Gathering A Crowd

the history of itinerant glassworkers

Tag: Grace Howell

Stepping into the spotlight: Women itinerant glassworkers

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The orphans from the Home of the Friendless filed into the Metropolitan Rink in orderly rows, staring at the wonders displayed before them. Glass sparkled from every surface, shaped like ships and birds and little men and women. A steam engine made of colorful glass spun and whirred next to a model of a derrick bobbing for non-existent oil. In the center of it all stood Madam Nora and her troupe of itinerant glassworkers, spinning, twisting, and blowing glass into all sorts of marvelous shapes. They were there to show the children all the wonderful things that could be made from glass, and to give each child a toy to treasure long after the show was over.

To thank the glassworkers for their gifts, the orphans sang them a song. It was the perfect end to the troupe’s two-week stay in Wilkes-Barre, Pennsylvania, in March 1887. More importantly, it garnered Nora and her troupe a slew of free publicity and praise, as well as an open invitation to come back again. It paid to be a marketing-savvy woman in show business. 1

sepia photograph of itinerant glassworkers

Mrs. and Mr. Frank. A. Owen. Glass exhibition featuring spinning wheel and glass steam engine, 1904? Collection of the Rakow Research Library, The Corning Museum of Glass, Corning, NY, CMGL 131372.

Itinerant glassworkers toured cities and towns entertaining and educating audiences from the 17th century through 20th century. They demonstrated glassmaking, blowing glass bubbles, spinning glass thread, and shaping flowers, baskets, and figurines. They created intricate models like skeletons and steam engines and covered tables with trinkets for sale. The trade was dominated by men, but there were quite a few women who performed too, including some of the most prominent and popular itinerant glassworkers of the 19th and early 20th century.

By stepping outside of the home and entering the public sphere, these performers transgressed the standards set for women. They traveled across countries and continents, demonstrating glassmaking for royalty, government officials, and members of the public. They made their own living, and some of them even counted their male family members as employees. Women like Madam Nora and Madam J. Reith ran their own troupes and became popular performers. Details about their private lives are few and far between, but as public figures they were breaking down ideas of what women could and should be at that time.

Mrs. Johnston

The earliest-known woman itinerant glassworker was a Mrs. Johnston or Johnson, who was active in the mid-18th century. In December 1740, she performed at the Robin Hood tavern in Dublin, Ireland, making “curiosities such as, men, women, birds, beasts, swords, scabbards, and ships” out of glass. She also used a wheel to spin glass thread, as much as “ten thousand yards of glass in half an hour.” 2 A few years later she traveled north to demonstrate in Edinburgh, Scotland. Here she won herself an admirer who was so impressed by her performance they composed a poem in her honor. 3

Signora Murch

More women followed in Johnston’s footsteps, often performing alongside their spouses or families. Signora Murch made glass with her husband in Devonport, England, in 1825. The two demonstrated their lampworking skills, “Modelling, Blowing, and Spinning Glass, of various colours.” They offered to make the “Likeness of any favorite DOG” in glass and teach women the “Art of Flower Making.” The Murches made many items for sale, including “Glass Feathers, Pens, Baskets . . . and other Curiosities too numerous to mention.” 4

Nora Allen

Nora Allen (a.k.a. Madam Nora), the performer whose troupe put on a show for the orphans of the Home of the Friendless, was one of the most popular American itinerant glassworkers of the 19th century. Her troupe – Madam Nora’s Original Troupe of Glass Blowers, Workers, and Spinners – included her second husband, her son, and her daughter-in-law, Adalorra Allen. They toured the East Coast and the Midwest in the 1870s-1890s, spending most of their time in New York and Pennsylvania. Her name was listed at the head of every advertisement, and her portrait was featured on broadsides and a newspaper published by the troupe.

Illustration of Nora Allen sitting behind a table full of lampworked plants and animals placed under bell jars. She is holding a small lampworked ship.

Detail of Madame Nora’s Original Troupe of Glassblowers, 1876? Collection of the Rakow Research Library, The Corning Museum of Glass, CMGL 132079.

