Worn Collars - Part Six - "Precision"

Worn Collars

Part Six

"Precision"

            Having now introduced the... I will title it... ‘the imbedded’ (old) (rare) book room and its imbedded attendant (shelter seeker; a man fleeing) I will now rebuild the reader’s naive faith that ‘rare books are rare books so a rare book room is that (a room full of those) with, therefore, its attendant being a ...rare ...book ...man (“rare bookman”) and that... a fifteen second glimpse-through-open-door (Part Two) does show... “NICE” “OLD BOOKS” shelved in the room making that room a “NICE” room and its attendant ‘rare bookman’ a

            “NICE”

            Too.

            ?

            Old book collectors are generally considered to be ‘nice’.  Though distant... meaning both ‘kept at a distance’ and, themselves, ‘distant’ (from, for example, the Mall and (factory) Outlet shopping crowd).  That doesn’t matter for the whole universe of those wholly outside the rare book room precept (‘imbedded’ ‘fleeing’) pay no further attention (to anything ‘rare book’ at all) after about seven seconds of their fifteen second total ‘peer in’ time of the ... old ...rare... book... room.  But...:  There are, in fact, a ‘few’ ‘further curious’ ‘peek in’ sorts.  These be the “THOSE” who “THINK” there “ARE” “RARE BOOKS”... a... secret land.

            Well... they (these types)... are right.  They are not particularly good at being ‘right’ but... they are right:  There is a secret land.

            And what may that land be?

            Well... first understand that in addition to being a ‘hard to get to’ land that is hard to ‘find out what it is (as a land) to get to... it is also... hard to portray (‘describe’).  I can just sort of ‘shuffleboard’ one along (forward?) from the outside the door fifteen seconds “NICE” view (peek) to... being behind (‘sitted’) at the YOUR rare book room desk... in YOUR rare book room

            “WORKING”.

            Yes; that last word is the right word.  I know... ‘wasn’t what was expected’.  I will proceed, as a generous effort, to ‘get there’.  But one last qualifier...:  The difficulty of ‘explaining’ is that.... with its (rare book et al) back cut (back blade edge)... the REASON it (the rare book and its realm) are successful as a shelter (seeker... man fleeing)... is that:  Lay damnation is not... at all... ‘rare book damnation’ (bibliomania).

            I will start very simply.  I buy and sell... old (“vintage”) skateboards and old (“vintage”) spray paint cans... in the course of ‘my (antiquarian) business’.  I... ‘see’ them and their ‘art’ ‘no problem’.  Their ‘history’ (and design history) too.  I “MADE IN CALIFORNIA” one and “PINK (the color of the paint) CAN NEVER BEEN SPRAYED” the other.  I get it; boards.  Spray cans.  REACHING back in time to art and history that... in their small ways... changed the world.  Shelves lined with collector grade specimens?  “I BUILT THE SHEVES MYSELF”.  We are ‘down in the basement’.  This basement has become an art gallery?  “CAN I TAKE A PICTURE?  I JUST THINK THESE ARE SO NEAT!”

            “You can (take a picture) but

            You may not.”

            This is not a rare-book-man or a rare book room or a ...rare book.  That was easy wasn’t it.  NEXT:

            Again... I ‘very simply’, very easy... ease... into... “it”.  It is difficult to ‘get’ a ‘find out’ in one’s hand to ‘hold’, ‘see’ and ‘read’ that is “explains” ‘rare books’.  I’m not talking of vanity snippets about ‘rare books’ (“HOBBIT FIRST EDITION RECORD PRICE GAWKER”).  Nor am I speaking of the ‘under glass’ cased display of such... and such... a ...rare book.  For example, the HOBBIT copy and its price are “ALL” “inscription”; the author’s personal... “presentation” inscription in this singular copy of the... first printing... first state (“all points”) with dust jacket...:  That’s all you need.  It is under glass so... you will not ‘find that’ at a ‘yard’ ‘sale’.  Soooo:  I state again:  It is difficult to ‘get’ a ‘find out’.  What is one... of those? (a rare book).

