Behind The Beautiful Blaschkas
Philippa Richardson
The Cadogan Gallery has opened its doors to reveal a cornucopia of museum treasures in
the past few months. From moon rock to the Archaeopteryx fossil, we are invited to see
some of the best pieces the museum has to offer. For this Visit Planner the Blaschka Glass
models required a second look, leading to an exploration of their history and on-going
research.
Born in Bohemia in 1822, Leopold Blaschka settled in Dresden with his glass making
workshop, and with his son Rudolph joining him in 1876 made almost 3,000 glass flower
models alone. It was to be Professor George L Goodale of Harvard University that started a
significant and successful commission of the Blaschkas’ work with glass flowers – a
relationship that lasted 50 years. Goodale recognised that unlike other preservation
techniques, the glass held the intricate structure and colour of the organisms.
As for the NHM’s relationship with the Blaschkas, extensive research by curators Dr Giles
Miller, Senior Curator of Micropalaeontology, and Miranda Lowe, Collections Manager of
Aquatic Invertebrates, tell us the earliest models the museum has are from 1866, including
some of the earliest anemones made by the Blaschkas. Examples of requested models
include; sea slugs; radiolarians; amoebas and eyes for taxidermy. Their design and
construction however is something that the father son-team revealed to no one, and the
secret was finally taken to the grave when Rudolph died in May 1939. The mystery has
served to unite different departments of the museum as they each take a hand in solving the
mystery and I have been fortunate to speak to some of the experts involved in certain areas.
Conservator Efstratia Verveniotou explains her involvement after taking a lead role on the
project, which was started by Felicity Bolton and Chris Collins; “I have been part of the
project since 2009 and my job involves the conservation and on-going research on material
and techniques used by the Blaschkas. I also work on the mounts needed to display each
piece for the Treasures Gallery.” The Conservation Centre has employed various different
analytical techniques in their work so far. Efstratia explains; “We have used such techniques
as Scanning Electron Microscopy; Raman Spectroscopy; Micro X-Ray Diffraction; Infrared
Spectroscopy; X-Ray Flourescence and CT – Scanning to identify pigments, resins, metal
components and glass composition.” The results have been rewarding, and have allowed
conservation staff to identify the use of animal glue, isinglass and gum Arabic on the objects.
On the success of the techniques employed Effie notes: “The Scanning Electron analysis
and CT-Scanning has been able to assess the stability of the specimens by reviewing the
composition, corrosion and crizzling on the surface of the glass. Pigments have now been
identified including cinnabar, hematite and cobalt blue”.
Dr Farah Ahmed, Manager of the X-Ray CT scanning facility notes that; “The models have
all passed through the CT scanning process well. Using algorithms we have collected data
to determine such things as glass density and therefore structure. We now know for example
that the octopus is one complete piece of glass with individual suckers, and we can aid in
repairs to detect where repetitive strands should be placed if broken”. These findings allow
the conservation department to maintain and display the models in the best possible way,
creating bespoke mounts that do not interfere with the models and require with minimum
handling. The models presented particular challenges in mounting them for display in the
new Treasures Exhibition. The Design and Conservation Team and in particular Helen
Walker worked hard to find a solution that pleased the Designers aesthetic demands and the
conservators requirements.
And what are the materials used in the conservation process? Efstratia explains; “The
materials have to be compatible with the coating so will not adversely affect the weak nature
of the glass. They have to be reversible with good stability and be easily distinguished in the
future so as not to confuse future research. The three most common materials we have used
are; Paraloid B72 which is a very clear thermoplastic acrylic resin; a low viscosity two part
epoxy adhesive called Hxtal, micro-tubing made of nylon as a reversible means for mounting
detached spines and handmade long fibered Japanese tissue. These work with a range of
soft sable brushes and solvents”. This means that the work will serve for the models to be
ready at any time for display, with specialised cabinets and provide teaching methods for
fellow conservators. The techniques used now should sustain the models for at least the
next 25 years.
Their curatorial needs fall under the expert eye of Miranda and Giles. In terms of selecting
the models to be shown on display, Miranda says; “The designers were firstly shown a
number of the models that needed relatively less conservation work done on them than
others due to the exhibition time scale but we also wanted to show the range of animal
groups that the Blaschkas made from our collection. It was a difficult selection to make as
they as all very beautiful in different ways but luckily we will change them over every six
months to keep a vibrant exhibition.”
And though the project has been successful so far, Efstratia acknowledges the challenges.
“It’s not forgiving”, she says. “You have to be resourceful and repairs have to be perfect.”
Stephen Koob, Chief Conservator at the Corning Museum Of Glass agrees; “They (the
models), break easily and it requires great skill and knowledge of conservation practices and
materials to repair and restore them”. It should therefore be acknowledged that conservation
work on the models completed by Liesa Brierley in the museum resulted in a Nigel Williams
Prize for Glass and Ceramics Conservation and a prize from the University of Applied
Sciences Erfurt, Germany.
Do the experts have a preference with the models? “I would have to say the octopus” says
Efstratia. “It was the first model I worked on and the surprises were frequent. I observed their
unique structure and realised that the Blaschkas were proud men”. Farah acknowledges the
same model for the results it produced in solving the mystery; “The octopus scanned well,
though the models do differ in terms of information they provide”. Stephen Koob adds “I have
no single favourite. I love the flowers more than the invertebrates. So delicate, accurate”.
Miranda notes - “the sea anemones as they are the first models I discovered in the
Museum’s Old Spirit Building back in the mid 1990’s. Unfortunately they are not currently on
display, maybe one day.” As for the radiolarians, these are a favourite of Giles, in particular
the red and green -Hexacontium asteracanthion (Haeckel, 1862) and Dorataspis diodon
(Haeckel, 1862).
And what of the models’ artistic merit? Should we indeed look at them as pieces of art fused
with scientific purpose? “In my opinion they are not art” says Stephen. “The Blaschkas never
meant them to be art but science, and tools for study and research”. Farah sees that the
Blaschkas were making scientific materials but had an “artistic eye” and Efstratia comments
that there is a link between art and science in this situation via the models’ education and
demonstration capabilities. This link is also referred to by Miranda as she notes that she
would like the public; “to be amazed by the artistic interpretation by such skilled glass
artisans, of the scientific work of that time”. So as we ebb ever closer to solving their
mysteries, perhaps interpreting them in an artistic capacity is best left to be solved by the
eye of the beholder.
It should therefore be acknowledged that work on the models completed by Liesa Brierley
resulted in a Nigel Williams Prize for Glass and Ceramics Conservation and a prize from the
University of Applied Sciences Erfurt, Germany.