On Patrol by Robert Warden

Flameworked Blacktip Reef Shark and two Spotted Eagle Rays cruising along the reef. Mounted on a base of finished burlwood.

Dimensions (in. WxHxD): 12 x 12 x 12

Making Lemonade from Lemons by Ian Chadwick

10" slumped kiln-formed square platter with 9 separate compositions produced by 8 class members and TA.

Dimensions (in. WxHxD): 10 x 10 x 2

East Liberty Sunrise by Annie Heisey

Painting of the spire of the East Liberty Presbyterian Church with the sun rising behind it. This painting was part of a larger series of Pittsburgh paintings entitled "Beautiful Day in the Burgh".

Dimensions (in. WxHxD): 8 x 8 x 0.75

Kiyomi Platter by Dan Buchanan

Powder printed glass, fused and slumped. "Powder Printing is an adaptation of screen printing techniques that replaces ink and paper with powdered glass and sheet glass. I begin by digitally manipulating images taken from the living world around me or from historical photos. Just like in traditional screen printing, each image is broken down into its constituent colors, screens are produced, and then placed above a layer of flat sheet glass. I create the image by forcing powdered colored glass through the screens onto the sheet glass, which becomes the canvas for the design. When fired in the kiln, the glass particles fuse together, and pieces can then be used as panels or set up over ceramic or metal forms and heated until they slump into a desired shape." -Dan Buchanan

Dimensions (in. WxHxD): 1 x 18 x 18

I Made A Valentine For My Dentist!!!!! by Naz Khoury

This lace heart was cut from a larger length of second-hand vintage linen and embedded into a sculpted clay base. From there, I built a mold and casted it with several pounds of 96COE frit in a kiln at 1550 degrees. It is one of a series of playful experiments, but unique in both its fluoride coloring and foamy texture-perfect for a toothpaste commercial. A collection piece for your bathroom, perhaps a small reminder to brush your teeth twice a day! Naz is also part of the Pittsburgh Glass Center community, as a Tech Apprentice, an educational program that gives emerging glass artists professional studio experience while supporting the development of their own artistic practices.

Dimensions (in. WxHxD): 1" x 6.5" x 9"

Earrings by Pattern Play Glass

Earrings, murrine, cold worked, wax finish. Pattern Play Glass is the studio & shop of Jordan Fine

"Using glass as the primary medium, my body of work is composed of visual patterns and juxtapositions--repetitive shapes, images, color relationships, size, texture--both organized and organic. It is my goal to create experiences and objects for people, viewers and wearers alike, that will grant them a tangible moment of playfulness, artfulness, and genuine joy." Fine is also part of the Pittsburgh Glass Center community as a Part-time Instructor.

Dimensions (in. WxHxD): 2 x 5.25

Pointilist Bowl by Kaeko Maehata

Hand blown glass piece with murrine technique. Kaeko Maehata has had a strong artistic instinct since she was a child. She started out drawing and creating with her hands, and continued to develop professionally as an artist at Kanazawa Art College in her native country of Japan.

The artist has experience painting, sculpting, sawing, weaving, beading, and much, much more. There is one art form, however, keeps Kaeko continuously captivated- glass. Kaeko has called herself a glass artist since 1992. "Glass is still a very exciting medium for me. I can discover something new every day with glass!" the artist shared. Kaeko's glass work includes beaded glass, fused glass, and blown glass. A variety of colors are included in these pieces, ensuring that each individual work of art is innately unique.

Dimensions (in. WxHxD): 5.75" x 5.5" x 5.5"

Pineapple Goblet by Sukayna El Hani

Traditional Venetian glass blowing techniques often use optic tools to apply texture on the glass. Taking inspiration of the pineapple mold, this piece was created using gold topaz and emerald green colors to make the ultimate pineapple goblet.

Dimensions (in. WxHxD): 3.7 x 8.5 x 3.7

Jade Pop Necklace by SaraBeth Post Eskuche

From the Ice Gem series, the Jade Pop Necklace is made of hollow borosilicate glass featuring soft facets that reflect light at every angle. Layer it over a basic t-shirt for a casual evening happy hour or with a tropical flowy sundress and a Pina colada. The hand-forged sterling silver clasp mimics the shape of the blown beads.

Dimensions (in. WxHxD): 1 x 1 x 24

Cirsium by Ellie Durham-Britton//Graphite Glassworks

Stained glass thistle, decorative soldering to make 3D thistle spears. About Graphite

The name Graphite Glassworks came to Ellie while trying to figure out how to represent their work in their name. Ellie loves drafting complex and precise geometric patterns using pencil, paper, and a good old-fashioned protractor, as well as incorporating natural geological materials such as agate slices into their pieces. Between their penchant for pencil drawings and their background in geology, Graphite felt like the best word to describe the combined elements of their work.