            Suddenly we are in the rare book room... ‘sitted’ at the rare book desk... with the window open... “READING” a “MAGAZINE”.  That is the lay deduction.  It is silent.  The reading rare bookman is completely absorbed.  They (“he”) does NOT want to be ‘interrupted’.  At all.  For any reason..  Including “I’M LEAVING NOW DEAR”.  ‘He... has fled’. And, again, ‘he’ is ‘reading’ a ‘magazine’.

            Some ‘magazine’.  “HE” is reading a single copy from a ‘run’ (large accumulated lot of a single publication) he ‘has’ of a small ‘vest pocket size’ (by INTENT)... “booklet”?  No:  “Pamphlet”.  It is ...front wrapper titled and first leaf head titled “THE MONTH AT GOODSPEEDS”. This single issue is “April, 1947 -  Volume XVIII – Number 7”.  That doesn’t matter.  The reader ‘doesn’t care’ or ‘even know’ that.

            And that’s all ‘he’, the rare bookman at his rare book desk in his rare book room, ‘does’ “now” when he is ‘working’.  He has ‘over a hundred’ issues of this magazine.  That he reads.  Over and over.  Over a forty... fifty... sixty year period.  “WHEN DID YOU READ YOUR FIRST COPY OF THE MONTH?”.  A rare bookman ‘sitted’ at his rare book desk in his rare book room will be able to precisely (with as much precision as is needed) (Remember this word ‘precision’; I will treat that usage in this [rare book] context)...  “TELL YOU” “WHEN I”

“READ”.

            All of them?  He reads all of them over and over?  I told you; ‘to get a find out’, ‘fleeing’ and ‘precision’.  The last is sheltered by the second to ‘find’ the first.  It’s that simple.  And takes a... man... an incredibly long time to ‘get there’.  One does not start out ‘collecting’ ‘rare’ ‘books’ by reading an old magazine... ‘over and over’.  One has to learn to do this... after one discovers one can do this... and then actually do this... meaning ...actually do this.  This last is why there is a rare book room with a rare book desk harboring a ‘sitted’ rare book man.  I suggest the denotation that this says that “ALL THIS” is ...not... about the... rare books.  It is about precision... as the active variable that is the... third uses the second to find the first.  The old (rare) books on the shelves are the ‘game over’ of that.  They are, in fact, to the bookman of this room... “nice”... and only that.

            “GOD AWFUL” this is, isn’t it.  One did not think reading a magazine and the ‘all other et al of this sort’ was this... to that... to be the THAT of the NICE BOOKS on the NICE shelves of the NICE old book room.  So you can just ‘go out dear’.  The working bibliognostes will be ‘thankful’ you ‘left’.  That is what actually happens when a rare bookman at his rare book desk in his rare book room is ‘actually working’.  And note here again the qualifier word; ‘precision’.  This, in a subtle first encounter, explains the variable one may discern between the different

            Old rare Book Rooms, old rare book desks and... old, rare... book... men...  et al.

            What, then, is “this stupid magazine”?

            “Breezy” I find it, as a read.  Jumps around; some ‘things’ are long (descriptions detailed).  Others seem but a flirt of ‘attention paid’.  All do... one must notice, have a quasi technical physical description of the ‘offering’ ‘tucked’ into ‘the puff’ (descriptive text).  And a ‘price’; the price THAT OBJECT is for sale for “NOW” (in this case ‘1947’).

            “OK”.

            “I ah...”

            EVERY iota, Sir, ‘is something’.  The shortest to the biggest puff... or price... or “whatever”.  ALL bibliognostes (‘crazy people’) STUDY word by word and internally ‘fall short of their self prescribed “I MUST REMEMBER THIS”.  I am lucky to ‘remember’ that I ‘once’ “DIDN’T I?” read a somewhere one time maybe “I THINK”.  Oh no for now we ‘that’; the “I THINK” of the precision falling back... away... slipping away.  But just enough of that ‘feels’ and I ...hold on tight to “that”; an old odd volume from the table saying “BOOKS FIFTY CENTS EACH”.

