Hot Glass Bits #31

Contact Mike Firth

April 5 - June 10, 1996

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This issue contains the following deadlines.

* none or all past by mailing *

[capitalized KEYWORD starts a paragraph below]

Hot Glass Bits is a personal chronological record of my wanderings through glassblowing and the bits and pieces of knowledge I gather along the way. It includes things I try, thoughts I have, information I receive, and reports on things I do. In many ways it is an edited diary and events calendar about glassblowing. If it is useful to others, it is worth the effort. It is normally closed near the end of the odd numbered months and mailed soon after.

WHOAMI? - Mike Firth is a 53 year old, low experience glassblower who signed up for his first class in '91 without having seen anyone blow, although he had seen TV shows, and had done stained glass and worked clear tubing in the past. He has built cheap equipment in his back yard to learn and practice. When not blowing, he is a married employee of the best hardware store around.

Vision Thing: Everyone makes mistakes and has successes. Professionals learn from their mistakes, amateurs often have to live with them. By discussing my explorations and observations, I can reduce the number of mistakes and increase the number of successes.

The legal stuff: Working glass is inherently dangerous, involving heavy materials that can be razor sharp, so hot that damage can be done before feeling occurs, with chemicals immediately poisonous, dusts that can damage the lungs, and heat sources that can wreck the eyes. Understand the safe practices required and use them to blow beautiful glass.

------------------------ Hot Glass Magazines and Newsletters ------------------- ------

A list is available in earlier issues.

-------------------Hot Glass Web Pages & Internet Addresses ------------------ is a newsgroup for all kinds of glass.


HORIZONS SUMMER AND FALL - [The New England Craft Program, [108-P N.Main St., Sunderland MA 01375 413-665-0300, FAX:4141] Early Summer June 15-17 Kiln-Formed Glass, Mary Ellen Buxton-Kutch; Late Summer, August 8-13, Glassblowing ($510)- Kelmis Fernandez, with an added session ($375), Aug.14-17 - Carmen Sasso. The latter two also have a lab fee, unspecified. Fall Foliage Intensive, Oct.12-14, Glassblowing:Focusing in - Jim Holmes ($310); Glass beads: Lampworking - Kristina Logan ($245) For the long August glass, cost of room and board is $235, others range down to $110 for most the intensives. Horizons offers many other topics and over-seas classes. 1/21/96 Repeat

HANDS-ON GLASS - I am particularly impressed (having seen Deborah work) by the Intermediate Glassblowing offered as part of the 1996 Summer Programs at Hands- on Glass [261 Baker Street, Corning NY 14830, 607-962-3044] which include five Monday through Friday classes (9am - 5pm) and three Saturday (8-5 or 9-6) classes. Beginning Glassblowing with Rodi Rovner, $350, starts 7/15 and 7/29; Intermediate Glassblowing, Venetian Style, with Deborah Czeresko, $375, 7/22; while Engraving (7/15, $300) and Sandcasting (8/5, $400) fill out the M-F schedule. Weekend workshops at $125 are in Beadmaking (7/20), Lampworking (7/27) and Murrini (8/10) Classes are limited to 4-6 students.3/28/96

BUYERS MARKET of American Craft, Philadelphia, July 26-28, at the Pennsylvania Convention Center, has been announced by The Rosen Group [3000 Chestnut Ave., Suite 300, Baltimore MD 21211, 410-889-2933] Events include a daily fashion show of wearable art and jewelery, evening tours of the Cezanne exhibit, and merchandising seminars. The 1997 winter market will be Feb.14-17. 4/6/96 Repeat

NICHE AWARDS for American artists who produce work for craft galleries and retail stores has applications due by 1 August 97 according to Niche Magazine at the Rosen Group [Suite 304, 1-800- NICHE -14, see above] Glass is a category. Primary rewards are display of product at the February show and in the magazine. 4/4/96