In both stained and fused glass, Ellie approaches the natural and the fantastical with an equal dose of whimsy and meticulousness. An instructor at the Pittsburgh Glass Center and emerging artist with the Craftsmen's Guild of Pittsburgh, their award-winning work is in conversation with environmental concerns such as global warming, invasive species, and climate resilience, as well as community organization and the universal tradition of oral folklore. Their pieces can be seen at various locations around Pittsburgh and have won awards at the 2024 and 2025 Delphi Art Glass Festivals, and their stained glass lantern, "Dusk," won Pittsburgh Glass Center's 2024 people's choice residency.

Dimensions (in. WxHxD): 12 x 18 x 0.5

**3rd Place, Artwork Valued Over $1k**

Concrete Cannon by Christopher Figueroa

This cast glass spray can was created to encapsulate the imagery I saw as a youth growing up in Los Angeles. Walking the streets of LA was like perusing a gallery of local artists every day, each indulging in painted imagery while employing their respective styles and techniques. Seeing these pieces as a child was my first exposure to art and my first spark of curiosity as a delinquent artist myself, so much so that I often regard my juvenile adventures tagging the city as my beginning in glass, over a decade before I found it. When I first started experimenting with cast glass as a glassblower, I knew I wanted to make a tribute to my beginnings in art, so I chose the tool from those beginnings as my focus. Glass flows and spreads, both akin to and yet wholly different from glass, so I wanted to enshrine that movement on the surface of the can, showing the similarities between the media. Concrete Cannon shows the unexpected first tool that informed my glass journey.

Dimensions (in. WxHxD): 7.5 x 2.5 x 2.5

Heater Vessel by Matt Kolbrener

Matt Kolbrener's Heater Vessel brings an industrial sensibility to blown glass, transforming a functional form into a striking sculptural object. The vessel's vivid yellow color gives the piece an energetic presence, while its tall, cylindrical shape and rhythmic surface pattern evoke the coils and machinery that inspire Kolbrener's work. Drawing from Detroit's post-industrial landscape, Kolbrener uses custom steel tools to shape and texture hot glass, creating pieces that feel at once rugged, contemporary, and refined.

Dimensions (in. WxHxD): 14 x 5 x 5

I Sea You by Pam Keen

Flameworked fish with antique beads and silver

Dimensions (in. WxHxD): 20 length; 2x3 pendant

Inspire (Cherry) by Percy Echols II

Engraved and Blown glass, with metal stand.

This was the first piece (2017) in the series called "Inspire', featuring blown glass lungs, which began as an exercise in drawing on glass using engraving and carving techniques. In creating the lungs, an effortless fluidity and breath are required to give it shape and form. To balance these efforts, like its namesake, I let the process be my inspiration. Each drawing starts with a series lines that wrap around the piece. These lines are then used as guides to create an evolving pattern when viewed from multiple perspectives. While Design is the focus of the work, the labor reveals something beautiful when we can peel away the outer layers and see what lies beneath.

photography provided by Nathan J Shaulis of Porter Loves

Dimensions (in. WxHxD): 16in x 6in x 6in

Beaded Pendant by Melaina Thompson

Small kiln-fused glass with flower motif surrounded by red and pink beads

Dimensions (in. WxHxD): 1.25 x 1.5 x 0.5

Cobalt Vase with Gold Leaf by Beyvan Schantz

A cobalt blue blown glass vase with applied gold leaf. Schantz is also part of the Pittsburgh Glass Center community as a Part-time Instructor.

Dimensions (in. WxHxD): 5 x 9.5 x 5

A New Hope: Boba Blue by Michael Janis

Cast glass bas relief, 8" x 8" x 2" A New Hope (Boba Blue) reimagines one of cinema's most ominous icons as something unexpectedly luminous, playful, and seductive. Cast in richly blue glass, the wall-mounted bas relief transforms the familiar Death Star imagery into an object of beauty -- less planet-destroying weapon than glowing retro-futurist artifact. Light moves through the dimensional surface, revealing shifting depth, subtle textures, and architectural detail embedded within the glass. Part of an ongoing pop-art collaboration with Chicago artist Tony Porto, the A New Hope series explores how cultural symbols can be reframed through material, color, and humor. Drawing loosely from the visual language of science-fiction relics and the iconic "frozen in carbonite" imagery of the Star Wars universe, the cast relief gives the object a preserved, almost excavated presence -- as though this symbol has been suspended in glass and rediscover

Dimensions (in. WxHxD): 8 x 8 x 2

Finding Maggie by Joseph Cavalieri

Hand painted, airbrushed kiln fired enamels on glass. solder. Black wooden frame. LED lights and plug.

Dimensions (in. WxHxD): 9 x 9 x 1.5

Blue Bolo Necklace by David Licata

Torch worked glass chain maille - borosilicate glass - blue sparkle.

Traditionally, Chain maille was used for protection by knights in battle but today it is mostly worn as jewelry. My work questions the idea of protection and finds beauty in the fragile forms. All of these works are created using torchworked borosilicate glass and various chain maille techniques. Experimenting with shapes, size and complex patterns allow for a diverse range of effects in light and shadow. Contradictions in strength and security are questioned with clear glass emitting strong and powerful shadows. Each piece is unique and changes with every installation or how it's worn on each individual.