            It is not a ‘book’.  It is an old... rare... book; a ‘very rare book I believe’.  “I REMEMEBER READING ABOUT IT SOMEWHERE.  WHERE?  I believe... I read about it once... GOODSPEED’S had one (a copy).  I’ll never find it again.  It will take me months in there (his old book room... at his old rare book room desk... “working’ through the stack of “THE MONTH”).  “IT’S IN THERE SOMEWHERE I KNOW I READ ABOUT IT”.

            That’s right.  The old bookman never looks at the nice books on his shelves.  He only... and obsessively... having his head down and his nose in the ‘magazine’s’ ‘gutter’... ‘looks’ at the magazine.  Copy... after copy is, with steady critique “AGAIN”, ‘reviewed’.  And the actual ‘book-he-found’?  WHY THAT is in the... top left hand drawer of the desk... next to the ‘his silver spoon’.  “BEING RESEARCHED”... that is titled.  It may be ‘there’... ‘doing that’ for... decades.  Old rare bookmen are... not in a hurry.  It is the ‘precision’... you say?

            ‘The Precision’ is the ‘rare books’.  It’s not the (actual) books.  But the rare books ‘are nice’.

Old New England Glassware in the Home - Part Thirty-One (B) - "The Lilies Continue"

Old New England Glassware in the Home

Part Thirty-One (B)

"The Lilies Continue"

            Pushing hard on the home décor button on one’s smart phone? 

In the 1880’s old school New England glass men... ‘went art’.  MOST of the foundation move from... glassware... to... art... glassware... is riddled with Victorian influence ‘in design’.  No surprise for a design innovation ... of a pure expression... ‘takes time’.  BUT... MAY WE... discern a... ‘pure expression’ right THEN; a ‘stand alone’ “YEAH THAT” of an art... design... ‘in glassware’ from the 1880’s; a right THEN?

            Oh

Is there ever a

Sweetheart

For the knowing eye (I). 

This ‘sweetheart it is’... is a ‘comes with’ a long and ...within collector circles... of American Art Glass (AAG)... respected... design heritage.  The ‘sweet heart’ is the “Lily” or “Trumpet” “vase”.  In... ‘Amberina’ glass.  This means TWO design innovations; the Lily vase glassware FORM and the Amberina glassware COLOR... of a glass... ware... NOT IN THE HOME.  The Lily vase form is a ‘tall’ blossom-at-the-top free-blown... rib molded (on a true early Amberina Lily)... free-form, ‘stretched’ with its opening and hand pulled blossom at the top above an ever widening vase body all set upon a classic ‘disk base’ bottom... IN a ‘gold’ color beginning at this bottom and rising to turn in color to a rich... rich, rich (the richer the better)... deep... CRANBERRY... red... at the top.  Polished pontil on the bottom.  Appearing in many sizes (“tiny” to “giant”) but ALWAYS the same... form... and color...

            After visual introduction the next ‘step’ is ‘handling’ and that handling carries a glass student’s “I” (eye) back in time to the earlier era of New England glassware... in the home... of the pre-blown-mold era.  But ...here-now (1880’s)... we, in our hands... feel... ‘wonderful’

            Old

            Glass.

            “AND

THE COLOR

TOO:

IT’S TO DIE FOR!”.

            Again... it is not ‘in the home’.  It was made for the home; to be in the home, but... very few homes ‘did that’.  I mean... like... zero.  What does that mean?  I have been going into homes for fifty years looking for Lilies and... ‘never find them’.  Like... once... like a quarter of a century ago... one woman who I’d SHOWN ONE TO (a lily) showed up before me ‘with one’; a small and ‘of weak color’ one.  That’s it.  NO ONE... unless they are an ‘I KNOW’ dealer or collector who... ‘is around’ ‘in lilies’.  PURE BLIND CHANCE... is the... of there being one to “FIND” in a HOME.  I mean:  “FORGET IT”.  But they are out there.  But, again, even those are... “MOSTLY BEEN” ‘collected’.