GLASS ART SOCIETY CONFERENCE will be held June 6-9 in Boston, based at the Massachusetts College of Art.. This one will have a strong emphasis on lamp working and beadmaking and a greater emphasis on "doing". The overall title is "Critical Mass." Prior to the Conf. will be 3 day workshops at three studios, open studios in western Mass., and a Collectors Blow fund raising event with Lino, Dante and Michael (how's that for name dropping?) The Conf. starts with open studios in Greater Boston and demos at Mass.Art. including at least 16 Flameworking and Bead Making artists. During the Conf. there will be over a dozen demos at various colleges and studios and workshops and open studios will follow the Conf. As I mentioned last year, I will not be going, largely because of the distance and cost, but now because I will have no time off from work this year and a low interest in lampworking. For non-students fees are $185 before April 22, $210 until before Conf. registration (6/5) and $235 at the Conf. Students are $75/100/125. Membership is required and costs at least $40 for non-students, $15 for U.S.students, with many higher rates. Contact G.A.S. at 1305 4th Ave., Suite 711, Seattle WA 98101-2401, 206-382-1305 M-F 8:30-4:30 PST, FAX:206-382-2630. 4/5/96 G.A.S. also announces that the Journal for 1995 will not be ready for distribution until May 1996.

MEDICINE - This is relevant to glassblowing only in that anything that saves money leaves more for glassblowing. If you are taking any over the counter drug fairly regularly, for example, I use 12 hour Drixoral for chronic congestion attacks and Dramamine for nausea to cut off migraine attacks, then you should look into getting a generic in bottles and saving a lot of money. Recently, I was reminded of this when I asked a pharmacist if I could order a 12 hour generic version of Drixerol with decongestant and anti-histamine (decongestants are "non-drowsy", they keep you awake; while anti-hists make you drowsy; I only need the former, but I need my sleep also.) I showed the pharmacist the store brand in a box of 10. While Drix costs about $5 for a box of 10, and Albertson's costs $3.99 for 10, a bottle of 100 costs $11.99, or a drop in price from 40 cents a pill to 12 cents a pill. In the case of Benedryl, the drop was about the same, but a more important factor is that my wife had considerable difficulty getting the B's out of their blister pack, while the bottle was easy. 4/11/96

RECIPES/VIRTUAL BOOK - I have started revising what I have called Recipes into pieces of a Virtual Book, where they will become sections, chapters and sub- sections listed in a table of contents with the possibility of ordering any or all of the "book." Until then, Index to the Recipes is available and they cost $2 each plus $1 extra per order for handling. 4/5/96

QUOTE - "It is important that the head of the pipe be swung down upon the glass and not thrust into it since the latter motion will force glass into the bore of the pipe" where it will chill and block the pipe, requiring great heating to get it clear. Scholes, p.230

BOOK - The quote above is from the 7th edition of Modern Glass Practice by Samuel R. Scholes, [Edited and updated by Charles H. Greene, 1975, Cahners Publishing, ISBN 0-8436-0617-6] which is common known as Scholes and is considered a basic reference. Somehow I had missed seeing it, although I though I had, but I find my image of the book is matched by the Schott Guide to Glass which is informative but much less comprehensive. I picked it out during a short session in the Central Library tonight, where this copy is on reserve. It seems very readable and complete and I look forward to spending more time with it. 4/22/96 Modern Glass Practice is available from Tech Books in Virginia, 1-703-352-0001. 5/5/96 Tech Books a supplier (book store) and presumably bought out the publisher, since they are listed in Books in Print as the source. The 7th Edition is $60. 5/14/96

TRAVEL - Well, I tried to put together an expedition for today to get slide pictures of people, glass, and studios before everyone had shut down for the summer. It deteriorated rather rapidly from two places in Ft. Worth and places in Dallas, to just Dallas to nothing as places were closed before I thought of the trip. I went off to see Art Allison blow with his portable rig at Kittrell- Riffkind Glass Art up at Beltline and the North Dallas Tollroad and blew out the sidewall of a tire on the expressway. By the time I got the tires swapped and replaced, my time was gone for any reasonable trip, so I came home. 5/5/96

SERVICE - Events happen between issues of Hot Glass Bits. One way I can deal with this situation is to post them to my home page, listed above. Another is to put them on the newsgroup I am wondering whether people would be interested in e-mail messages (which cost me nothing additional) with suddenly happening events. Let me know via mail or e-mail. 5/5/96

FRABEL [695 Antone Street NW, Atlanta GA 30318-7601, 1-800-843-1450,,] makes glass flowers shown in a vivid color flier. Prices for a single stemmed flower range from $100 for Dogwood thru many in the low $200's to doubles and then single pieces like Magnolia $435. Complete commissioned arrangements start at $2,000. 5/5/96


Subj: Awards Program Date: 96-05-12 04:32:48 EDT From: To: MikeFirth

I am the director of education and training for the National Glass Association (NGA). NGA represents the architectural, auto and specialty segments of the North American flat glass industry.

