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Each table is of Indian rosewood and Indian satinwood. Semi-circular with fan-shaped top, and three pierced supports. The top is formed of a semi-circle of satin wood surrounded by a fan-leaf of rosewood made up of 54 segments which are fluted on the upper surface, and are supported underneath by a curved rail set back from the front edge. The straight side of the table has a single rosewood support pierced by nine vertical openings with curved tops and bottoms. The vertical members and the sections over and under the void are separate pieces of timber. The curved side of the table has two supports of the same construction but with three openings each, which project diagonally from either side of the central opening of the support along the back."}],"identifier":[{"accession_number":"M.2-2000","primary":true,"type":"accession number","value":"M.2-2000"},{"priref":"28427","type":"priref","value":"28427"},{"source":"Fitzwilliam Museum","type":"entry form number","value":"128"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/28427","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/28427"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"Given by Lloyds TSB Group Plc, 71 Lombard Street, London, EC3P 3BS through the National Art Collections Fund in honour of Sir Nicholas Goodison, Chairman, TSB Group Plc 1989-95, Deputy Chairman, Lloyds TSB Group Plc 1995-2000."},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-156309","uid":"adlib-agent-156309","uuid":"0522b5bd-ae26-318c-a301-32b36483ced9"},"summary_title":"Lloyds TSB Group Plc"}],"date":[{"earliest":2000,"latest":2000,"value":"2000-05-08"}],"method":{"value":"given"},"note":[{"value":"Entry date: 2000-05-08"}]}],"creation":[{"date":[{"earliest":1989,"era":["CE"],"latest":1989,"value":"1989"}],"maker":[{"@link":{"role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-156308","uid":"adlib-agent-156308","uuid":"1f2e3b2f-0b1c-349c-a02c-05961c8bc51f"},"summary_title":"Peters, Alan, OBE"}],"note":[{"value":"Text from object entry in A. Game (2016) \u2018Contemporary British Crafts: \nThe Goodison Gift to the Fitzwilliam Museum\u2019. London: Philip Wilson Publishers: The tables were part of a suite of furniture for the Chairman\u2019s Office of the TSB Group at 25 Milk Street, London. Peters described them in his invoice, dated 15 June 1990, as \u20182 fluted fan tables in solid Indian rosewood\u2019.\nThey were modelled on a similar pair commissioned for the Stock Exchange and delivered in 1988. In the original design for the Stock Exchange pair (1984), the table tops were supported by four legs connected to an underframe but Peters revised this during the commissioning process after discussion with Sir Nicholas Goodison, in order to introduce the unified arch theme common to the whole commissioned suite. Documents relating to the commissions survive in the archives of the Stock Exchange\nand Lloyds Banking Group. Peters described this pair of tables as \u2018the best of all the attempts I have made at that design\u2019. The tables were given to The Fitzwilliam Museum by Lloyds TSB at Sir Nicholas\u2019s request in lieu of a leaving gift on his retirement from the banking group in 2000. \nAlan Peters was one of the most skilled furniture-makers of his day. In 1949 he was apprenticed to Edward Barnsley (1900\u20131987), of the leading family of \u2018Arts and Crafts\u2019 designer\/makers. After a course at Shoreditch whilst on teacher training, he studied Interior Design at the Central School of Arts. He established his own workshop in Hindhead, Surrey, in 1962, and moved in 1973 to Kentisbeare near Cullompton in Devon. He was acknowledged as the leader of the craft furniture revival of the 1970s. He employed assistants who were usually young people who had trained at college in design and construction; foremost among these were Keith Newton and Stephen Hopper. He moved to Minehead in 1998, but ill health led to a decline in activity. His work was rooted in the Barnsley tradition of fine craftsmanship, exposed joints, etc. The then Director of the Crafts Council, in the foreword to a touring exhibition of Peters\u2019s furniture in 1985, called him \u2018a paramount translator of the traditions of the past into the idioms of today\u2019.