Dimensions (in. WxHxD): 0.5 x 0.5 x 28

Foiled by Isaac Beachy

Cast glass sculpture. Made in a PGC class supported by a PGC scholarship.

Dimensions (in. WxHxD): 8 x 5 x 5

Pink & Blue by Sylvia Gray Altman

This playful flameworked soft glass bead necklace features a vibrant palette of translucent blue, soft pink, and white. Each bead is individually crafted with layered colors, dots, and organic patterns, creating a whimsical, dimensional piece that highlights the intricate possibilities of flameworking. Altman is also part of the Pittsburgh Glass Center community as a Studio Technician.

Dimensions (in. WxHxD): 1.5" x 4" x 1.5"

Technicolor Calvaria by Zac Gorell

This stunning piece was created using a copy of a real human skull as the base. Ornamentation was added and then a mold made. Initially the piece was cast with Bullseye Glass. Once it cooled the piece was then etched with acid and then coated with glass enamel paints. After the paints had dried the cast skull was heated back up in a kiln. When it reach the proper temp it was picked back up on a punty to be fired in a glory hole where any finishing touches were made.

Dimensions (in. WxHxD): 5 x 5 x 8

Moon and Stars by Priscilla Kar Yee Lo

Hot glass and digitally enhanced nontraditional pate de verre, in collaboration with Isaac Tecosky 2025

Breaking Patterns Series explores the intersection of cultural tradition, identity, and the pressures of conformity. Culture shape who we are and create patterns of behaviour that are hard to break. In this series, the interaction between hot and kiln-formed glass metaphorically represents the constant push and pull between identity, culture, and self-discovery. It creates moments of transformation, distortion, and fragility.

Dimensions (in. WxHxD): 7 x 15 x 18

Chalcedony Vase by Christopher N. Hofmann

Christopher Hofmann's Chalcedony Glass Vase showcases the mesmerizing color and movement of chalcedony glass, a technique that blends multiple colors and mineral oxides to create patterns reminiscent of natural stone. Hofmann combines this ancient glassmaking tradition with contemporary blown-glass forms, creating a vessel that feels both richly historic and distinctly modern.

Dimensions (in. WxHxD): 9.5" x 5.5" x 5.5"

Clear borosilicate glass vase by Tim Drier

Tim Drier has been a glassblower for 25 years, and applies his scientific glassblowing expertise to artistic flameworking. He concentrates on creating decanters, goblets, and vases.

Dimensions (in. WxHxD): 4x7.5

Co.Exist by Tali Grinshpan

Two circular panels hanged on a wall. Title: Co.Exist Year made: 2026 Technique: Pate de Verre, mixed media Materials: glass, botanicals, wood panels, acrylic Dimensions: 8"H x 8"W x 2"D

Dimensions (in. WxHxD): 2 x 8 x 8

Autumn Song by Leslie J Kaplan

Nine flameworked glass, light, thin disc beads with copper centers are layered and strung on a matching seed-beaded stainless steel cable. Loop clasp over another disc bead. Autumn colors- soft gold, olive green, amber, and metallic shades of brown and gold. The necklace is 20.5 inches long.

Dimensions (in. WxHxD): 0.25 x 2.5" x 20.5"

meadow waves by Jason Forck

Meadow Waves evokes the gentle movement and layered colors of a rural landscape. Blown and slumped glass form an organic wall-hung composition, with flowing contours that suggest grasses shifting in the breeze or the rolling surface of a meadow. Forck's work often draws on his upbringing in rural Kansas and his interest in the quiet beauty of the American landscape, using glass to create a sense of warmth, calm, and connection to place. Forck is also part of the Pittsburgh Glass Center community, having served as the Creative Director for twenty years!

Dimensions (in. WxHxD): 6" x 1" x 12"

Whiskey Mobius Vessel by Adam Kenney

The Whiskey Mobius Vessel is from a series of works that pays homage to the visionary Romanian sculptor Constantin Brancusi, whose minimalist forms and integration of materials have long inspired me. Brancusi challenges us to "not try to make materials speak our language; we must go with them to the point where others will understand their language." Like Brancusi, I strive to create harmony between mediums, merging them into singular, contemplative forms. These blown glass vessels, with their elevating bases turned from hardwoods and skins of silver foil, receive a subtly undulating lip created through engraving processes.

Dimensions (in. WxHxD): 8 x 9 x 8

...Do...Part... by Lauren Kalman

...Do...Part... originates from an action where blown glass is distorted through being held or hugged by the body. The jewelry is left behind with the vessel along with the impression of the body. Once the vessels are distorted, they are not altered; oxidation of the metal, folds in the glass, and textures are all locked in place. These objects are markers of a specific moment and relationship between the body, jewelry, and vessel. They solidify that moment, much like the void of a victim of Pompeii left in the ash. In the glass vessels the body pulls away, but copper jewelry remains, with the face of the jewelry embedded in the clay and glass and the inside or back visible to the viewer. A bracelet that was around the wrist as the vessel was held is partially embedded in the surface with the remainder dangling off the side. An earring is pressed into the surface surrounded by the imprint of an absent ear.