By demonstrating for the orphans, Nora was performing “respectable” womanhood. Many women performers of the late 19th and early 20th century did the same, or were marketed by their managers as respectable women. They dressed conservatively, spoke about how much they loved to cook dinner for their husbands, and showed their interest in traditionally feminine pursuits like knitting and sewing. They did so to avoid public censure and to continue making a living as performers. Because their profession put them in the public eye, they could easily be labeled as disreputable and their acts as inappropriate for women and children to attend. So, while Nora may have truly wanted to give the orphans a fun day out, her actions also helped prove to locals that hers was a respectable show proper for all audiences to attend.

The Howells

During the first half of the 20th century there were several well-known families of lampworkers, including the Howell family. All of the women in the family demonstrated glassmaking: matriarch Ethel Maude Howell, daughters Grace Howell and Nona Deakin, and daughters-in-law Marie Howell and Verna Howell. Grace in particular found success demonstrating at festivals, for scouting troops, and making appearances on TV variety shows. She was perhaps best known for dressing up as Mrs. Santa Claus each December and demonstrating lampworking at the Manhattan Savings Bank in New York City during the 1960s.

A black and white photograph of a family of lampworkers in a booth. Two young women stand in front of the booth at either side. Seated behind the booth are, from left to right, a woman, a man, and a young man. The booth and shelves behind the booth are covered in pieces of glass, including items such as stags, ships, vases, and bunches of grapes.

Nona, Ethel, and Grace Howell are pictured here alongside their male relatives. Howell Family of Chelmsford, 1937-1945. Collection of the Rakow Research Library, The Corning Museum of Glass, CMGL 151522.

These are only a few of the many women itinerant glassworkers who performed for crowds. They, alongside circus performers, actresses, lecturers, singers, vaudeville stars, and others working in the public eye proved that women had a right to be in that space. Each time they appeared in front of an audience they broke the boundaries, putting themselves in the spotlight instead of staying at home.

A version of this post was originally published on the Re/Visionist on December 16, 2019.

Meet the Howell family of itinerant glassworkers

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The Howells are one of the last prominent itinerant glassworker families of the 20th century. Robert Howell Sr. and Ethel Maude Howell led their family and others on tour for decades and each of their children pursued glassmaking as adults.

Let’s take a look at each member of the family and their contributions to glass history.

Robert Howell Sr.

black and white photo of Robert Howell Sr. itinerant glassworker

Robert Howell Sr. in the late 1930s.

Robert Howell (American, 1877-1957) was born in Vienna, Illinois. There are several stories of how and why he became an itinerant glassworker, but all agree that he demonstrated at the World’s Columbian Exposition in Chicago, Illinois, in 1893. Several years later he met Ethel Maude Pauley while demonstrating at the Saint Louis Exposition1 and they married in Waterloo, Iowa, in 1900.

By 1904, and possibly earlier, Howell and his growing family were traveling around the country. During the demonstration season they lived in a housecar with a lampworking setup. Howell led his own troupe, Howell’s Troupe of Glass Workers, in which he, his wife, and several other glassworkers participated. Once the Howell children were ready to join the demonstrations, the family toured as the Howell Family of Bohemian Glass Workers and made appearances at schools, clubs, churches, lodges, and fairs. During the off-season they settled down in a home (often rented) and made glass for sale.

In 1937, another notable itinerant glassworker, Madam Nora, sold Excelsior and Columbia, her glass steam engine and glass fire engine, to Howell. He made plans to exhibit them in the sideshow of the Ringling Bros. and Barnum & Bailey Circus.

Two years later, the family made perhaps their most notable appearance at the New York World’s Fair, demonstrating at the Glass Blowers of the World pavilion. There, more than 44 million people had the chance to see their lampworking skills.

As their children grew up and left home, the elder Howells continued to demonstrate, often billed as Mr. and Mrs. Robert M. Howell. Howell died in his home in Scotch Plains, New Jersey.

Ethel Maude Howell

black and white photo of Maude Howell itinerant glassworker

Maude Howell in the late 1930s.