\nThat said, Peters was also much influenced by Japanese and Korean vernacular architecture and crafts. He travelled to Japan in 1975 on a Crafts Council bursary and to Korea and Taiwan in 1980. His furniture, made largely on commission, became known for his precision of manufacture, his use of solid woods, his deep understanding of woods and their qualities, his skilled laminations, his fine detailing and his clarity of design. Peters never claimed that his furniture was \u2018art\u2019 and once said that \u2018if some day someone regards a piece of my furniture as a work of art, that\u2019s fine, that\u2019s a bonus, but it\u2019s not my motive in producing it; that has always been to produce a piece of furniture to which I am happy to put my name.\u2019 His book Cabinetmaking: The Professional Approach (1984) was republished in 2009 and his revision of Ernest Joyce\u2019s The Technique of Furniture Making was published in 2003. He was awarded the OBE in 1990. The Alan Peters Award for Excellence was set up in 2010 to continue his legacy. It is open to furniture-makers under 30."},{"value":"The tables were designed in 1988 and made in 1989 as part of a suite of furniture for the Chairman's Office and Dining Room of the TSB at 25 Milk Street, London."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-109890","uid":"adlib-term-109890","uuid":"825251c2-9904-34be-b6ab-c855347f2247"},"summary_title":"20th Century, Late"}],"places":[{"@link":{"type":"reference"},"admin":{"id":"term-116327","uid":"adlib-term-116327","uuid":"fa14f54f-9382-3493-936a-4d588eeb9c4c"},"hierarchies":[[{"@link":{"type":"literal"},"name":[{"value":"England"}],"summary_title":"England","type":"country"}]],"summary_title":"Cullompton"}]}]},"materials":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-110025","uid":"adlib-term-110025","uuid":"fce46643-22bb-322c-8638-02825129233a"},"summary_title":"Indian satinwood"}},{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-39986","uid":"adlib-term-39986","uuid":"5e623980-7c87-3f20-8836-1f0b2ab6a115"},"summary_title":"East Indian rosewood"}}],"measurements":{"dimensions":[{"dimension":"Depth","units":"cm","value":"50.7"},{"dimension":"Height","units":"cm","value":"83.5"},{"dimension":"Width","units":"cm","value":"122"}]},"name":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-74053","uid":"adlib-term-74053","uuid":"8070a143-6567-3d75-b6f4-642c22430675"},"summary_title":"side table"}}],"note":[{"type":"history note","value":"The Chairman's Office and Dining Room of the TSB, 25 Milk Street, London; moved to the Deputy Chairman's Office, Lloyds TSB Group Plc, 71 Lombard Street, London"}],"objects":[{"@link":{"cascade":true,"type":"reference"},"admin":{"id":"object-28428","uid":"adlib-object-28428","uuid":"6b81a272-5901-3b7e-a565-22b36fbd4a94"},"summary":{"reference":{"@link":{"impact":true,"type":"reference","workflow":true},"admin":{"id":"term-74053","uid":"adlib-term-74053","uuid":"8070a143-6567-3d75-b6f4-642c22430675"},"summary_title":"side table"}},"summary_title":"side table"},{"@link":{"cascade":true,"type":"reference"},"admin":{"id":"object-238737","uid":"adlib-object-238737","uuid":"60664469-f34d-3468-b2cd-ec89765ec74e"},"summary":{"reference":{"@link":{"impact":true,"type":"reference","workflow":true},"admin":{"id":"term-71409","uid":"adlib-term-71409","uuid":"f0091670-8068-3254-a8e1-028ef3b403bf"},"summary_title":"armchair"}},"summary_title":"armchair"}],"owners":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"publications":[{"@link":{"notes":"Publ. p. 293","page":"293","type":"reference"},"admin":{"id":"publication-400002285","uid":"adlib-publication-400002285","uuid":"15952748-560a-3e66-85e4-c632827a33b7"},"summary_title":"The Goodison Gift of Contemporary British Crafts to The Fitzwilliam Museum, University of Cambridge"},{"@link":{"type":"reference"},"admin":{"id":"publication-200000755","uid":"adlib-publication-200000755","uuid":"d4e42ea5-8e47-3797-9f54-c0dec909700a"},"summary_title":"Crafts Magazine (1996)"},{"@link":{"notes":"Publ. p. 138,  LLoyds TSB Gift, Fitzwilliam Museum, Cambridge, no. 4896, one table illustrated","page":"138","type":"reference"},"admin":{"id":"publication-5149","uid":"adlib-publication-5149","uuid":"2e5cd5fc-9bce-38bc-874e-972c5db7328c"},"summary_title":"2000 Review, The Annual Report of the National Art Collections Fund"},{"@link":{"notes":"Publ. pp. 82-5, no. 28 (with M.3-2000), illustrated pp. 83-5. 