            “You gotta be crazy in the old houses” to find one.  What does THAT mean?  It means you (the antiquarian picker at work in the... well to do undisturbed single family ownership Victorian home) come through the dining room into the front parlor and across the room to, when you glance back at the fireplace and its mantel, YOU (and only you) spy a “small one” lily on that mantel and

            Say nothing... and don’t need to ‘go over and pick it up’.  “Steady boy”.  That’s about it.  A true ‘giant’ one... would be, like, on the ‘turtle top’ (scalloped oval) marble top LARGER THAN USUSAL Victorian ‘walnut’ ‘occasional’ ‘table’.  Like sitting dead center on that in the window so to... catch the light... and blow that picker’s art eye ‘away’.  We are not talking juice glass here.  Early American Art Glassware ‘in the home’ is a proclamation of its self and THAT ALONE.  No one’s lips touch the rim of a lily vase.  Only the eye dances with the color.  That eye tells tales of all of what one will feel... should one ‘handle it’.

            Then it is over; done.  That is what (early) American art glass (AAG) does.  That:  Decorate American Victorian parlors.  Until the cat knocks it over and it is smashed.  And the broken pieces are thrown out.  On the dump.  Up in the corner of the pasture ‘over’ the stonewall.  This never happens.

            There was never an Amberina lily vase in that home. 

            One modest addition to note:  The lily form is ‘anticipated’ as a design form in Early New England glassware... in the home... well before the Civil War.  The vase form... of the lily ‘shows up’ as an equal sized CLEAR GLASS but ‘more open’ free-blown rib molded tall ‘table vase’; an Empire style decorative table center ‘flower vase’.  They came in many sizes.  The ‘big ones’ are the rarest survival.  They... ‘got broken’.  They are, unless one finds the ‘base’ piece, difficult glass fragments to discern on the dump.  The pieces look like ‘clear glass nothings’.  Anyway; the point is that the lily form was ‘anticipated’.  It; the true Amberina lily form... is... (notice this) a ‘radical’ “interpretation” of this early vase.  The whole thing (the lily vase) is ‘ramped up’ in form so it has a ‘real arty’ ‘stand alone’ and a “vah-voom” ‘presence’.  That’s enough art (?)... boy and girls(?) 

            Just ‘go with it’; it’s easier.  IF... you should... chance upon one... look at it, handle it, try to buy it (presuming it IS an ‘early one’ and one does know that).  IF... you should... chance upon... a ‘collected’ one... look at it, handle it, beg to be indulged by the owner and... ‘pick’ the owner’s ‘brain’.  IF ONE is...

            In one’s lifetime

            A ‘steps out’ (buys a real one from a real dealer for a ‘real money’ price) and owns one...

            “Don’t worry you’ll be fine”.

            ENJOY IT.

            And don’t expect anyone... ever... to “that”.

            Unless, of course, if one is ‘in and about’ an “I KNOW” collector-dealer people moment.

            They are; the lilies, a ‘precious cargo’ of the antiquarian “New England Decorative Arts”.  Just file this away.

            The lilies are ‘all over the place’ in museums.  EVERY ‘New England’ (American) glass collection “HAS TO HAVE ONE”.  And do.  And they are usually in plain-sight-obvious on display.  YOU... will notice them now.  LIKE... in Maine... the Portland Museum of Art has theirs ‘on display’ with their ‘best in the state’ New England Glass collection... display... that is

            On the lower level...

            Down past the toilets.

            I know... you... went... (literally)... down there but... ah... ‘missed that’; the glass collection display.

            Better luck next time... and I add:  A REAL... REAL lot of what I’ve harped on in this essay is, by specimen, ‘on display’ ‘there’... TOO.

            And again:  The toilets are there TOO.

            One stop shopping.  I think they sell the food (“FOOD COURT”) there too... too.

            I have not ‘eaten there’.  But I ALWAYS look at the ‘old glassware’.