Ethel Maude Pauley (American, 1882-1966) was born in Green, Iowa. Howell learned glassworking from her husband, and the two toured the United States with their growing family. She was a member of Howell’s Troupe of Glass Workers in the early 1900s, specializing in glass spinning and crocheting glass.2

After Howell’s husband died in 1957, she continued to demonstrate. She died in Plainfield, New Jersey.

Grace Howell

black and white newspaper photo of Grace Howell itinerant glassworker

Grace Howell in 1962.

Grace Howell (American, 1901-1976) was born in Waterloo, Iowa. Her parents taught her to lampwork as early as the age of five, and she joined their demonstrations around the age of twelve. By 1920 she was working as a contractor for a mail order house company (perhaps during the off-season). She became the family’s business agent, booking performances across the country.

Howell claimed it was at the New York World’s Fair in 1939 that she first created the “Bluebird of Happiness,” the glass object she is best known for making. Later, when demonstrating solo, Howell started every show by making this piece. She stated she made the first piece for Shirley Temple and her film, The Blue Bird. Howell later sent bluebirds to Mamie Eisenhower, Princess Elizabeth, and the Corning Museum of Glass.3

During World War II, most of the Howells made scientific glassware for the war effort. Howell was no exception, making glass tubes for the electrical controls on planes and boats.

By 1953, and possibly earlier, Howell was demonstrating on her own, up and down the East Coast. She performed for scout troops, day camps, schools, and PTAs. She made regular appearances at fairs, craft shows, festivals, and banks. Howell worked at New Jersey-area attractions like the Gingerbread Castle and the Cannon Ball House, and appeared on television variety shows (including those of Johnny Carson and Dave Garroway). Her most recognizable appearance, however, may have been as a lampworking Mrs. Santa Claus in the window of the Manhattan Savings Bank.

Howell died at her home in Scotch Plains, New Jersey.

Robert Howell Jr.

black and white photograph of Robert Howell, Jr. itinerant glassworker

Robert Howell Jr. in 1960.

Robert Howell Jr. (American, 1904-1984) was born in Camden, South Carolina. He stated that he began playing around with glass when he was six. On his eighth birthday, his parents gifted him with a torch and began to teach him lampworking; he joined the family demonstrations once they deemed him ready.

Howell toured the country with many of the glassworkers who worked at the Glass Blowers of the World pavilion at the New York World’s Fair, and met his future wife Marie Swann while performing with the group in Miami, Florida. The two were married on March 3, 1940, in Broward County, Florida. They worked for the Manhattan Project at Oak Ridge, Tennessee, during World War II.

By 1945, Howell and his wife had set up a shop at the Pine Beach Resort near Brainerd, Minnesota. During the tourist season they demonstrated their craft, and in the off-season they toured high schools and colleges, lampworking for students. In 1953, the couple closed the shop and moved to Pleasant View, Tennessee, close to Marie’s hometown. They parked their trailer next to the Blanket Store gift shop on U.S. Route 41A, and demonstrated to tourists from 1953 to 1955.

In October 1955, the Howells moved to Winter Haven, Florida, and opened their show at The Great Masterpiece near Lake Wales. They demonstrated at the attraction for close to ten years, leaving in 1963. In 1964, they demonstrated at the New York World’s Fair, and the following year they participated in the Florida Showcase at the Rockefeller Center in New York City. They made a spun glass dress for the Showcase, which Marie wore during their demonstrations.

The couple opened a new shop on State Route 540 near Cypress Gardens, operating it until they retired in 1968. Soon they decided they weren’t ready for retirement, and opened a shop in their backyard. Here, they made glass until the early 1980s.

The Howells appeared on a number of television shows, including the Today Show and the shows of Ed Sullivan and Johnny Carson.

Howell died in Winter Haven, Florida.

Nona Deakin

black and white photograph of Nona Howell itinerant glassworker

Nona Deakin in the late 1930s.

Nona Howell (American, 1916-1944) was born in Iowa. She learned to lampwork at age 13. She and her siblings were instructed by a tutor on the road rather than attending school.

She married John L. Deakin in 1938 in New Jersey. The couple had one child together, John Robert Deakin, in 1939. They built a workshop at their home to make glass and demonstrated to local clubs.

Deakin died in Plainfield, New Jersey, after a long illness.

