Gathering A Crowd

the history of itinerant glassworkers

Category: Troupes

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!

See Woodroffe’s glass blowers for a short time only

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Science, art, skill, and beauty! All were on display in Harrisburg, Pennsylvania, in April 1880. Woodroffe’s Original Bohemian Glass Blowers enticed potential customers inside with a window display of glass objects then dazzled them with lampworking demonstrations and their working glass steam engine, Fairy Queen.

Newspaper ad for woodroffe troupe in harrisburgh, pennsylvania

April 14, 1880 advertisement for Woodroffe’s Original Bohemian Glass Blowers in the Harrisburg Telegraph. Source: Newspapers.com

The Woodroffe brothers – George, Charles, and William – had a major impact on the itinerant glassworker trade. Among other things, they were some of the first to travel with troupes of glassworkers rather than alone or in pairs. Their many groups traveled around the United States and the world during the 50+ years they were active, making them some of the best-known glassworkers of the period. This particular troupe was led by William Woodroffe, the youngest brother.

Location

Harrisburg, the capital of Pennsylvania, was dominated by the steel and railroad industries in the late 19th century. In 1880, census takers recorded more than 30,000 people living in the city.1 Woodroffe and his troupe set up their lampworking exhibition near the Susquehanna River at 109 Market Street, in a building previously used by Patterson’s Carpet Store. Today, the spot holds Dauphin County buildings, but 140 years ago it was close to the intersection of two street cars – likely a location where many people came and went.

Possible location of Woodroffe’s show highlighted on Market Street, Harrisburg, PA, 1880. Source: Library of Congress, Geography and Map Division https://www.loc.gov/item/2011593701/
109 Market Street, Harrisburg, PA, 2019. Source: Google Maps

After they closed their exhibition in mid-April, they traveled to Lebanon, Pennsylvania, and then on to Reading, Pennsylvania.

Featured glassworkers

Aside from Woodroffe himself and agent Clarence King, it is unclear who was in the group at this time. Based on contemporary advertisements, possible members include Edwin Hopkins and Will Brown.

Show highlights

For 15 cents, spectators received an “elegant present” and the chance to see Woodroffe’s troupe in action. Once again, the advertisement is short on details, but articles about the troupe from the period provide some insights. An article in The Daily Union-Leader describes watching a troupe member “twist, blow, contract, expand, and otherwise put [glass] into ingenious shape.”2 Another article from the Harrisburg Telegraph states, “The wonderful manner in which these skilled glass blowers can manipulate the brittle substance is well worth a visit to see.”3

Of course, a major draw would have likely been the glass steam engine, Fairy Queen. The troupe claimed this engine was the largest steam-powered glass model in existence, and that it had been on display at the 1876 Centennial Exposition in Philadelphia, Pennsylvania. The Woodroffe brothers did have at least three steam engines on display at that particular world’s fair, although surviving advertisements identify those models as the Crystal Gem, the Australasia, and Excelsior. It is possible they added the Fairy Queen at a later date, although – considering that any number of other troupes claimed the same history for their glass engines – it is equally possible that Woodroffe’s troupe is stretching the truth to bolster interest in their show.

Madam Nora and her original troupe of glass blowers

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What comes to mind when you hear the name Madam Nora? Perhaps a woman, draped in colorful fabrics and jangling bracelets, reading a fortune over a crystal ball or channeling spirits at a seance?

Nora Allen, popularly known as Madam Nora,1 was a traveling entertainer who used glass in her act, but there were no thumping chairs or dire predictions. Instead, she conjured fantastical sculptures made of glass, like the animals and ships pictured on this broadside for Madam Nora’s Original Troupe of Glass Blowers, Glass Spinners, and Glass Workers. Allen led this troupe of itinerant glassworkers for several decades as they traveled around the Northeastern United States.

broadside with text describing Madam Nora's troupe and their demonstrations. The broadside also features an image of Madam Nora surrounded by lampworked animals and models and another image of her son, William Allen, holding a ship he has made.

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

Featured glassworkers

The broadside advertised a show in April (possibly 1876) featuring Allen; Mr. Oliver Lock [sic], “the prince of glass blowers”; Mr. Wm. Allen, “the youngest and most talented artist before the public”; Prof. Thos. Edwards, “glass worker and descriptive lecturer”; and Mr. T.J. Jordan, “glass spinner and weaver”; along with manager Alfred Seabury. Allen was billed as “the only lady glass artist in the profession” (not quite true, but we’ll get to that in a minute).