            I’m, like, “THE BENNINGTON MUSEUM!” too.  A lurking giant of ‘small museums... but... ‘disturbed’.  I’m not gonna spend a lot of time on this; just lay it out and ‘walk’.  “Bennington” used to be an old school display case cluttered ‘bailed in there’ display of ... among other design mediums, Early American Glassware but... has ‘since (I was a little boy) modernized’ to... make the displays less comprehensive and more educational so that means a real, real, real... lot of the “THEIR STUFF” is ‘put away’ and can no longer be viewed by the ‘crazy’ glassware collectors.  Sorry to be old school about this visit problem... but it is a problem.  I like old style cluttered museums with their ‘crud’ in ‘cases’ preferably having strain-to-read “OLD HAND WRITTEN” in ink “LABELS” from, like... “THE CIVIL WAR”.

            For example of clutter... Bennington ‘used to’ and ‘still does’ (?) have a multi-tier standing-in-the-round glassware display of just... EAPG... goblets.  JUST... (hundreds of)... EAPG... Goblets... with each having its pattern name and... nothing else.  OLD school antiquarians like I “KNEW THIS” so would “USE” this display to “IDENTIFY” the patterns of our EAPG by... GOING TO THE MUSEUM to ‘do that’.  OTHER (like ‘New England redware’) cluttered collections “AT BENNINGTON” were “one can too”.  Now, in line with ‘new’ museum schooling, they’ve ah... ‘fixed that’; their ‘cluttered look’.

            BUT, I be dammed, the... NEW-NEW-Newest... school is to...

            TOO...

            NOW again display the ‘clutter’ of the ‘cases’ jammed full style AGAIN so... LIKE... ‘the Met’ and “Deerfield” ...and “CORNING” (glass museum) all NOW have a special area of  their “EVERYTHING WE HAVE IS ON DISPLAY IN THE CASES WOW!” ‘study area’ for

            The crazy collectors

            To ‘be able’ to

            “SEE”

            “EVERYTHING”.

            For the ‘such as I’ antiquarian... this is WONDERFUL.

            But away from the original point I was making:

            ‘The lilies are easily found on display at “ALL” top museum collections of ‘Early American Glass’... ware (“Don’t forget Toledo!”).

            And again, I ‘additional note’.  To no surprise and do please notice... OTHER ‘types’ of AAG too... have the lily form vase.  For example, one may find a ‘lily vase’ in ‘Burmese’ ‘glass’.  AND OTHER (art) “GLASS”.  Fine.  No problem.  Except

            That ‘Amberina’ ‘lily’ is the leader of the pack for...

            It does it best.

            The other glass types are ‘that’s very nice’ but the ‘Amberina’ (with the rich... rich, rich... (richer the better)... deep...  CRANBERRY... red...:

            It does it best.

            Again; just go with it, you’ll be fine.  Especially if one ‘owns one’.  Do not ‘come up short’ with a ‘ONE LIKE IT’.  One wants the real thing.

            Right?

            Ok... now... we are at the rainbow end and the pot of gold that is, oddly affirmed by a tech note that ‘Amberina’ “GLASS” is “MAKES THAT COLOR” because there “IS GOLD IN THE GLASS”.  I don’t need to talk about that:  JUST STICK TO obvious (to the eye) QUALITY and... good stuff and good taste WILL FOLLOW YOU.

            This means ‘so here we stand’.  The lilies back-door-slam where the juice glass design glassware ‘New England Destiny’ comes from.  Art ...of glassware goes one way and New England glassware in the home goes... “THAT WAY” (recycle bin grade design).

To this day. 

And it is not

            Going away.

            Am I done?  Pretty much.  Except for lambasting one’s taste some more... or should I call it a ‘market’ (commercial) ‘survey’... of the whole of this (old New England glassware in the home) with this...coming along of its self to, oddly, be a sort of philosophical ‘expression’... when applied in the field (one and one’s ‘out and about with’ ‘old’ glassware ‘everyday’).  If that sounds like it has a little “Yikes!” in it... it does.