I am developing an awards program for the use of glass in architecture. Awards will be presented to the architect, glass product manufacturer and installing subcontractor for winning projects in seven categories. Additionally honorable mention awards will be presented to the same class of individuals in the same seven categories. The 42 awards will be presented annually during an awards gala at our national convention. The first presentation of these awards will be held on May 14, 1997.

The awards must be made from glass, portray the architectural theme and be, in itself, a work of art to which the program's participants aspire to achieve. If you, or someone you know is interested in presenting a proposal for this project, please contact me at the above e-mail address, by phone at 703/442-4890 ext. 160 or by fax at 703/442-0630.

Regards, Linda Barnett

COMMON GROUND: GLASS is the quarterly newsletter of International Guild of Glass Artists, Inc. [307 SW 'G' Street, Grants Pass OR 97526, 541-476-4311 or; Membership (in North America) is $45, $25 for student/hobbyist with larger supporting type. Outside N.A. double the membership cost], although 70+ pages makes it more than a newsletter. I have not been reporting on the mag since the issues sent my way for the past year or so disappeared in some abyss. Now duplicate copies have been sent and it is fairly impressive. The IGGA is a successor in some ways to a Stained Glass Association with a goal of including all glass workers, so consciously the widely experienced board has reached for fusing, blowing, and blasting artists. The roots still show in the long list of suppliers in the latest (Sources Guide 96) issue. For example, Spruce Pine Batch is listed in the alphabetical list, but is not listed under Glass Suppliers. On my first pass through the alpha listings, I did not find any of the off-hand glass tool suppliers listed (Steinart, A.R.T.Co., etc.)

Among the more positive points are the hopes of the organization, including a school for glass crafts and an already developed library of glassworking books, the purchase of which aids the school. A page-long listing of Supporting Suppliers (who also get tagged in the big list) who provide a discount to IGGA members, typically 5-10%. Members are listed with cross references by state and with some information about kinds of work done.

Other entries include several editorials, kiln working news and articles, featured artist (Wayne and Karen Reed, fused and leaded fused glass), Lampworking notes, a summary of photoresists, getting a book published, Gallery relationships with descriptions of several - very specific on prices, etc., ads for mostly stained glass related products and finally Web sites on the back cover. There are a substantial number of B&W pictures of work and artists scattered through the issue.

In previous issues were an interview with a glass artists whose work was destroyed by a religious fanatic just before a show opened, book reviews, safety in the workshop, and a trip to Seattle. 5/14/96

WHERE I STAND - This past weekend, I advanced my equipment building some more.

FURNACE - Having previously cut a 55 gallon (24" OD) off about 16" up, I filled the bottom 4-5 inches with vermiculite mixed with water glass (as stiffener), tamped it and poured a 1"+ layer of high temp castable across it. I then made a cylinder of sheet metal and filled about 3" of space at the walls with more of the vermiculite/water glass mix which sets in contact with the CO2 in the air. I then reduced the size of the sleeve 2" (for a 1" gap all the way around) and cast with the same high temp, having to add some lower temp castable to fill even with the rim.

This weekend I used the cutting torch to make a hole in the outer shell so that I could pour in castable to make a drain hole port though the vermiculite. Then I tore down the furnace/gloryhole I started with and used some of the insulating firebrick to support my pot in the furnace. I torched a rim about 2" wide from the lid of the barrel (so maybe I can lift the top off to change pots.) I cut a piece of foam board to bridge the hole, carved two 6"D x 2" port cylinders from Styrofoam and carved a chunk into the shape I wanted the inside of the furnace. (This is still using the $20-25 worth of foam I bought for the gloryhole casting, where someone suggested I had spent the same as buying a couple of SonoTubes, which I could not have used for ports.) I mixed National Refractory IRC 25 and slapped it into place around the mold. It was hard to get a good consistent mix and I found my first mix was crumbly and I added water and got too sloppy. I kept it moist and covered it with plastic. Today I took a torch and melted the foam, which dissolves and stinks, but does not burn before the flame. I had planned on preheating, but found my electric element holder broken in moving stuff around. 5/14/96

GLORY HOLE - I built the glory hole from a 30 gallon barrel yielding a inner hole of about 11" with an opening of 10" with the relief lip. Rather than cutting the barrel, I added about 6" of vermiculite/water glass mixture to the bottom then poured a cast surface about 1.5" thick. I cut and broke the insulation board I bought (and now dislike) to make long narrow pieces. I used water glass to glue these first to the inside of the barrel and then to the inside of the first layer. I purposely left a gap at what would be the bottom of the hole so if the board failed, the castable might support itself for a while. As mentioned, I should have cast portholes, but did not.