Dimensions (in. WxHxD): 10 x 15 x 10

**1st Place Winner, People's Choice**

I Open My Heart by Art By Armani

"I Open My Heart" is an exploration of self love and sacrifice. Featuring different stained glass layering techniques and enmel paint to add depth shown in the mushrooms and ladybugs that inhabit this piece. This piece comes straight from the heart, it is a full oepning of the jewelry box that is ourselves. I encourage you to listen to the song that encourages this piece: "Open my heart" by Sweet Boy.

Dimensions (in. WxHxD): 16.5 x 24 x 16.5

Cerise Vase with Blue Cane by Rachael Strittmatter

Cerise vase with blue line work using the cane process/technique. Rachael Strittmatter is also part of the Pittsburgh Glass Center community, having served as a Tech Apprentice, an educational program that gives emerging glass artists professional studio experience while supporting the development of their own artistic practices. Strimatter is now the Groups and Events Coordinator at PGC.

Dimensions (in. WxHxD): 8x8x11

Beetle Cabochon by Michael "Fig" Mangiafico

borosilicate glass Red Beetle encased on a whilte millifiori background - millifiori cane and beetle components flameworked at the torch, fused into microwave kiln, then polished

Dimensions (in. WxHxD): 2.25 x 0.5 x 2.25

Rainbow Sky (I wish) by Chiara Lutz

Enameled and kilnformed glass tray. Lutz is also part of the Pittsburgh Glass Center community, as a Tech Apprentice, an educational program that gives emerging glass artists professional studio experience while supporting the development of their own artistic practices.

Dimensions (in. WxHxD): 4 x 2 x 10

What the hand see's by Saburo

Ruber hose style scultpure; black, white, & red

Dimensions (in. WxHxD): 1.5 x 3 x 4.5

Rainbow Wig Wag by Olivia Ruth

Rainbow Wig Wag Vase is a vibrant celebration of color and pattern. Swirling ribbons of bright hues create the playful "wig wag" effect across the blown glass form, giving the vase energy and movement from every angle. As a current Technical Apprentice at Pittsburgh Glass Center, Ruth is building her skills and studio practice while contributing to the daily life of PGC's studios. This colorful piece offers a glimpse into the creativity of an emerging glass artist.

Dimensions (in. WxHxD): 6.5 x 9.25 x 6.5

"Starscope" by Wesley Bull

Glass blown kaleidoscope with a sculpted glass marble and copper enamel face.

Dimensions (in. WxHxD): 8 x 2 x 2

Shattered, Still Beating by Libby's Tree

A vibrant cobalt heart appears caught between creation and collapse. One side remains whole and resilient, while the other eruates into a cloud of fractured glass, suspended in motion as if time itself has paused. Flecks of green emerge among the blue fragments, suggesting growth, healing, and life within the chaos.

Shattered, Still Beating explores the paradox of heartbreak and resilience, the way loss can scatter pieces of us without extinguishing our capacity to love, hope, and endure. The transparent glass allows light to pass through the work, reminding viewers that even in moments of fracture, beauty and strength can emerge from what remains.

"Not every broken heart stops beating. Some transform into something even more powerful."

Dimensions (in. WxHxD): 9 x 9 x 1

Gari by Roswell McNutt

Sculpted, hot glass monster. Yellow with orange polkadots and horns with a green machine warp. Nicknamed Gari for his "garish" colors. Rosewell is also part of the Pittsburgh Glass Center community, having served as a Tech Apprentice, and now the Renter Relations + Fab Lab Coordinator at PGC.

Dimensions (in. WxHxD): 10x8x10

Copper Sphinx by Terry Henry

Electroformed moth specimen, lampworked and blown glass abdomen, dichroic glass accents and cubic zirconium eyes. This may be worn as a stick pin.

Dimensions (in. WxHxD): 3 x 0.75 x 4.5

After and Before by Courtney Tanner

"After and Before" is a series of candlestick holders created through the lost wax kiln casing process. Wax is cleaned and reclaimed from previous sculptures, melted, dripped, encased in plaster, and melted out once again before the negative space is filled with molten glass. The wax melted from the plaster mold is then reclaimed and used once again to create the next piece. The wax used to create these works lives in a perpetual cycle of being melted, shaped, and cleaned before it is casted and preserved in glass. Moments otherwise fleeting, now immortalized in a static state. When a new candlestick is placed in the holder and lit, new wax drips onto and interacts with the glass drips below.