Old New England Glassware in the Home - Part Thirty-One (A) - "The Lilies"

Old New England Glassware in the Home

Part Thirty-One (A)

"The Lilies"

I have to remind, while we are standing at the... ‘old New England glassware in the home’s... dump (Part Thirty), that to get to where a ‘that broken goblet’ was ‘thrown out’ we have to first get the glassware in the home and then have it ‘travel’ in the home to...:  I’ve proven that there has to be a state of union where there is ENOUGH glassware in the home to have broken glassware ‘on the dump’?  So... to no surprise

            “THE EARLY” (EAPG) old New England broken glassware on the dump is a MUCH LESS AMOUNT OF THAT than the ‘later’ ‘Victorian’ EAPG; more houses, more people, more money, MORE GLASSWARE, more breakage and more... ‘throw out’.  AND... this is over fifty years (1830-1880) TOO.

            That’s a long time...

            In design.

            So... my “FONDNESS” of “DUMP GLASS” ware... is ...tempered by ‘what is ON the dump’ and so... I ...like... have to... LIKE... what I find THERE.

            So I do.

            AND the “WHY?” of that problem (‘I like what I find’) is NUDGED along by our TODAY offering up an abysmal array of JUNK glassware in the home.  IF... there be anything that ‘brings it up’ as design; improves one’s appreciation for Victorian EAPG design, it is the “NOW” (today’s) ‘juice glass school’ of our “MODERN” New England glassware... in the home.  Yeah... that glassware together (today’s and Victorian):  Side by side and... ‘I SEE the DIFFERENCE’ (the art experience).  When this side by side is ‘carries’ to chipped toenail polish, dirty flip-flops, cigarette butts, tote bag supply wagons, crummy sunglasses and yapping ‘my doggie’ banter...:

            Old Victorian EAPG goblets for ‘fifty cents each’ at the church sale (Part Fifteen)... look just like what they are:  Salvation.

            And do not under estimate the ‘godliness’ of Victorian design.  It is ‘there’.  What is probably the best solution for modern-glassware- in the home – living... is to disavow the design/art merit of ‘anything Victorian’.  This shelter has a long, broad and passionate support system already in place so... comes too... with a ‘don’t have to do much’ to ‘get onboard’ with this.  But as I just said... it is the ‘comparison with today’ that becomes ‘a problem’.

            What that would suggest is that ‘I hate Victorian’ is best done with an “I DON’T GO TO THOSE” box store – mall gallery consumer settings.  They... for a thee... are a ‘no’-line in sand drawn; the ‘I don’t’?  IF... one does and does... (fess up) a ‘like that (stuff) better’ (than “old” “stuff”)...:

            What’s my point?

            Even the whacky ‘egg in sand’ ‘looks good these days’ if one has ‘broken camp’ with the... post war baby boom plastic based material inundation of material opulence with this TOO needing to be recorded-by-self that this “THIS” came from (and through) a material obsession vision ‘of’’ ‘earlier times’ (Edwardian following on Victorian) ah.... ‘design’.  Then came... ‘mod-dern’, ‘twenties’ ‘depression’... design style ‘fashion’... on to ‘the war’, ‘post war’ to (“Yikes”) (the) Baby Boom (‘TV’ in ‘every room’) GLASS... WARE (juice glasses) (held in the hand and sipped while... ‘watching’).  Line that glassware up and... egg in sand... “LOOKS GOOD GUYS”.

            Did the wholeness of (what is) ‘design’ change during the American Civil War?

            Yes.

            Ok.  I don’t have to sort this out.  I just go into old houses and ‘get the (old stuff) antiques out’.  So... like... I poke the old home’s ‘dug dump’ too while I’m there.  We even dig their outhouse hole(s) out.  Too.  I am JUST TOSSING a disk OF enlightenment from this hands-on contact...:  It is very, very clear to me that “old stuff” from BEFORE the Civil war was “a lot less of it” with that too having very little being ‘wasted’ or ‘thrown out’.  In an old Maine farm... undisturbed... an ‘it’ ‘from 1840’ is ...usually... still there (in-under the eves in the ell crawl space.  Or such).