I then carved the shape of the inside of the glory hole in Styrofoam including a fillet curve at the back and a lip at the front. I did this by gluing the block to a board (which should have been sawn round, I found) to which I had screwed a steel plate to which a nut was braised. The nut fit the shaft on my grinding table, so I was able to bolt the core upright on the table and rotate it, carving variously with a saw blade, a rough rasp and a chisel to make the shape I wanted.

I bought a bolt long enough to go through a 2x4 and into the nut and thus was able to clamp the 2x4 and the bolted on core in position in the barrel. I added a core for the burner port and dowels for thermocouple ports. I then made a fairly loose mixture of castable and worked it in between the core and the board (this is where having a square board got in the way and I roughly trimmed it.) I ran the castable up over the ends of the boards so the face of the hole is a smooth layer of castable for the door to rest against.

Before doing all of the above, I welded angle iron frames around the barrel just below the open lip and exactly 24" down the barrel. These serve to mount the barrel on the stand, to clamp the core in place for casting, and to mount the burner.

MARBLES - In a message dated 96-05-16 00:06:20 EDT, you [CLynnKggn] write: << Which of those would have the best literature and tools for making MARBLES?>>
Ah ha! Well, Contemporary Lampworking has a page or two on making marbles, and that is about the only published reference I recall seeing. I can recall three things I learned along the way.
1) The marbles with a twist of color are made as a long bar (like murrini) which is heated and a piece at a time taken off. (Mark Matthews, an off-hand marble maker in Northern Ohio)
2) The form of marbles does not require a specific series of molds, although molds are sold. Rather the shape is formed on the edge of a circular form, which can even be a ring somewhat smaller than the final size. (CompuServe discussion in about 1/1/96)
3) The final forming/rounding of the marble is done by increasingly more tenuous (or less sticky) punties, so the marks of the previous punty points are worked off.

Like paperweights, marbles of anything above 1/2" size need extended annealing. 5/16/96

JOB? - Woe is me, too cold, too hot and now, after having lived here for over 10 years, I find poison ivy in the back yard and on my hands, chest and leg. Ich it itches. 5/18/96

GLASS FOR SALE: From: Schlitz Studios/ > Schlitz Furnaces
> 245 N. Water Street, Milwaukee, WI 53202
> (414) 277-0742 (414) 277-0505 FAX
> We're moving! - And we don't want to move all this glass! We have 25 years of glass stashing
> All hand picked. All glass for sale!!
> Sounds like there may be some real bargains to be had.. makes me wish I weren't 2,000 miles away! Anyone who's in the area, and visits, please fill >us in here on the Forum. Peace -Gerry >

Well I called and setup an appointment to visit the shop. (I live in Chicago area).
Here is the details.
The sale is open to the public starting June 10-22, though they did not have a problem with me making an appointment to come up early. REGARDLESS one should probably call first before one goes there (just to be nice) almost all the glass is tiffany style or reproduction opal.
they are selling
23,000 pounds of Schlitz for $8.25/lb, 10,800 pounds of old Uroboros for $7.25/lb - this glass is hard to come by, and worth seeing. 2,700 pounds of Youghioney $4.50/lb, 7,200 pounds of Oceana $4.50/lb, 24,000 pounds of Kokomo $4.25/lb, 7,800 pounds of Lins $4.50/lb, - owner said this was the best buy, 5,700 pounds of early 1900 glass $4.50/lb, - actual antique glass good for restoration (you will have to subtract a few pounds that I and some others have already purchased).
Jewels $3.50 each, Dragonfly, Pinched squares, circles, all jewels for tiffany projects, ALSO $50.00 for Schiltz scrap Boxes, These prices by my calculation are at or below wholesale.
ALSO I mentioned to the owner where I got the information for the sale (internet) and that I would report back.
THEY ASKED ME TO MENTION THAT THIS IS NOT A GOING OUT OF BUSINESS SALE BUT A MOVING SALE. (I guess some people got confused about that), The owner is looking to remove inventory and increase capital for the impending move.
Now for my personal impressions.
I must admit when I got there I was completely overwhelmed with the selection of glass available. (It probably did not help that I had no projects in mind before I went) I probably wasted 15 minutes wondering where to start (chalk that up to being a novice) I spent 2 1/2 hours looking through the racks just picking glass that I liked. I could have spent many more hours picking out glass, alas the budget would not allow for more. If you go plan to spend at least 3 hours to look through everything. Unfortunately I did not get to the Schlitz glass racks.
The staff was courteous and helpful. The owner was very cordial, even when I started to leave without paying. (got too excited about the new glass)
Overall, It was a good experience and I would encourage whoever is in the area to go and take advantage of the sale, it will help you and them. Oh yes, wear clothes you don't mind getting dirty, as this is a studio and some of the racks were dusty. (don't let that daunt you)
That is it. Thanks for reading
Steve Abbe