Dimensions (in. WxHxD): 3 x 2.5 x 2.5

Doppler Shift by Drue Miller / Iris Fire Glass

Fused dichroic glass, leather, sterling silver

Dimensions (in. WxHxD): 2 x 1.5 x 16" chain

Flame Worthy by Thick Slice Studios

Hollow Boro Candle w/ opal embeded in flame

Dimensions (in. WxHxD): 0.25 x 2 x 0.25

Hanging Flower by Haley Lindberg

Flameworked blue and white flower set in a clear glass frame with colored accents. The frame is mounted in an offset shadowbox for easy display.

Dimensions (in. WxHxD): 18 x 4 x 18

"what is love" wand by Sherry Wang

An enchanting flameworked borosilicate glass wand

Dimensions (in. WxHxD): 4 x 2 x 15

**3rd Place, Artwork Valued Under $1k**

90's Punk by Rose Glass Art - Angela McHale

Zenon/Krypton plasma vessel with liberty spikes

Dimensions (in. WxHxD): 7x8x3

Poppy Bottle by John Geci + Justin Rothshank

Decal encased blown glass form by John Geci. Glass surface decal decoration and design by Justin Rothshank

Dimensions (in. WxHxD): 7 x 18 x 4

Yellowfin Tuna by deb crowley

Flameworked Yellowfin tuna chasing school of fish with mangenita base

Dimensions (in. WxHxD): 6 x 8 x 3

Sparkle Earrings by Sarah Cohen

A glittery galaxy! Put these sparkly earrings in your orbit. Sterling silver ear wires.

Dimensions (in. WxHxD): 0.5 x 0.5 x 0.5

Turning - Essence of Light Series by Margot Dermody

"Turning" is a solid hot-sculpted glass and marble sculpture inspired by movement, light, and presence. A flowing rich magenta glass form rises from a white marble base, revealing changing reflections and subtle shifts in form as the viewer moves around it. Elegant and balanced, the sculpture invites a quiet moment of reflection.

Dimensions (in. WxHxD): 10 inches x 7 inches x 7 inches

Practical Nesting Cloches by Lauren Allen; Center for PostNatural History

Two practical nesting cloches, handmade in Pittsburgh Glass Center's hot shop. These cloches feature the emblem of the Center for PostNatural History, where it is well-understood that anything can be made important and special by putting it under a hand-blown glass dome: double the domes = double the importance! Special thanks to superior assistants Sylvia Altman and Stuart Anderson.

Dimensions (in. WxHxD): 4.25 x 6 x 4.25

Pyrausta Purpuralis by Frankie Mulheran

Pyrausta Purpuralis is the latest work in my series of stained glass moth specimens.

Dimensions (in. WxHxD): 9 x 7 x 1

Single Flower - Welcome Spring by Headtriiip Glass

Flame worked borosilicate. Petals are all amber purplse, stem with three leaves are chinese emerald green.

Dimensions (in. WxHxD): 3 x 6 x

Clear Borosilicate Glass by Tim Drier

Scientific glass techniques to bar glassware. Tim Drier has been a glassblower for 25 years, and applies his scientific glassblowing expertise to artistic flameworking. He concentrates on creating decanters, goblets, and vases.

Dimensions (in. WxHxD): 5x9

Gilded Monarch Butterfly by Sarah Cohen

A monarch butterfly's wing on gold leaf highlights beautiful natural patterns, magnified by the glass lenses. Stainless steel chain.

Dimensions (in. WxHxD): 1.5 x 1 x 1

Invisible Art by Wade Kramm

Invisible Art #3

Invisible Art #3 transforms an ordinary picture frame into cast glass. By rendering this familiar object transparent, the work shifts attention from the frame to the surrounding wall, allowing the architecture of the gallery to become an active participant in the piece. The work continues my exploration of how subtle architectural interventions can recalibrate perception, drawing attention not only to the physical space but also to an awareness of the personal and cultural frameworks that shape our experience.

Dimensions (in. WxHxD): 14.75 x 1 x 12

P-51 Mustang by Travis Rohrbaugh

The artwork is assembled waterjet cut plate glass.

Dimensions (in. WxHxD): 5 x 10 x 9

Flight by Janet Hayes

A fused glass pendant with a sterling silver bail and sterling silver 18" chain. Luminous iridescent glass is enhanced with bold angled stringers and beveled edges. The nearly abstract geometric design suggests a bird in flight.

Dimensions (in. WxHxD): 1.25" x 1.5" x 18"

Malfatti Glass Beverage Set by Jill Reynolds & Dan Spitzer

Our Beverage Set features a Decanter and four Medium glasses, perfect for a family dinner or get-together on the patio. The Decanter can hold 34 ounces while each Medium glass holds about 10 ounces. Packed in a deluxe gift box.

Malfatti Glass was created by the Ten Willow Studio creative team of Daniel Spitzer, glassblower and former Dale Chihuly crew member, and Jill Reynolds, an award-winning visual artist known for her innovative use of flameworked glass. Every piece of Malfatti glassware is made by us in our studio in Beacon, NY, of flameworked borosilicate glass, and are dishwasher-safe and thermal shock-resistant.