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Alan Peters, Master craftsman whose love of nature was reflected in furniture of simplicity and elegance"}],"summary":{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-74053","uid":"adlib-term-74053","uuid":"8070a143-6567-3d75-b6f4-642c22430675"},"summary_title":"side table"}},"summary_title":"side table","title":[{"value":"One of a Pair of Side Tables"}],"type":{"base":"object","type":"OBJECT"}}},{"_index":"ciim","_type":"data","_id":"adlib-object-27275","_score":18.898914,"_source":{"admin":{"added":1592990985000,"created":1312637261000,"flag":"Standard Record","id":"object-27275","indexed":1747246514997,"modified":1714464923000,"processed":1747245850205,"source":"adlib","stream":"fitz-online","uid":"adlib-object-27275","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/27275","uuid":"b1e5a642-15eb-3b76-bd78-8fc10a8921ae","version":10},"categories":[{"@link":{"type":"reference"},"admin":{"id":"term-91170","uid":"adlib-term-91170","uuid":"d49ca0b4-ccae-3039-afe0-882c186cff25"},"summary_title":"glass"}],"component":[{"materials":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-109823","uid":"adlib-term-109823","uuid":"e4a79eb2-59e5-32a4-b127-65ba8e0e677c"},"summary_title":"blue glass"}},{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-109859","uid":"adlib-term-109859","uuid":"cde8e4e0-3c23-3e37-bf7b-d2ff388ff21d"},"summary_title":"white glass"}},{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-109894","uid":"adlib-term-109894","uuid":"563fd5ad-bf86-34fc-827b-0d40106586dd"},"summary_title":"yellow glass"}}],"name":"Parts"}],"department":{"value":"Applied Arts"},"description":[{"value":"Dark blue, white and dark yellow glass, blown and cased. Hemispherical with bevelled top edge, and a small circular base. A dark yellow bowl is cased in a thin layer of white, and a wider layer of translucent dark blue glass, which has been ground away on the base to reveal the white layer. The dark yellow bowl appears to float in the surrounding blue glass."}],"identifier":[{"accession_number":"C.13-2000","primary":true,"type":"accession number","value":"C.13-2000"},{"priref":"27275","type":"priref","value":"27275"},{"source":"The Fitzwilliam Museum","type":"Entry form","value":"131"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/27275","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/27275"}],"inscription":[{"location":"on the base","method":"engraved","transcription":[{"value":"Rachael Woodman.1995.N.W.Frome"}],"type":"signature"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"Gift of Nicholas and Judith Goodison through the National Art Collections Fund"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-156032","uid":"adlib-agent-156032","uuid":"3aded83c-6f5c-39b8-a50c-07f712e01b2c"},"summary_title":"Goodison, Nicholas and Judith"}],"date":[{"earliest":2000,"latest":2000,"value":"2000-05-08"}],"method":{"value":"given"},"note":[{"value":"since 2000 the National Art Collections Fund has been known as The Art Fund"}]}],"creation":[{"date":[{"earliest":1995,"era":["CE"],"latest":1995,"note":[{"value":"dated 1995"}],"value":"1995"}],"maker":[{"@link":{"role":[{"value":"glassmaker"}],"type":"reference"},"admin":{"id":"agent-156054","uid":"adlib-agent-156054","uuid":"4543adb1-fa08-3b65-9cc0-83aabc1d5ab9"},"summary_title":"Woodman, Rachael"}],"note":[{"value":"Text from object entry in A. Game (2016) \u2018Contemporary British Crafts: The Goodison Gift to the Fitzwilliam Museum\u2019. London: Philip Wilson Publishers: Rachael Woodman studied at North Staffordshire Polytechnic, Orrefors Glass School, Sweden, and the Royal College of Art in London. She established her independent studio in Somerset in 1984 and worked as a designer for Dartington Crystal between 1986 and 2005. Her individual work is distinguished by highly refined vessel forms that draw on the rich palette of colours possible with the material. She has been the recipient of many major awards throughout her thirtyyear career, including the Royal Society of Arts, Dartington Glass Award, Corning Glass Prize and the Bavarian State Gold Medal. The present work is made in collaboration with master glassblower Neil Wilkin (b.1959) with whom Woodman continues to develop new forms in glass. Rachael Woodman: \u2018I dream in glass and whatever the dream, the material is rich and versatile enough to give it form.