P.S. If anyone has a account on compuserve could you cross post, I do not have access. (newsgroups too, if you can think of any) 5/22/96

LONG WEEKEND - As I head into the last week before this issue goes out, I also have three days in succession off and hope to get a lot done, including blowing some glass, either in the glory hole or furnace. Tonight I cast the holders for 1000 watt elements for preheating the castable stuff. I made them of castable. I burned most of the foam out of the new furnace last week. 5/25/96

CASTABLE - I have started keeping a bag of National IRC 25 castable around and tonight I suddenly realized that it could be a solution to a problem, if it were strong enough. When I cast the furnace top, I had some left over and just shaped it roughly on a plastic lid. When I picked it up, having worried about its strength in the past, I found that I could not crush it or break it with my hands. Actually much stronger than I expected.

What I needed to make was a support for a heating element that I could move around. I had mounted on a sheet of clay I had used for fusing, but I broke that by accident, always knowing it was brittle. I have thought of steel flats with insulating ceramic posts, fire brick (fragile), clay (none handy), etc. Since the castable seems so strong, I used plasticine clay to make mold details in a metal pan, placed bolts to hold the electrical fastenings and mixed quick batches of castable, pouring and mixing in small quantities until I had enough. Will see how it works tomorrow. 5/25/96

DIVAS WANTS APPRENTICE(S) - Shirley and I are restructuring the studio this fall and we need to find an apprentice or apprentices. What we need is someone who can work at least two days during the week and possibly on Saturdays. The ideal person would have good, basic glass blowing skills, know how to cold work, have the ability to weld and generally know their way around a hot shop. We expect a commitment and hard work. In return, we will afford them some pipe time, impart what limited knowledge we have and let them bask in our radiance. Also, if there are some accomplished glass blowers out there who would be interested in working 2 hours for Divas for 1 hour pipe time (a la Charlie Miner) we would like to hear from them, too. If you would put a blurb in Hot Glass Bits, we would appreciate it. We would like a brief resume and, if available, some slides or prints of their work mailed to Divas Glass Art, 1100 East Rendon-Crowley Road, Building #7, Burleson, Texas phone calls, please. Thanks for your help, T&S 5/29/96

LAST/FIRST BLOW - In a nice conclusion to the month, on Tuesday (28) we finally got some rain, I was able to burn out and preheat the new furnace and fire up the new glory hole with a small pot in it and blow some glass. Skills were low, but it was fun to get a short hand in. The glory hole was working nice, both as to amount and evenness of heat and smoothness of the door. The furnace needs some frame welding to add a burner and door mount, but the cast part is ready. 6/1/96

CULLET TROUGH - I found adding cullet to the hot furnace much easier with a metal trough modeled after Divas batch loading trough. Previously, I have tried things that were too short, awkward, etc. This one is bent sheet metal (plain, not galvanized as the zinc will burn off) 3" across the bottom and with 3" sides and about 2 feet long. The size fits nicely inside the 5-6" ports I have. By filling with preheated cullet from the annealer, I can reload my small pot without having glass explode and without getting inside the furnace with the glass (with hands in gloves, bowls, scoops, etc.) 6/1/96

#4 FACE SHIELD - I got to use my #4 face shield during the blowing session above and am most impressed. It gives much more visibility of the surroundings than does the #5 welders shade while apparently giving a good degree of protection in looking in the furnace/gloryhole during working. Of course the true test will be a longer session to see whether any eye irritation is evident. [This is the Jackson 170-S (not the newer 170SB) very adjustable headband with the Glendale Irex (Blue Diamond) 862 stocked in #5, available in 4-6 at wholesale in Dallas through Nasco, Inc., 1174 Security Drive Dallas TX 75247-6812 214 638-8727 I paid for mine though Welder's Supply.] 6/4/96

