Wayne Husted's "Raindrop" Specialty Line (partial), made only 1960

IN matters of qualitative judgment, which are inherently subjective, expertise - deep knowledge in a narrow field - is usually given deference. But expertise alone neglects to acknowledge the role of skill and undervalues an outsider's fresh perspective. Thankfully, for those lacking expertise, thoughtful consideration is a reasonable substitute. Following are some no-nonsense tips on evaluating the merits of an item, peppered with specific insight into collecting the Historic Period work of the Blenko Glass Company.

By 'context' I mean many things, some easier to evaluate than others; the company and designer's histories and bodies of work, the country, the historical period as well as the larger perspective of human endeavor generally. Where does this object fall in each of these contexts? What was the object's circumstance, its environment and how did this help or hinder its existence? Obviously the larger contexts are introductory and often assessed before a collection is begun.

It is one thing to know with certainty, or a reasonable degree thereof, that an item is authentic, it is quite another to know that one object in a sea of authentic items is worth owning. Understanding context is the key to this problem. Objects of glass are expressions of a culture at large, and their value is as much in how they connect with that culture as how they fit into the specialized history of glassmaking. I believe that a dealer has a responsibility, if not a need, to educate themselves, and not just in their narrow field, but around their field. Developments in art, design, politics and economics are often quite relevant. The micro-context is equally relevant; each item should be compared against the body of work of the company and designer within a given period. To the designer, as should be to you, each item is not created equal. Some are knocked off carelessly to fit a demand, others are inspired moments of genius that the designer fought to have included as it reflected their core values and convictions. Seek the latter!

This brings us to precedent; I promise you that in the world of glass in particular, there is no untethered innovation; it is a technique-based medium particularly suited to adaptation, interpretation and progressive evolution. It is, above all, a tradition rooted in the language of the vessel (and luxury) and bound by very basic technical limitations. This means that precedents abound and are of the greatest import. The more associations one can make, the more the piece fits into a larger puzzle, and the more important it is. This does not preclude innovation; far from it, it only means that innovation tends to embody itself in incremental ways. One would again be looking on many levels for influences; other designers, companies, countries, and periods. It is equally useful to observe contemporaneous conflicting tendencies or examples; for instance the Blenko Glass Company pursuing and expanding hand blown glass and craftsmanship in a period of mechanization and mass production.

Execution is the easiest criteria to ignore. To many it is nit-picking. How well made is the item compared with other examples and with the company's products generally? Glass is a notoriously difficult metal to control; most pieces will have an imperfection of some type no matter how minor. Flaws are best considered on a sliding scale (note that this is a different issue entirely from 'condition' which refers to damage after manufacture and is best avoided). Do flaws compromise the profile and form, or are they a minor blemish virtually unseen or easily avoided by turning it the rear? Everyone craves the quintessential example, but often don't realize when it is in their grasp. Forego the misshapen, lopsided and grossly marred, accept and embrace the blemish, the evidence of fabrication, the quirky interpretation and subtle imperfection. In the end, the salient question is "is the problem too glaring and do I love the piece enough to embrace the flaw?"

Now for the most ineffable, important and yet overrated of qualities; I speak of rarity (see related Newsletter). As much as I love the glass I deal in, as much as it often excites me I try very hard to not resort to hyperbole and superlatives when I describe it. Hyperbole and cliché would have you believe every piece of glass is equally amazing, gorgeous, and above all rare, making it incrementally harder to use the words when they genuinely apply. Great designs largely speak for themselves, your judgment aided only by the basic facts of designer, year, dimensions, etc - the basic information I provide on the main product pages. I understand that every seller is convinced that their item is "rare" (particularly it seems when they can't identify it, which makes the assesment all the more perplexing) so rest assured that when I resort to using that word, it is for good reason and based on years of experience. If it appears that I use it too often, please bear in mind that I specialize in "rare" to the extent that it is possible. Equally, I avoid the common and pedantic; I attempt to offer a truly special selection of outstanding designs.

Rarity can only be assed two ways; accurately through production records, or deduced through observation and extrapolation. It is science, or it is art. In reality, it is most often art as almost never do accurate production records survive. Rarity is often thought of in cold numerical terms, as in 'only 10 made' but it is also relative; to the size of the company and their normal production, and to demand (the number of collectors). If as many as 100 examples were made but all are owned by a museum with only 1 on display at any given time, is it rare? If only 100 were made but you see one every time you go to the flea market is it rare? For those with at least moderate experience, I advise thinking of it in terms of 'how many times have I had an opportunity to buy this and how likely is that opportunity to diminish or grow?' For those with less experience (and no interest in research), weigh this criteria more lightly, and seek advice from other collectors and those more qualified, but most importantly, do not accept a claim or rarity at face value as it is most frequently hyperbole that can not be meaningfully substantiated.

Finally, what exactly is 'appeal'? It is an odd thing to include in my list of criteria - and surely it deserves to be at the top of the list? No, it doesn't. I don't believe we collect exclusively to satisfy pre-existing ideas and desires, we collect to learn, and this can mean changing. Some of the most interesting and rewarding items I own are things I once could not bear to look at. Some of the things I most coveted and craved I could not possibly care less about now that I have owned them. Meaning and importance is deep, it reveals itself over time. I personally am as interested in why I am repulsed by things as why I am drawn to them, and they are surprisingly interchangeable - thankfully, or life would not be as interesting. I am not necessarily suggesting you run out and start a collection of things you hate, I am however suggesting that you take the time to understand why, within the field of your interest - say, Historic Period Blenko glass - you 'know' you don't like blue, or crackle, or bottles, or one designer's work. Discriminating is an essential part of collecting, but only when it is done with knowledge and intent. Parameters should be well considered and understood. So when you make or refuse an addition to your collection, question the 'appeal'; a good purchase can withstand it!

To summarize what makes a design exceptional: Above all, the answer is contextual; you want to be able to credibly say to yourself 'people will care about this in 100 or 1000 years'. The item must also accurately represent the designer and company's ideal aesthetic, be suitable well made, and should preferably exist in relatively limited numbers. Bear in mind that the only thing worse than not owning great pieces, is owning 'mistakes'; pieces of no particular importance, relevance or aesthetic merit or innovation. Resist the ordinary! Like it or not, your possessions speak volumes about you.

Damon Crain

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