Dimensions (in. WxHxD): 9 x 9 x 9

Stacked Diamond Hoop Drop Earrings in Green Tea Tint Glass by Broken Plates

Digitally designed, waterjet cut glass, coldworked, polished, fused and laminated together to form two 3-dimensional glass forms. Sterling Silver posts are embedded into one while the second is suspended from a sterling silver chain.

Dimensions (in. WxHxD): 5.5 x 3.5 x n/aa

Dog Boy by Alex Neal (Cosmik Jest)

This whimsical stained-glass hanging features an abstract figure composed by layered green, teal, and pale blue glass framed by dark gray solder lines. Playful facial details, a small heart, and geometric shapes add personality to the composition, while the varied textures and translucent glass create depth and visual interest. Glass, enamel, lead, solder. Al is also part of the Pittsburgh Glass Center community, as an Instructor and Kiln Studio Assistant.

Dimensions (in. WxHxD): 0.25 x 11.5 x 8.5

Double Ombre Platter by Nate Cotterman

Nate Cotterman's Double Ombre Platter explores the beauty of color in transition, blending two tones across a broad, flattened glass form. The platter's soft gradient creates a sense of depth and movement while showcasing the fluidity of handblown glass. Cotterman uses traditional Venetian glassblowing techniques to create contemporary forms that are both functional and sculptural.

Dimensions (in. WxHxD): 18 x 18 x 5

Blown Flameworked Vase (sandblasted) by Caitlin Dolhi

Borosilicate flameworked flowers, stems, and vines in green, white, and red

Dimensions (in. WxHxD): 3 x 11 x 3

Large Green Vase with Green Baubles by Gayle Foreman // Forman Function

An avid fan of frozen treats, I gravitate toward things that melt, spill, and generally make a mess. A self-proclaimed absurdist, I found my practice on imagination and play, sifting through frivolous and foolish events of daily life seeking moments of "eureka." I search for moments of "wiggle", when materials move beyond their boundaries. Though these fascinations take shape in a myriad of media, my research is informed by the material possibilities that glass provides. If glass can be s t r e t c h y and gooey then splinter in the following instant, perhaps foam could shatter or cardboard could inflate.

First encountering glass during high school at the Pittsburgh Glass Center, I received my BFA in Glass from the Rhode Island School of Design in 2014. Since then, I've continued to hone my expertise through professional work as an artist, educator, administrator, and fabricator. In 2019, I was a Fulbright U.S. Study & Research grantee in Sao Paulo, Brazil, researching gambiarra, a practice of creative and makeshift material reuse. This experience impacted my thinking and how I can further explore the experiences of daily life and the inevitable materials we use to construct it. Glass is a ubiquitous material, understood on some level by everyone, and I see this understanding begin to change when someone sees glass in its molten state. That moment of transformation or surprise is something that I attempt to capture throughout my work. From interaction and activation emerge fantastic new functions for ordinary objects or materials.

Dimensions (in. WxHxD): 10x8x8

Untitled by Camp Copeland Studio

Kilnformed glass bowl with powder printed design in black glass powder

Dimensions (in. WxHxD): 11.5 x 1.25 x 11.5

Maple Trinket Dish by Blue Hyacinth Mosaics, LLC.

Frit cast maple leaf fused into a blue background and slumped

Dimensions (in. WxHxD): 6 x 1 x 6

to figure out how the brain functions by Alyssa Kail

Stained glass, nuno felted merino wool and hand painted silk organza

Dimensions (in. WxHxD): 15.5 x 21.25 x 0.5

Objects of my Affection by Megan Shalonis

This piece is a functional stained glass ashtray, a glashtray if you will. All made of lead free solder including the iridescent glass cigarette that is movable and can be picked up for interaction. Definitely a conversation piece for entertaining or enjoyed by someone that appreciates vintage ashtrays.

Dimensions (in. WxHxD): 3 x 7 x 7

Elongated Deco Diamond Posts in Dark Lagoon by Broken Plates

Blown Glass that is waterjet cut into shape and polished. A sterling silver post is then inserted into the glass to form these blown glass posts.

Dimensions (in. WxHxD): 2.125 x 1.2 x n/a

Double/Single Salt Cellar Dish Set by Morgan Gilbreath

Salt cellar dish set - cast from recycled glass & faceted/coldworked. Set of two pieces: 1 single dish and 1 double dish in yellow, magenta color mix.

Dimensions (in. WxHxD): 2.5 x 1 x 5

Reliquary of the Fragile Wings by Prasch Glass

Lampworked glass + feathers. Birds rely on predictable seasonal patterns to breed, feed, and survive. As climate change disrupts these patterns, it threatens the survival of bird populations and the ecosystems they support.

Dimensions (in. WxHxD): 3 x 18 x 3

Magpie Skull by Leo Fine

Black, white, blue striped bird skull. Fine is also part of the Pittsburgh Glass Center community, having served as the Senior Tech Apprentice.