Nora Allen’s troupe is a good example of two trends in the itinerant glassworker business. First, she employed family members, namely William Allen (her son) and Alfred Seabury (her second husband). Later, when William married, her daughter-in-law Adalorra also joined the troupe.

A second trend was the movement of artisans between troupes. Oliver Locke was a member of The Great Bohemian Troupe of Fancy Glass Blowers before joining Allen’s troupe, and later led his own group of glassworkers on tour.

Show highlights

Curiosity seekers could pay 15 cents to see Allen’s troupe demonstrate lampworking techniques including glass spinning, blowing, and weaving. They would also see the “art” of silvering glass. If this show followed later examples of the troupe’s exhibitions, each glassworker would demonstrate a particular skill for the audience.

General Garfield, the troupe’s glass steam engine, was on display and in motion. As an added bonus, Saturday’s entertainment included a baby show (a contest to decide the town’s most beautiful baby). What more could a 19th-century entertainment seeker want?

Women in charge

While the show boasted an impressive lineup, perhaps the most interesting detail appears in tiny type at the bottom of the broadside. Not only was Nora Allen the group’s headliner, she was also the “Sole Proprietress,” an unusual role in an era when women had limited rights and career opportunities.

detail of broadside showing Madam Nora as the sole proprietress

As mentioned above, Allen was not the first or only woman glassworker in the business, but it is possible that she was the first to lead her own troupe. Others that followed her example include Madam J. Reith and Madam Anderson.

Allen and her troupe continued to tour for several more decades. The troupe’s lineup changed over the years, but Allen remained the headliner until they disbanded. Thanks to the survival of this broadside, part of Allen’s remarkable story is preserved.

A version of this post was originally published on the Corning Museum of Glass blog on June 24, 2015.

What is an itinerant glassworker?

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An itinerant glassworker was a lampworker (or flameworker) who traveled from town to town performing for audiences, much like a member of a circus or a traveling theater troupe.

For more than 300 years, itinerant glassworkers entertained and educated crowds on the art, science, and skill of glassmaking, and the dizzying array of wonders that could be made of glass. These artisans contributed to a tradition that lives on today in flameworking demonstrations at museums, studios, and other attractions.

Itinerant glassworkers, likely Mrs. and Mr. F.A. Owen, stand behind a table covered in lampworked glass.

Glass Exhibition Featuring Spinning Wheel and Glass Steam Engine, 1904. Collection of the Rakow Research Library, The Corning Museum of Glass, CMGL 131372.

Shows

A typical itinerant glassworker show included three main elements:

  1. Demonstrations of lampworking techniques such as glassblowing, spinning, and working.
  2. Showpieces such as elaborate glass models and scientific experiments.
  3. Displays of glass objects that audiences could purchase or were given with the price of admission.

Additional entertainments included lectures, live music, dancing, and competitions for glass prizes.

Timeline

Here is a rough timeline of the history of itinerant glassworkers:

1670s-1800s: Earliest known performers

handbill with text and two images of itinerant glassworkers blowing glass and using a cartesian diver

Dieser Hollaendische porcellain-glass-blaser, 1670? Collection of the Rakow Research Library, The Corning Museum of Glass, CMGL 112252.

As early as the 1670s, itinerant glassworkers performed in Europe. There are few records for this period; most are from the United Kingdom. These early artisans established the blueprint for itinerant glassworker shows going forward. They performed for royalty and tavern-goers alike, and positioned themselves as entertainment suitable for all audiences. Most demonstrated solo, and they typically offered practical items for sale alongside more fanciful objects. They did not list admission prices on their handbills or in newspaper advertisements, so it is unclear whether onlookers had to pay to watch their demonstrations.

1800s-1830s: Glassworkers demonstrate in Europe

handbill with text describing a glassworking demonstration. the handbill also has an illustration of an itinerant glassworker lampworking in front of a table covered in objects; he is surrounded by onlookers.

Scott’s Splendid Glass Working Exhibition in Miniature. United Kingdom: 1830. Collection of the Rakow Research Library, The Corning Museum of Glass, CMGL 138463.

