Conversations with Contemporary Glass Connoisseurs

The art of collecting glass has evolved remarkably over the decades. As techniques advance and artists push boundaries, the collecting landscape shifts too - from simply appreciating technical skill to engaging with complex artistic narratives told through glass. As London Glassblowing partners with Bonhams Auction House for "The Art of Craft" auction, we invited three of our dedicated collectors to share their unique collecting stories. Their insights reveal not just the art of collecting, but the profound relationships that develop between collectors, artists, and the works that speak to them.

What first drew you to collecting glass art, what was the first piece you acquired and why did you decide to buy it?

[Collector #1] - During our honeymoon, we decided to purchase a piece of original art together each year to mark our anniversary - a tradition that has evolved over time. While our collection began with wall art and bronze sculptures, my wife's interest in antique British wine glasses (1760-1840) eventually led us toward glass art.

Our first glass purchase was a simple yet captivating blown glass bird by Oiva Toika, discovered in a gallery on the Isle of Wight. This sparked a progression through various glass forms - from Toika's birds to pieces by Siobhan Jones, Julia Linstead, and Bob Crooks. As our confidence grew, so did our collection's diversity, expanding to include sculptural works by Muriel Choie and optical glass by Péter Botos.

We first encountered Peter Layton's work at the Affordable Art Fair in Battersea, purchasing a vase from his Beach series. This prompted us to visit the London Glassblowing Gallery on Bermondsey Street. Excited by the range of glass pieces on offer, that visit was the start of a maturing collection of studio art glass by various artists represented in the gallery, which we now recognise as the leading glass art gallery in the UK.

[Collector #3] - We were initially attracted by paperweights and purchased our first two pieces in 1975, when on holiday, visiting Venice and Murano. We have continued to purchase paperweights ever since. Major sources included those produced by Caithness Glass (which developed a paperweight collectors club to encourage sales) and later, Selkirk; both companies trading from workshops in Scotland.

We have added to our collection whenever we have discovered new items from other producers - particularly when on holiday throughout the world. A spectacular find was the company Glass Eye Studio in the USA which manufactures a range of paperweights illustrating planetary and celestial themes for our solar system. We currently own 262 paperweights! 

What unexpected connections or relationships have formed in your life as a result of your passion for collecting glass art?

[Collector #2] - Through collecting British studio glass, I've discovered a surprisingly intimate and welcoming community. It's a world where everyone seems connected, and genuine camaraderie exists among glassmakers themselves. Whether at exhibitions, private viewings, or during casual visits to galleries like London Glassblowing, I find myself engaged in fascinating conversations about glass - or virtually any subject.

These interactions have blossomed into meaningful friendships within the community, relationships I deeply treasure. Beyond these connections, there's the ongoing relationship with the pieces themselves. Even after years of living with certain works, I regularly discover new aspects in pieces I've long admired - an unexpected delight that continually refreshes my passion for collecting.

How has your relationship with your glass collection evolved over time? In what way has the way you appreciate or interact with the pieces changed?

[Collector #1] - Our appreciation has deepened significantly through witnessing demonstrations by guest artists at London Glassblowing and through conversations with gallery artists who generously explain their techniques. With each acquisition, we recurate our home, discovering how new placements create different interactions of light, perspective, reflections, and refractions.

As our understanding of form and technique has matured, our collection has diversified considerably - from Tim Rawlinson's complex blown, cut and polished pieces to Elliott Walker's glass sculptures, Layne Rowe's Venetian cane works, Tomáš Brzon's sculpted optical glass, Ruth Shelley's kiln-formed gravity-dropped vessels, and Bruce Marks' blown and cut fish.

[Collector #2] - I always enjoyed glass and would occasionally purchase pieces from Hoglund while visiting New Zealand, but my serious collecting began during a home redecoration when I commissioned a landscape bowl from Kate Jones of Gillies Jones - my first significant glass acquisition, which still brings me immense joy.

For about a year, this remained my only major piece, until an exhibition inspired another purchase. As my collection grew beyond this single piece, I discovered the fascinating dialogue between works - how multiple works positioned thoughtfully create relationships that enhance their individual beauty. My Colin Reid piece offers ghostly reflections of Bruce Marks birds from one angle, while showing a refracted yellow basket from another, and capturing its own edge colours from a third perspective.

I've also found delightful intersections with my other interests, particularly how my appreciation for fine wine complements the Victorian and Edwardian decanters in my collection.

What do you believe makes contemporary glass distinctive from other art forms in today's creative landscape?

[Collector #1] - For us, contemporary glass art stands apart through its unique relationship with light - the way illumination plays on and transmits through each piece, creating colours and reflections within the work while projecting refracted light and shadows into the surrounding space. This interaction creates an experience that extends beyond the physical boundaries of the artwork itself.

How do you balance collecting established masters versus discovering emerging talents in the glass world?

[Collector #2] - Studio art glass remains a relatively young art form, and I've found great excitement in studying its history from Sam Herman onwards. Through this exploration, I've discovered numerous influential British glassmakers who shaped the movement, often falling in love with their pieces along the way. Equally thrilling is spotting a new artist whose work resonates deeply, then following their artistic development over time. This balance between honouring the pioneers and supporting fresh voices keeps my collection vibrant and connected to both the heritage and future of studio glass.

How does your glass collection dialogue with other art forms or objects in your home? Do you find interesting juxtapositions or connections?

[Collector #3] - Everywhere in our house, the walls are covered by a wide range of etchings, collagraphs, paintings and prints. Depending on the colours and textures used in certain glass art pieces, we have achieved some interesting juxtapositions by placing them alongside certain works of art. For example, the fusion of Aerial & Lagoon Stoneform by Peter Layton matches by chance the pattern of the snow on a print of Mount Lefroy by Lawren Harris, a member of the Canadian Group of Seven Artists. The colours of As Time Goes By, painted by Juliet Everett, match rather well to various pieces made by Peter Layton. Finally, the Seascape Stoneform by Peter Layton also has a colour spectrum which is similar to that of the collagraph print, Amid the Maelstrom, created by Sarah Ross-Thompson.

These collector insights offer just a glimpse into the passion, discovery, and joy that contemporary glass art brings to those who welcome it into their lives. Whether you're an established collector or curious newcomer, we invite you to experience this extraordinary medium firsthand.

The Art of Craft with Bonhams at London Glassblowing
16 May - 1 June, Bermondsey Street

Explore the exhibition catalogue here.