\u2019"}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-109890","uid":"adlib-term-109890","uuid":"825251c2-9904-34be-b6ab-c855347f2247"},"summary_title":"20th Century, Late"},{"@link":{"type":"reference"},"admin":{"id":"term-107700","uid":"adlib-term-107700","uuid":"8f5360fb-b262-3ae9-8942-b81cc0e3e848"},"summary_title":"Elizabeth 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Game (2016) \u2018Contemporary British Crafts: The Goodison Gift to the Fitzwilliam Museum\u2019. London: Philip Wilson Publishers: The tables were part of a suite of furniture for the Chairman\u2019s Office of the TSB Group at 25 Milk Street, London. Peters described them in his invoice, dated 15 June 1990, as \u20182 fluted fan tables in solid Indian rosewood\u2019. They were modelled on a similar pair commissioned for the Stock Exchange and delivered in 1988. In the original design for the Stock Exchange pair (1984), the table tops were supported by four legs connected to an underframe but Peters revised this during the commissioning process after discussion with Sir Nicholas Goodison, in order to introduce the unified arch theme common to the whole commissioned suite. Documents relating to the commissions survive in the archives of the Stock Exchange and Lloyds Banking Group. Peters described this pair of tables as \u2018the best of all the attempts I have made at that design\u2019. The tables were given to The Fitzwilliam Museum by Lloyds TSB at Sir Nicholas\u2019s request in lieu of a leaving gift on his retirement from the banking group in 2000. Alan Peters was one of the most skilled furniture-makers of his day. In 1949 he was apprenticed to Edward Barnsley (1900\u20131987), of the leading family of \u2018Arts and Crafts\u2019 designer\/makers. After a course at Shoreditch whilst on teacher training, he studied Interior Design at the Central School of Arts. He established his own workshop in Hindhead, Surrey, in 1962, and moved in 1973 to Kentisbeare near Cullompton in Devon. He was acknowledged as the leader of the craft furniture revival of the 1970s. He employed assistants who were usually young people who had trained at college in design and construction; foremost among these were Keith Newton and Stephen Hopper. He moved to Minehead in 1998, but ill health led to a decline in activity. His work was rooted in the Barnsley tradition of fine craftsmanship, exposed joints, etc. The then Director of the Crafts Council, in the foreword to a touring exhibition of Peters\u2019s furniture in 1985, called him \u2018a paramount translator of the traditions of the past into the idioms of today\u2019.\n\nThat said, Peters was also much influenced by Japanese and Korean vernacular architecture and crafts. He travelled to Japan in 1975 on a Crafts Council bursary and to Korea and Taiwan in 1980. His furniture, made largely on commission, became known for his precision of manufacture, his use of solid woods, his deep understanding of woods and their qualities, his skilled laminations, his fine detailing and his clarity of design. Peters never claimed that his furniture was \u2018art\u2019 and once said that \u2018if some day someone regards a piece of my furniture as a work of art, that\u2019s fine, that\u2019s a bonus, but it\u2019s not my motive in producing it; that has always been to produce a piece of furniture to which I am happy to put my name.\u2019 His book Cabinetmaking: The Professional Approach (1984) was republished in 2009 and his revision of Ernest Joyce\u2019s The Technique of Furniture Making was published in 2003. He was awarded the OBE in 1990. The Alan Peters Award for Excellence was set up in 2010 to continue his legacy. It is open to furniture-makers under 30."},{"value":"The tables were designed in 1988 and made in 1989 as part of a suite of furniture for the Chairman's Office and Dining Room of the TSB at 25 Milk Street, London. 