Harvey K. Littleton
b. 1922 Corning, New York; resides in North Carolina

Cracked-State III
Edition of 30
image: 16 x 20"; paper size: 30 x 22.5"

Double Cross , 2000
Vitreograph on Rives BFK White, Edition of 40
image: 24 x 24"; paper size: 30 x 30"

Double X , 2001
Vitreograph on Rives BFK White, Edition of 40
imagee: 19.75 x 15.5"; paper size: 28 x 22.5"


Edition of 30
image: 24 x 19"; paper size: 30 x 22"

Through a Glass State
Edition of 14
image: 24 x 30"; paper size: 40 x 30"
Undulation-State II , 2001
Vitreograph on Rives BFK White, Edition of 20
image: 15.75 x 20"; paper size: 22.5 x 26.5"

00 Buckshot State III
Edition of 50
image: 19.75 x 15.75"; paper size: 30 x 22.5"
6 Birdshot State III
Edition of 50
image: 17.75 x 15.75"; paper size: 26 x 22.5"

The man called the father of the Studio Glass Movement was not at first a glass artist. After receiving a master of Fine Arts from Cranbrook Academy of Arts he embarked on the career of potter. Littleton received recognition for his work as a ceramicist in a national exhibition sponsored by the American Crafts Council at the First International Exposition of Ceramics in Cannes, France.

In 1959 he began to investigate the possibility of glass as a medium, and in 1960 had melted glass and cold-worked lumps of cullet. In the summer of 1962 the Toledo Museum of Art invited Littleton to lead a glassblowing workshop. It was in that seminar that Littleton introduced the idea that glass could be mixed and melted, blown and worked in the studio by the artist. Up to that time it was widely believed that glass objects could only be made in the highly structured, mass-produced world of the glass industry where the labor of making glass is divided between designers and skilled craftsmen.

That fall Littleton, who had been employed since 1951 as a ceramics teacher at the University of Wisconsin, began to offer glassblowing classes through the university at his farm outside Madison, Wisconsin. In 1963 he established a graduate course and glass studio at the university that attracted as students such well-known artists as Marvin Lipofsky and Dale Chihuly.

Museum recognition for Littleton's work in glass soon followed in the form of solo exhibitions at the Art Institute of Chicago (1963) and the Museum of Contemporary Crafts in New York (l964). His work has been collected by the Museum of Arts and Design, New York City; Cooper Hewitt National Museum of Design, Smithsonian Institution, New York; Corning Museum of Glass, New York; Detroit Institute of Art, Los Angeles County Museum, Metropolitan Museum of Art, New York; Museum of Modern Art, New York; Renwick Gallery and the Smithsonian Institution, Washington, DC among numerous others.

Littleton retired from teaching in 1976 to devote his time fully to his work. He moved to Spruce Pine, North Carolina, where he set up his glass studio and produced his most technically demanding and beautiful series of works: the sinuous "Lyrical Movement" and "Implied Movement" groups, "Descending" forms and exuberant "Crowns" composed of multiple soaring arcs.

* Prices are subject to change without notice.


Bennett Bean

William and Katherine Bernstein

Dale Chihuly

Shane Fero

Sergei Isupov

Herb Jackson

Richard Jolley

Stanlislav Libensky

Harvey K. Littleton

Peter Loewer

Tom Nakashima

Judith O'Rourke

Italio Scanga

Therman Statom

Claire VanVilet

Emilio Vedova

Dan Welden

Anne Wolff

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