            So for me to admit the “I like” the “IT’S VICTORIAN”... took awhile.  But I got there.

            And it is NOT and will NEVER be the same as my appreciation for ‘the early stuff’.  Simply set an ‘egg in sand’ beside the ‘diamond point’ (an early EAPG pattern Part Eighteen and thereafter) and ...just on the three-second-time-clock design appraisal... NO CONTEST.  But then... two hours later... I’m stuck at a stoplight intersection with strip mall venders on each corner with “LIKE EVERYONE” there (“traffic”).  Back at the rummaging of old closed up cupboard bottoms:  No one is there.  At the old dump up at the pasture’s stonewall?  NO ONE is there.

            Which train is ‘going to Hell’ faster?

            Where did the train come from?

            “Ah...”

            Which one am I on

            Anyway.

            So... MY ‘appreciation’ of old New England Victorian Glassware in the home is... a rebellion of my antiquarian eye (I) walking

            OUT THE BACK DOOR... of our ...design-of-now?

            Yes.

            Scrappy... I will ‘use what I find’ to protect this back door exit and ...well... egg in sand... ‘will do in a pinch’.

            Summary:  Old New England “VICTORIAN” glassware... I find... in the home...

            Is a ‘not that bad considering’.

            From this... era... of impasse of EAPG decadent decline comes documental change to ‘glassware’ in New England... and this is... for the most part... ‘not in the home’.  This documental change is the separation of cheap ‘mass produced’ ‘NOT MADE’ in New England’ ‘stuff’ and ‘art’ (‘glassware’) from... (separated from)... art-for-art-sake glassware (a Victorian era design innovation).  Specifically it is... old... New England... ART... glassware... usually (I repeat)... NOT... in the HOME.

            Ok... here we go again.  The ‘glassware’ ‘in the home’ gets ‘ever worse’ with its design traveling away from the good, true and early EAPG and... this glassware ends up ‘juice glass modern’ ‘style’ ‘in the home’.  MEANWHILE the “ARTISTS” (professional glassware craftsmen) take their ‘craft’ and ‘skill’ and ‘design’ and... “MAKE”

            “ART”

            “GLASS”

            “WARE”.

            For the home?

            No.  They sort of try to... sort of...

            But... “Ah...”; it falls back.  One (a resident in)... of the New England home... had to seek ‘that’ (art glass) and ‘go get it’ and:  OK... no Yankee peddler’s wagon came in the farm yard loaded with “ART GLASS” for sale.  The store... “IN TOWN” had a (skimpy) selection of FANCY GLASS (“LIKE WHO BUYS THAT?”).  It was a “she saw it you missed it” because Mr. Man (the male Yankee) was ‘over in hardware’ at the “OLD COUNTRY STORE” (“Dear: The train is here.”).  (The old country store was on its way out too; ‘death notice by train’.  TOO).

            Therefore ...old New England ART glassware... ‘is not’ and ‘never was’... old New England glassware in the home.  The ‘art glass’ cupboard ‘in the home’ was... and is today... in the ninety-nine percentile... BARE.

            That can not stop us.  Old New England Art Glassware in the home (not in the home) is a ...needs to be fundamentally understood to discern why and how the ‘juice glass aesthetic’ came to be the operating design directive.  Simply, glassware artists... abandoned the home.  They created their private world of ‘ART’.... “GLASS” that is still all over the place now (2015).  There is, that one may acquire (purchase), so much

            God damn

            ‘Art glass’

            ‘Out there’... just check the box stores and malls and

            More... and ever more... exclusive vendors (say... like... ‘Tiffany’).

            Meanwhile, developing as the (actual) glassware in the (actual) home... one ‘ate all the jelly that came in the jar... and

            It becomes a (juice) glassware FOR the home.

            “Ok... I got it?”