Dimensions (in. WxHxD): 17 x 6 x 4.5

Study #3 by Sandra Bacchi

Study #3 is one of the first works in an ongoing investigation into a new body of work. While complete as a sculptural piece, it marks the beginning of a larger exploration.

Study #3 investigate how invisible forces-such as time, tension, and perception-can leave a visible trace through form. The work gives physical presence to these intangible forces, allowing shape to become a record of what cannot be seen and inviting viewers to consider time not as something measured, but as something felt.

Dimensions (in. WxHxD): 4 x 13 x 13

A Thought of Ettore by Alyssa Oxley

Kilnformed square box with grommet and plinth, in mostly grays

Dimensions (in. WxHxD): 9 x 2.5 x 9

switch axis cane vase by Jason Forck & Josh Messmer

Blown glass, cane

Dimensions (in. WxHxD): 5.5x8x3

Deco Dagger Post in Indigo by Broken Plates

Blown glass, waterjet cut into shape and then polished. A sterling silver post is inserted into the finished earrings.

Dimensions (in. WxHxD): 2.5 x 1.5 x n/a

Tall Iridescent bottle by Brenden Roumaya

Blown glass, kugler silver orange

Dimensions (in. WxHxD): 5 x 5 x 5

Aquatics #6 Class Colab by deb crowley

Students and Instructors of Aquatics #6: Game on! Summer Intensive class at PGC. Squadron of baby manta rays on manganita base

Dimensions (in. WxHxD): 5 x 7 x 4

Garlic Klein by Lydia Leung

Flameworked borosilicate glass garlic sculpture within mathematical model known as Klein bottle.

Leung's work merges scientific technique with botanical sculpture, encouraging the viewer to conceptually explore their own relation to space, movement, kingdom plantae, and the cyclical nature of life as the eye follows the lines of the form, bridging specialisations within the discipline of flameworking.

Dimensions (in. WxHxD): 6 x 3 x 3

Full Circle 2, Circling Back by LaVerne Kemp

This fiber art work is one of my "Tree Series" sculptures. Many of my hanging artworks have multiple layers like a quilt I have been designing large and small scale trees since college in 1978. My love of nature goes back to my upbringing in Cecil Pennsylvania Many boring days were filled with walks in the country enjoying nature , picking flowers and running from cows! This design includes Quilting, Dying, Hand made felt, Wrapping, Embroidery and beadwork, some of which were made during time spent at Pittsburgh Glass Center. I enjoy embellishing my work with found objects, and hand made glass and ceramic beads. Although I am a weaver by trade I also enjoy quilting since you dont actually have to make the fabricsuch as in weaving.

Dimensions (in. WxHxD): 23 x 1 x 31

Untitled by Paul Wissmach Glass Company

This object is a kilnformed glass bowl made with Wissmach COE96 fusible glass. Two layers of glass are fused together to make the object. The bottom layer is a single circle of green glass and the top is comprised of pieces of glass that were cut to fit together to create the design.

Dimensions (in. WxHxD): 1.25 x 12 x 12

Rainbow Heart Necklace by Janna Young/ Beautiful Bird Studio

Rainbow colored, heart shaped, fused glass pendant on a satin necklace cord.

Dimensions (in. WxHxD): 1.75 in x 1.5 in x 24 in cord

**2nd Place, Artwork Valued Over $1k**

The Found Specimen by Lindsy Marshall

The Found Specimen is an installation that highlights the connection between glass and geological transitions. The Found Specimen aims to focus on the changes within minerals and materials that create slow differences within shape, form, and appearance due to elemental shifts to show how important time and pressures are. This sculpture is created with both blown and kiln formed techniques and uses mica and enamels. I blown certain shapes to then use heat and time to create a movement within the finished piece.

Dimensions (in. WxHxD): 36 x 20 x 12

Lily of the Valley by Lisa Demagall

Flameworked borosilicate, wooden base

Dimensions (in. WxHxD): 4 x 11 x 8

Plasma Dog by Amy Lemaire and Percy Echols II

Capacitive lit plasma sculpture.

Dimensions (in. WxHxD): 5.5 x 5.5 x 10.5

Yellow Fort by Seth Clark

paper collage, charcoal, pastel, graphite, acrylic on wood, framed

Dimensions (in. WxHxD): 17 x 21 x 1

Rose Petal by Sarah Cohen

A real pink rose petal resting between 2 glass lenses magnifies the natural veining in the petal for you to discover.

Dimensions (in. WxHxD): 1 x 1 x 1

Blue Links by Eliza Pratt

Flamedworked borosilicate and metalworked sterling silver

Dimensions (in. WxHxD): 2" x 2.5" x 1"

Carrie Furnace Markings: Danger by Dan Buchanan

Powder printed, fused glass, wall mounted with French cleat

Dimensions (in. WxHxD): .125 x 18 x 18

Herb Vases by matt eskuche

Herb vases are flameworked borosilicate used to store extra herbs cut fresh from the garden.

Dimensions (in. WxHxD): 6 x 4 x 0

Dichroic Pendant by Janna Young/ Beautiful Bird Studio

Fused glass pendant made from a collage of dichroic glass. Bail and chain are silver plated.

