michael owens michael owens in those early days ran the factory and libby was the one who led the marketing campaign and he was able to go to places like the world. errors in order to put the libbey glass company on the international stage and the place where he did that first was the 1893 chicago world's fair and he built this whole pavilion a whole glass furnace and studios so that from soup to nuts they could see glass being made and then of course stop at a gift shop at the end and purchase a piece of glass this turned out to be wildly successful. and not only do they have the opportunity to see glass being made. they also were able to see this wonderful novelty that nobody had seen before which was something called the glass dress. they got this technology where you spun glass thread, very very thin so glasses very malleable and you can stretch it and stretch it and stretch it to the point that it's the thread. did was they pulled all of these threads and they wove it into fabric and then they made this fabric into literally a dress that could be worn and it's a phenomenal dress. we are in front of really one of the best known works in our collection one of the most beloved works in the collection and it almost needs no introduction. this is known as the libbey punch bowl. it was made in 1904 by the libbey company specifically for the world's fair that was happening in st. louis that year oftentimes companies would make really grand works for the fair as a way of showcasing their greatest abilities and what they could really do. so this is a piece of cut glass it would have been blown as what was called a blank without any decoration on it and the glass blowers would have been passed it off to the cutters and then that would have gone through several stages of cutting where you first rough out a design and then you go in and you really make the cuts deep and precise more precise the wonderful thing about cut glass is that it has this really brilliant look to it. so when the light shines on it it reflects and refracts and it makes this kind of beautiful. look so the type of glass that libby was making here at that time period was brilliant cut glass. it's what you think of as that very heavy sparkly with the beautiful designs that just look like diamonds when the light hit it and so from the 1880s until probably the 1920s was the era of brilliant cut glass and that was really the time that that libbey was marketing his wares. they were marketed to the higher class of people so they were sold in jewelry stores and there were catalogs that people could pick out what pattern they wanted and then they orders would go back to the factory and it would then be shipped to the client as time went forward it changed what libbey glass created there were still a few high-end things that were hand blown hand. at pam engraved, but they quickly switched over to things that would make a profit and continue the company going and so it became much more mechanized during that time in between the death of mr. libbey in 1925. and then the start of world war ii. when you think about glass in toledo and the phrase the glass city it is because the libbey glass company was kind of the colonel that then outgrew out the not just the lily glass company, but owens, illinois was a bottle making company and it grew out of michael owens's inventions for the automatic bottle machine company out of the roots of the living class company comes libya once ford, which was a flat glass company, and then there's owens corning fiberglass. so fiberglass was another way of using glass and an industrial setting so it grew and so it wasn't just the lily glass company. it was all of these other glass companies that were outcroppings of that one company that came here in 1888. well, toledo has a long history of gloss making both in terms of its industry and then again in the 1960s when a series of workshops happened here spearheaded by a ceramics professor named harvey littleton. so this is the case of works by what we would call pioneers of the early studio glass movement toledo as a city and the museum played an important role in this watershed moment in the history of studio glass, which really kind of takes us back to the early 1960s in 1962. there was a man who taught ceramics at the university of wisconsin-madison. who