BAD WEEKEND - We had quite a storm on Saturday which has disrupted the Hot Glass Bits production schedule. Power was off at the house from 11:39 am Sat. to 2:30 am Mon. so my plans to produce HB on Sunday went down the drain. Then today is frittered in many ways. My wife Gigi is getting her eye sockets reworked tomorrow morning and her mother and some other relatives are around today for a brief get together while the MOL stays to help during the recovery. 6/4/96 And this has been a stressful week so HB has still not gotten out. The operation went well and Gigi is now recovering. 6/9/96

CASTABLE - I am really falling in love with insulating castable, specifically National's IRC 25. I have used it to cast supports for electric elements for preheating, for the door to my glory hole, the dome to the furnace and the door to the furnace. It is strong (I can not break it with my hands, easily), and lightweight after heating. I expect that it will be good for an insulation block for the wires to the annealer. At $15 for 50 pounds, I am finding more and more uses for it. I wonder how smooth, etc., it would be as a blowing mold? 6/9/96

ADJUSTING GLASS - Does anyone have experience they will share on adding chemicals (limestone and potash I presume) to bottle glass and window glass to produce a more workable mix? I have a bunch of bottles and can get the equivalent of about a barrel a week at the hardware store. I can try on my own but suggestions would help.

EXIT NOTES - This issue goes out later than any previous because of a power failure for one weekend and my wife's surgery on her eyes - she is doing well. I would like to see more personal experiences and technical stuff in each issue, so if you wish to share something, please do as my travel is very limited. The G.A.S. Conference was last weekend and the Glass Weekend in New Jersey is next weekend. I hope some of you had a chance to go. 6/11/96 10:28 AM

Blow Good Glass

Hot Glass in Texas

AUSTIN - LYONS MATRIX GALLERY - [1712 Lavaca, Austin, TX 78701] Often includes glass as one of two or more exhibitions. Pre-announced are Glass Vessels by Richard Royal, April 20-June 1; East Coast Glass Invitational Aug.3 - Sept.14. 2/6/96

THE EUROPEAN INFLUENCE - [10000 Research Blvd., Suite 143, Austin TX 78759, 512- 345-6688, 800-425-6688] announces the dates of the 4th annual paperweight show as Sept.6-8, 1996 and the opening of a show of the work of Stanislaw Borowski on May 9th. Borowski's studios are in Germany and Poland. 5/5/96

North Texas Glass

SUMMARY - Most of the studios are closed down for the summer, due to the heat, although I got late word from some people who were planning on visiting that Art Allison was going to be open.

JOHN QUILLEN - who just got his studio set up in Ft.Worth this spring is, according to people planning on buying some stuff, relocating to North Carolina as part of his "regular" job and is selling the portions of equipment that he can, moving and rebuilding the rest.

GLASS TOGETHER - Any plans for a 2nd Glass Together soon are on hold as the hoped for site is much too hot, according to the owners, to hold a meeting in June and will, in any case, be shut down for improvements. There is the Gathering of Hot Glass show at Sable V in Wimberley in late August or early September and "Its Just Glass" event in Ft.Worth in November, more later.

HICKORY STREET HOT GLASS - is the official name of the studio set up by Ron & Chris Mars, Hugh Erwin and Jim Bowman in the former warehouse near Fair Park. During use in the spring, during our early hot spell, they discovered that it got very hot very quickly and are installing more exhaust fans to cope with the needed removal.

1 In this space is pasted an ad containing the following text.

2 Joppa Glassworks, Inc., We make and sell annealing kiln elements and

Giberson Ceramic

3 Burner Heads for your gloryholes and furnaces. For ideas on how to improve

your studio equipment

4 call or write Dudley Giberson, Warner NH 03278, 603-456-3569 fax:456-2138

5 ------------

6 Divas Glass Art, Terry Maxwell, Shirley Daniel, Classes, Pipes, and Blocks

7 1100 East Rendon-Crowley Road, Building #7, Burleson TX 76028, (817) 293- 0190

8 Fax:(817) 293-9565



1 In this space is pasted an ad containing the following

2 Gabbert Cullet Company, Dealer in Glass Cullet,

3 Frank G. Lane, Owner, 700 Cherry Avenue,

4 Williamstown WV 26187 304-375-6435 Office

5 ---- 304-375-7790 Home; FAX:304-375-4832






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