, Johanna.
690:University of Pisa
673:and, in 1993, the
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223:Harvard University
65:Český Dub, Bohemia
1549:. 18 October 2011
1347:. New York: Zone.
853:978-0-520-28568-2
764:urania-dresden.de
686:Pisa Charterhouse
481:Museum of Science
367:On his return to
233:Family background
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154:(1939-05-01)
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76:(1895-07-03)
74:July 3, 1895
62:May 27, 1822
539:pollination
373:lampworkers
352:trade winds
323:-Hosterwitz
161:Nationality
152:May 1, 1939
83:Nationality
1571:Categories
1373:14 January
1329:2022-07-03
1128:2023-11-23
1104:2018-11-09
945:2015-06-10
878:Q114635674
862:2015029740
733:References
633:apprentice
606:Oakes Ames
303:glass eyes
291:gem cutter
243:Erzgebirge
239:Josephthal
140:1857-06-17
58:1822-05-27
1469:0891-2963
1324:0362-4331
870:27209890M
582:Caribbean
485:Harvard's
451:In 1886,
287:goldsmith
276:Český Dub
115:Spouse(s)
1577:Art duos
1477:84854344
1214:June 10,
1181:June 10,
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874:Wikidata
808:June 10,
772:cite web
703:See also
584:and the
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517:exhibit.
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1521:, video
997:. 2011.
697:Dresden
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614:Jamaica
543:Goodale
500:Customs
447:Belgium
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396:orchids
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255:Venice
251:metals
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