Leigh Howell

black and white photo of Leigh Howell itinerant glassworker

Leigh Howell in the late 1930s.

Leigh Howell (American, 1919-1995) was born in Kansas City, Missouri. His parents taught him to lampwork as early as the age five and he joined the family demonstrations several years later.

During World War II, Howell worked for the Manhattan Project in Los Alamos, California, and Oak Ridge, Tennessee.

He worked for a number of companies making scientific glassware, including the Westinghouse Lamp Division; Olin Mathieson Chemical Corporation in Niagara Falls, New York; Minneapolis-Honeywell’s aeronautical division in Los Angeles, California; and General Motors in Santa Barbara, California. He also worked for and taught scientific glassblowing at the University of California, Los Angeles, and Brandeis University in Waltham, Massachusetts.

Howell was an early member of the American Scientific Glassblowing Society, joining in 1954. In the mid-1950s and early 1960s he served as the vice president of the organization, and during that time he also edited Fusion, the Society’s journal.

By the early 1960s, Howell had been married at least once and had two sons and a daughter. On October 8, 1966, he married Verna E. Haensgen in Santa Barbara, California. In July 1967, the couple opened the Dansk Glas Huset in Solvang, California. They demonstrated to tourists for several months, before divorcing in November 1967.

It is unclear whether Howell operated the shop after the divorce, but by 1970 he was regularly demonstrating to clubs, churches, and other groups. He relocated to Chelmsford, Massachusetts, and taught lampworking classes to local residents at his studio. He later closed his studio and opened a mobile studio, in which he toured and taught classes.

Howell, an evangelical Baptist, later preached the “Gospel in Glass” at Baptist churches around the country, from at least 1977 to 1983. He mainly resided in Florida later in his life.

Howell died in Green Cove Springs, Florida.

Legacy

The Howell family demonstrated glassworking to hundreds of thousands of people across the United States over the course of 90 years. In addition to becoming experts themselves, they taught many others the art of lampworking. Some, like Charles Kaziun, went on to become respected and groundbreaking glass artists. The Excelsior and Columbia engines, sold to Robert Sr. by Madam Nora, can now be seen at the Lightner Museum in St. Augustine, Florida. Grace Howell’s “Bluebird of Happiness” is preserved in the collection of The Corning Museum of Glass. The family’s reputation as glassmakers endures in these legacies as well as in the many happy memories of those who saw them perform.

Find more biographical information about itinerant glassworkers and those who worked with them by exploring this site’s index of people.

The Grand Bohemian Troupe of Fancy Glass Workers

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In January 2019, I was fortunate enough to organize an event about itinerant glassworkers at The Corning Museum of Glass. Their Behind the Glass lecture series was the perfect way to introduce the topic to hundreds of attendees (and now thousands more viewers on YouTube). In addition to my presentation on the history of itinerant glassworkers, the evening featured a lecture and demonstration from lampworker Bandhu Dunham and demonstrations by lampworkers David Sandidge, Caitlin Hyde, and Eric Goldschmidt.

Here is our modern take on an itinerant glassworker performance:

The program for the evening was as follows:

  • 00:00:05: Glass spinning demonstration, Eric Goldschmidt
  • 00:01:10: “Curiosity Highly Gratified: An Illustrated Lecture on the Most Interesting History of Itinerant Glassworkers,” Rebecca Hopman
  • 00:19:05 (and ongoing): Loop-stitch pirate ship demonstration, David Sandidge1
  • 00:22:00: “Kinetic Glass Sculpture” lecture, Bandhu Dunham
  • 00:48:15 (and ongoing): Steam-powered magnifying glass demonstration, Bandhu Dunham
  • 00:53:42 (and ongoing): Hollowed pig demonstration, Caitlin Hyde
  • 00:55:53 (and ongoing): Crystal-clear decanter demonstration, Eric Goldschmidt
  • 00:56:50 to end: additional footage of demonstrations

The troupe members were:

Bandhu Dunham. Source: bandu.info
Eric Goldschmidt. Source: The Corning Museum of Glass
Caitlin Hyde. Source: The Corning Museum of Glass
David Sandidge. Source: The Corning Museum of Glass
Steve Gibbs. Source: The Corning Museum of Glass
Rebecca Hopman. Source: The Corning Museum of Glass