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Game (2016) \u2018Contemporary British Crafts: The Goodison Gift to the Fitzwilliam Museum\u2019. London: Philip Wilson Publishers: Pauline Solven studied at Stourbridge College of Art, followed by the Royal College of Art, London, completing her Masters of Design in 1968. Following a year as studio assistant to Asa Brandt (b.1940) in Sweden, she was invited by Sam Herman (b.1936) to become the studio manager at the Glasshouse, London. She worked as resident member at the Glasshouse for five years before establishing her own studio in Gloucestershire in 1975, followed by setting up the Cowdy Glass studio in 1978 with Harry Cowdy (b.1944). She was a founder member of the British Artists in Glass association and established the Cowdy Gallery in 1990, creating a highly regarded forum for exhibiting and collecting contemporary glass, before closing both Cowdy Glass and Gallery in 2004. Her experimental approach to layering of colour and light has recently found new expression in a body of work in the medium of digital photography. Pauline Solven: \u2018My approach has always been painterly, with themes drawn from the natural world and seascapes: the shape of sails against the horizon; triangles of colour and light that developed into a series of three-cornered vessels that allow an element of surprise with each new angle of viewing.\u2019"}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-109890","uid":"adlib-term-109890","uuid":"825251c2-9904-34be-b6ab-c855347f2247"},"summary_title":"20th Century, Late"}],"places":[{"@link":{"type":"reference"},"admin":{"id":"term-107139","uid":"adlib-term-107139","uuid":"9fd5ef13-3709-388f-b925-702787340e32"},"hierarchies":[[{"@link":{"type":"literal"},"name":[{"value":"England"}],"summary_title":"England","type":"country"}]],"summary_title":"England"}]}]},"measurements":{"dimensions":[{"dimension":"Height","units":"cm","value":"17.2"},{"dimension":"Width","units":"cm","value":"22.5"}]},"multimedia":[{"@link":{"type":"reference"},"admin":{"id":"media-196770","uid":"adlib-media-196770","uuid":"4e502871-90db-32b9-a9cd-ca68abdb7552"},"processed":{"large":{"format":"jpeg","location":"aa\/aa33\/large_C_19_2000_1_201512_adn21_dc2.jpg","location_is_relative":true,"measurements":{"dimensions":[{"dimension":"height","units":"pixels","value":765},{"dimension":"width","units":"pixels","value":1024}]},"modified":1702926386936,"resizable":true,"type":"image"},"mid":{"format":"jpeg","location":"aa\/aa33\/mid_C_19_2000_1_201512_adn21_dc2.jpg","location_is_relative":true,"measurements":{"dimensions":[{"dimension":"height","units":"pixels","value":374},{"dimension":"width","units":"pixels","value":500}]},"modified":1702926386936,"resizable":true,"type":"image"},"original":{"format":"jpeg","location":"aa\/aa33\/C_19_2000_1_201512_adn21_dc2.jpg","location_is_relative":true,"measurements":{"dimensions":[{"dimension":"height","units":"pixels","value":766},{"dimension":"width","units":"pixels","value":1025}]},"modified":1702926386936,"resizable":true,"type":"image"},"preview":{"format":"jpeg","location":"aa\/aa33\/preview_C_19_2000_1_201512_adn21_dc2.jpg","location_is_relative":true,"measurements":{"dimensions":[{"dimension":"height","units":"pixels","value":187},{"dimension":"width","units":"pixels","value":250}]},"modified":1702926386936,"resizable":true,"type":"image"}},"sort":"0","type":{"base":"media","type":"image"}},{"@link":{"type":"reference"},"admin":{"id":"media-196866","uid":"adlib-media-196866","uuid":"66a68ad0-223e-3bb8-a09b-a75848b6ac84"},"processed":{"large":{"format":"jpeg","location":"aa\/aa34\/large_C_19_2000_2_201512_adn21_dc2.jpg","location_is_relative":true,"measurements":{"dimensions":[{"dimension":"height","units":"pixels","value":761},{"dimension":"width","units":"pixels","value":1024}]},"modified":1702926339082,"resizable":true,"type":"image"},"mid":{"format":"jpeg","location":"aa\/aa34\/mid_C_19_2000_2_201512_adn21_dc2.jpg","location_is_relative":true,"measurements":{"dimensions":[{"dimension":"height","units":"pixels","value":372},{"dimension":"width","units":"pixels","value":500}]},"modified":1702926339082,"resizable":true,"type":"image"},"original":{"format":"jpeg","location":"aa\/aa34\/C_19_2000_2_201512_adn21_dc2.