Based on surviving evidence, the number of itinerant performers and the popularity of their shows increased, especially in the United Kingdom. Glassworkers demonstrated in large towns like London, Glasgow, and Bath. They also traveled through the countryside visiting small towns and villages. Several first-hand accounts from audience members survive from this period, documenting the public’s fascination with the art of glass. These glassworkers created models based on famous landmarks and scenes that their audiences would have recognized. Some offered custom gifts such as the likeness of any dog in glass.

1810s-1850s: Glassworkers come to North America

handbill describing an itinerant glassworker show

Exhibition of Fancy Glass Working and Spinning United States Hotel, Private Entrance : Mr. Finn. Augusta, Georgia: 1840-1843. Collection of the Rakow Research Library, The Corning Museum of Glass, CMGL 164968.

Eighteenth-century Americans, influenced by their Puritan backgrounds, often shunned traveling entertainers and educators of any sort, some going so far as to outlaw circuses, traveling menageries, and acting troupes. Once those restrictions were lifted, entertainers found success touring cities along the East Coast. The earliest known performance in the United States by an itinerant glassworker was in New York City in 1819. More European and American-born glassworkers followed, touring large cities like Washington, D.C., Boston, and New Orleans, as well as small villages and towns. Glassworkers continued to tour in Europe as well.

1840s-1890s: The rise of troupes and the glass steam engine

Illustration of a steam engine made of glass

The Great Double Working Glass Steam Engine Fairy Queen!, 1861. Collection of the Rakow Research Library, The Corning Museum of Glass, CMGL 45696.

The Woodroffe brothers, three of the best-known glassworkers of this period, helped to establish new traditions in the trade with the formation of glassworking troupes and the popularization of glass steam engines. This was the heyday for itinerant glassworkers all over the world. Their shows were well-attended attractions in towns, at world’s fairs, in circuses, and in museums, and they traveled to places like South Africa, Indonesia, and Tasmania. This was also the time in which women-led troupes traveled in their highest numbers, including those of Madam Nora, Madam Anderson, and Madam J. Reith.

1900s-1930s: The advent of mass entertainment

a black and white photo with an itinerant glassworker in a white coat and beret seated and flameworking at a table. on the table are a cartesian diver, a glass steam engine, and several other small models

John T. Backman Flameworking Glass Ship, McCroskey Studio, 1930s. Collection of the Rakow Research Library, The Corning Museum of Glass, CMGL 152150.

With the increased availability of entertainment technology such as phonographs, radio, movies, and later, television, as well as faster and cheaper transportation, potential audiences had more options for how to spend their leisure time. Because of this, itinerant performers of all types were forced to adapt. Many still went on tour, but others began to rely more heavily on appearances alongside other attractions. Some formed troupes with other types of entertainers or created dime museums. This was the beginning of the end for those lampworkers who could survive by leading a truly itinerant lifestyle.

1940s-1970s: From performers to artists

nona and john deakin demonstrate lampworking in their shop in sarasota florida

Nona and John Deakin Flameworking, Robert H. Ford, August 26, 1946, Larry Williams Collection. Collection of the Rakow Research Library, The Corning Museum of Glass, CMGL 152152.

Most of the remaining performers grew roots, and the itinerant lifestyle all but died out. Families of flameworkers opened shops or contracted with attractions like Disney World. Other glassworkers demonstrated at museums like the Corning Museum of Glass or stayed close to home. With the advent of the Studio glass movement, many flameworkers distanced themselves from the itinerant tradition. They began to establish themselves as members of the fine arts/crafts world and didn’t want to be associated with glassworkers who demonstrated flameworking at state fairs and shopping malls, making what they saw as kitsch or low-quality glasswork.

1950s-today: New performers

jen kuhn flameworker demonstrating at the corning museum of glass

Jen Kuhn demonstrates flameworking at the Corning Museum of Glass. Collection of The Corning Museum of Glass.

The tradition of glass demonstrations continues in museums, at studios, and with mobile hotshop programs like GlassLab and GlassBarge (both projects of the Corning Museum of Glass). Flameworkers are eager to learn more about the history of their craft, and a new generation of flameworkers are inspired by their itinerant predecessors. Some create models inspired by glass steam engines, while others find innovative ways to make flameworking more mobile. Still others recognize the value of this part of lampworking history and document it through articles, exhibitions, book chapters, and websites. A new awareness of itinerant glassworkers and their legacy is emerging.

Learn more about itinerant glassworkers, their shows, and the world around them on this site. Keep up with new posts by subscribing to my monthly newsletter.

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