Corrections and updates

Of course, the history of itinerant glassworkers is still a developing field, and new information surfaces all the time. In addition to sharing this video, I’d like to include the following corrections and updates to my presentation:

  • 00:06:08: The slide of American-born glassworkers features an advertisement for Samuel Owen. While Owen emigrated to the United States at a young age and became a naturalized citizen, he was born in England.
  • 00:08:21: It’s true that the Woodroffe brothers were not Bohemian, but George and Charles Woodroffe were born in England, not the United States. Younger brother William was born an American citizen in New York state.
  • 00:13:45: A few nuances about the Howells. Robert Howell Sr. told many stories about how he came to be an itinerant glassworker, and seeing a glass steam engine at a state fair is perhaps the most romantic. It’s very possible this is true, but equally possible that he made it up at a later date. I also mention that Grace Howell learned to lampwork as early as the age of six. Like her father and her siblings, Grace varies the details of her beginnings as an itinerant glassworker. I have since found a reference that Grace began lampworking at age five. Again, it’s equally possible this is the truth or an exaggeration. In each case, it may be impossible to find the truth.
  • 00:14:08: Nora Allen sold Excelsior and Columbia to Robert Howell Sr. (instead of gifting them to him).
  • 00:14:50: Grace Howell’s Bluebird of Happiness is one of two pieces of glass currently connected to specific itinerant glassworkers in the museum’s collection. The other is Diorama of English Stag Hunt made by Charles David Aubin.
  • 00:15:25: A clarification about this slide and Nona Deakin. The slide shows two black-and-white photographs: the left features Robert Howell Jr. and his wife Marie Howell; the right features Grace Deakin and John Deakin. Grace was John’s second wife, who he married several years after Nona’s death. John Deakin learned lampworking from the Howells, so Nona did not marry into a lampworking family, her connection enabled the family to become so.
  • 00:16:09: Nona Deakin died in 1944, several years before John and his second wife Grace moved to Florida to set up their business.

You can learn more about the featured itinerant glassworkers from my presentation – Charles Woodroffe, Nora Allen, and Grace Howell – on this site, as well as the Woodroffe, Allen, and Howell families. Additional information about the other glassworkers, experiments, and trends mentioned in the lecture is also available (search the site for more).

Thanks for this event go to Karol Wight, director of The Corning Museum of Glass; museum staff Kris Wetterlund, Eric Meek, and Steve Gibbs; the amazing staff of the Rakow Research Library; the museum’s events and A/V staff; and of course my fellow presenters, in particular Eric Goldschmidt, who was my partner in organizing this evening. While this was a one-time event, I’d love to see The Grand Bohemian Troupe of Fancy Glass Workers reunite again!

“Only Mrs. during the month of December”: Grace Howell’s holiday glass gig

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Those walking past the Manhattan Savings Bank in December 1961 were in for a treat. Peeking in the windows, passerby were treated to a sumptuous display of Christmas decorations, a singing Santa Claus and his elves, carolers, an ice rink complete with four ice skaters, and Mrs. Santa Claus making glass.

Wurts Bros. 45th Street and Vanderbilt Avenue. Manhattan Savings Bank, new branch, front view from east showing Christmas decorations. Source: Museum of the City of New York. X2010.7.1.10288 (https://collections.mcny.org/CS.aspx?VP3=SearchResult&VBID=24UP1GXD6A54&SMLS=1&RW=1302&RH=723)
Wurts Bros. 47th Street. Manhattan Savings Bank, general view of lobby looking N.E. Source: Museum of the City of New York. X2010.7.1.10210 (https://collections.mcny.org/CS.aspx?VP3=SearchResult&VBID=24UP1GXD6SRW&SMLS=1&RW=1302&RH=723)
Wurts Bros. 47th Street. Manhattan Savings Bank, Christmas show, ice skaters in. Source: Museum of the City of New York. X2010.7.1.10208 (https://collections.mcny.org/CS.aspx?VP3=SearchResult&VBID=24UP1GXD64FQ&SMLS=1&RW=1302&RH=723)
Wurts Bros. 45th Street and Vanderbilt Avenue. Manhattan Savings Bank, Christmas carolers. Source: Museum of the City of New York. X2010.7.1.13752 (https://collections.mcny.org/CS.aspx?VP3=SearchResult&VBID=24UP1GXD623Q&SMLS=1&RW=1302&RH=723)