jpg","location_is_relative":true,"measurements":{"dimensions":[{"dimension":"height","units":"pixels","value":762},{"dimension":"width","units":"pixels","value":1025}]},"modified":1702926339082,"resizable":true,"type":"image"},"preview":{"format":"jpeg","location":"aa\/aa34\/preview_C_19_2000_2_201512_adn21_dc2.jpg","location_is_relative":true,"measurements":{"dimensions":[{"dimension":"height","units":"pixels","value":186},{"dimension":"width","units":"pixels","value":250}]},"modified":1702926339082,"resizable":true,"type":"image"}},"sort":"1","type":{"base":"media","type":"image"}}],"name":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-107667","uid":"adlib-term-107667","uuid":"1b81c806-cfb7-3291-9803-525db5f75e09"},"summary_title":"bowl"},"type":"object name"},{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-109889","uid":"adlib-term-109889","uuid":"9d2b434a-b03b-3dfa-8bb5-5d0ced5829c3"},"summary_title":"studio glass"},"type":"category"}],"note":[{"type":"history note","value":"Purchased from the Crafts Council in February 1995 by the TSB, London, from which it passed to Lloyds TSB Plc, 71 Lombard Street, London, from whom it was purchased by the donors"}],"owners":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"publications":[{"@link":{"notes":"Publ. p. 137 mentioned under 'Sir Nicholas and Lady Goodison Gift 4530'","page":"137","type":"reference"},"admin":{"id":"publication-5149","uid":"adlib-publication-5149","uuid":"2e5cd5fc-9bce-38bc-874e-972c5db7328c"},"summary_title":"2000 Review, The Annual Report of the National Art Collections Fund"},{"@link":{"notes":"Publ. pp. 96-7, no. 34, illustrated p. 97. Object description, maker's biography, and quote from maker","page":"96-97","type":"reference"},"admin":{"id":"publication-8258","uid":"adlib-publication-8258","uuid":"71d79ea2-2385-305e-9044-fbb0cde9ffe7"},"summary_title":"Contemporary British Crafts: The Goodison Gift to The Fitzwilliam Museum"},{"@link":{"notes":"Ref. For an outline biography of the maker up to 1977 see Coburg, Kunstsammlungen der Veste Coburg, p. 183, when the maker was working at Newent, Gloucestershire. None of the pieces illustrated resemble this one.","page":"p. 183","type":"reference"},"admin":{"id":"publication-2067","uid":"adlib-publication-2067","uuid":"7c4cd3a8-a854-3e8b-bc7d-a3fef4951b60"},"summary_title":"Coburger Glaspreis 1977"},{"@link":{"notes":"Ref. p. 92 for brief career of glassmaker and one example of her work","page":"92","type":"reference"},"admin":{"id":"publication-2058","uid":"adlib-publication-2058","uuid":"44b6770f-982b-36e5-a24f-867bfb9807fa"},"summary_title":"Contemporary British Glass"},{"@link":{"notes":"Cf. Another differently coloured three-cornered bowl of 1990, described as 'freeblown glass; colour picked up and inlaid, etched', see p. 74. He notes 'Solven often uses a method of colour application in which the compositions of glass powders and drawn threads are picked up from the marver and sandwiched between gathers of clear glass prior to blowing.","page":"p. 74","type":"reference"},"admin":{"id":"publication-2068","uid":"adlib-publication-2068","uuid":"eec088de-124a-3931-b1b0-f88c9d224d3a"},"summary_title":"Glass Art"}],"school_or_style":[{"@link":{"type":"reference"},"admin":{"id":"term-109889","uid":"adlib-term-109889","uuid":"9d2b434a-b03b-3dfa-8bb5-5d0ced5829c3"},"summary_title":"studio glass"}],"summary":{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-107667","uid":"adlib-term-107667","uuid":"1b81c806-cfb7-3291-9803-525db5f75e09"},"summary_title":"bowl"}},"summary_title":"bowl","techniques":[{"description":[{"value":"free-blown glass, with turquoise, brown, yellow, and orange colour, picked up, inlaid and etched"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-115763","uid":"adlib-term-115763","uuid":"277b3d83-1d83-3eda-b327-1484ab7ddca4"},"summary_title":"free-blown"}}],"title":[{"value":"Three-Cornered Bowl"}],"type":{"base":"object","type":"OBJECT"}}}],"first_page_url":"?page=1","from":1,"last_page":1,"last_page_url":"?page=1","links":[{"url":null,"label":"« Previous","active":false},{"url":"?page=1","label":"1","active":true},{"url":null,"label":"Next »","active":false}],"next_page_url":null,"path":"","per_page":24,"prev_page_url":null,"to":6,"total":6}]