That’s right, Mrs. Claus – otherwise known as Grace Howell – “spends her days [at the bank] blowing colorful baubles and Christmas ornaments.”  According to a profile in her hometown newspaper, The Scotch Plains Times, she is equally “adept at blowing the molten globs of glass into airy vases, birds, flowers, jewelry, or an intricate replica of a sailing ship.”1

black and white photo of Grace Howell, dressed as Mrs. Santa Claus, blowing glass for onlookers

Wurts Bros. 45th Street and Vanderbilt Avenue. Manhattan Savings Bank, Mrs. Santa Claus, glass blower. Source: Museum of the City of New York. X2010.7.1.10211

The Howell family of itinerant glassworkers

Grace Howell was the eldest child of Robert M. Howell and Ethel Maude Howell, two itinerant glassworkers who traveled the country demonstrating to the public. Grace’s parents taught her to lampwork as early as the age of five, and after years of practice she joined their demonstrations around the age of twelve. Her siblings, Robert Jr., Nona, and Leigh, followed in her footsteps, and by the 1930s the Howells demonstrated together as a family act. They were frequently on the road, living in a housecar with a lampworking studio attached. In the off-season they rented or purchased a home and made glass for sale.2

A black and white photograph of a family of lampworkers in a booth. Two young women stand in front of the booth at either side. Seated behind the booth are, from left to right, a woman, a man, and a young man. The booth and shelves behind the booth are covered in pieces of glass, including items such as stags, ships, vases, and bunches of grapes.

Howell Family of Chelmsford, 1937-1945. Collection of the Rakow Research Library, The Corning Museum of Glass, CMGL 151522.

Between performances Grace Howell completed high school, then took a break from the family business to work for a mail-order house company.3 She later became the family’s business agent, booking performances across the country.

Going solo

By 1953, and possibly earlier, Howell was demonstrating on her own, up and down the East Coast. She performed for scout troops, day camps, schools, and PTAs. “I don’t believe there is a major highway in the country, unless it was built in the last four years, which I haven’t traveled,” she told a reporter.4 She made regular appearances at fairs, craft shows, festivals, and banks. Howell worked at New Jersey-area attractions like the Gingerbread Castle and the Cannon Ball House, and appeared on television variety shows (including those of Johnny Carson and Dave Garroway). Her most recognizable appearance, however, may have been as a lampworking Mrs. Santa Claus in the window of the Manhattan Savings Bank.

Grace Howell demonstrates lampworking in the window of the Manhattan Savings Bank in New York City, 1963. Source: The Joint Digital Archives of Fanwood & Scotch Plains
Grace Howell lampworking glass in front of a crowd, 1964. Source: Newspapers.com
Grace Howell demonstrates lampworking to children, 1967. Source: The Joint Digital Archives of Fanwood & Scotch Plains

Howell spent at least a decade of Decembers in New York City, demonstrating her skills to fascinated crowds. Newspaper reporter Hannah Torain wrote, “Her excellence in glass blowing is complemented by her lively wit and warmth reflected on the faces of her onlookers.” She dressed as Mrs. Claus, from the fur-trimmed hat to a pair of rosy cheeks. She didn’t need makeup for the latter either: the heat of her lampworking torch helped with that. “That kind of heat will change the color of anything, even your glassblower,” Howell quipped. “I wear a perpetual sunburn.”5

black and white newspaper photo of Grace Howell, dressed as Mrs. Claus, showing some of her glass creations

Grace Howell as Mrs. Santa Claus, 1963. Source: The Joint Digital Archives of Fanwood & Scotch Plains

Reporters who wrote about Howell often commented on her humor, and it comes through in their articles. To one writer she joked, “[I’m] only Mrs. in the month of December.”6

 

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