Dimensions (in. WxHxD): 2 in x .75 in x 18 in chain

Penn Avenue (PA) by Josefina Munoz Torres

Handpainted and Kilnworked glass

Dimensions (in. WxHxD): 7 x 20 x 0.25

5 dimensional grapes (earrings) by Sherry Wang

These earrings by Sherry Wang feature clusters of clear, rounded glass forms suspended from silver-toned hoops. Their playful, organic arrangement evokes a small bunch of grapes, while the transparent glass catches and reflects the light. Lighthearted and sculptural, these wearable works combine delicate craftsmanship with a whimsical, contemporary aesthetic.

Dimensions (in. WxHxD): 1x1x1

Goblets by Boyd Sugiki

Two goblets in transparent olive, purple, amber and turquoise. Handblown glass.

Jar with Textured Surface by Sharif Bey

This commanding vessel brings the visual language of acclaimed Pittsburgh-born artist Sharif Bey into a richly textured, architectural form. Its rounded silhouette is covered with repeated geometric impressions, while an earthy palette and weathered surface give the work the presence of an object that might be simultaneously ancient and contemporary.

Bey is internationally recognized for work exploring identity, adornment, ritual, and the visual traditions of Africa and Oceania. A formative apprenticeship at Pittsburgh's Manchester Craftsmen's Guild launched a career that has included a Fulbright Scholarship, a United States Artists Fellowship, and works entering collections including the Smithsonian American Art Museum, Carnegie Museum of Art, Dallas Museum of Art, and Hirshhorn Museum.

Bey has also had a long relationship with Pittsburgh Glass Center, where his explorations in clay have expanded into glass. A powerful work by an artist whose Pittsburgh roots have grown into an international career.

Dimensions (in. WxHxD): 9 x 11 x 9

Self Reflection by Zachary Layhew

At first glance, Self Reflection appears spare and elegant: a beautifully proportioned transparent vessel crowned by a dramatic black stopper. Look again and a second black form descends inside the vessel, creating a striking dialogue between exterior and interior, object and reflection.

Pittsburgh-born Zachary Layhew began working with glass at just 14 years old through Pittsburgh Glass Center's Teen Boot Camp. Today, he is an accomplished artist and instructor whose technically ambitious practice combines glassblowing, coldworking, reheating, and assembly. Inspired in part by Baroque art and Cubism, Layhew uses line, pattern, depth, and dimensionality to create work that rewards close looking.

There is a particularly wonderful full-circle story here: a teenager who discovered glass at PGC is now contributing sophisticated work of his own to support the place where his career began.

Dimensions (in. WxHxD): 12 x 30 x 12

Yellow/gray symmetrical composition by Ian Chadwick

Precision becomes hypnotic in Ian Chadwick's Yellow/Gray Symmetrical Composition. Constructed from deconstructed striped stringer sheets, this kiln-formed vessel radiates outward in an intricate geometry of yellow, black, white, and gray. The pattern seems to shift between Art Deco architecture, Op Art, and a kaleidoscope frozen at exactly the right instant.

Born on the Isle of Wight and trained in fine art and sculpture, Chadwick has long been fascinated by geometry and symmetry. After working in stained glass, he taught himself glass fusing and kiln-forming, eventually developing the meticulous pattern-based vocabulary for which he is known.

The technical control behind this work is remarkable, but its immediate pleasure is simple: your eye cannot stop moving through it. Place it where the light can reach it and this compact object becomes an entire visual environment.

Dimensions (in. WxHxD): 10 x 10 x 1.5

Gold Square by Henry Halem

A tiny gold square glows at the center of Henry Halem's Gold Square, surrounded by successive fields of gray, brilliant red, black, and a vigorously scratched surface. The composition is deceptively simple: part painting, part glass object, and part meditation on color, texture, and precious material.

Halem occupies an important place in the history of American studio glass. He studied with Harvey Littleton at the University of Wisconsin, founded the glass program at Kent State University, taught there for 29 years, and was a founder -- and the first president -- of the Glass Art Society. Generations of artists know him not only through his artwork, but also through his influential teaching and writing.

For PGC collectors, there is another connection: Halem was honored at one of Pittsburgh Glass Center's earliest Meltdown events. This is a chance to own a work by someone who helped build the field itself.

Dimensions (in. WxHxD): 16 x 16 x 2

Glass Art Society Conference demonstration piece by Kaeko Maehata, Jessie Oblon, Aya Oki, Corey Pemberton, Evan Seeling, & Sam Stang

This exuberant vessel is more than a beautiful example of murrini glass -- it is a tangible record of glassmaking as a collaborative art form. Created during the 2026 Glass Art Society celebration at Corning, the piece brings together Jessie Oblon, Kaeko Oblon, Aya Oki, Corey Pemberton, Evan Seeling, and master glassblower Sam Stang.

Bands of vivid yellow and pink shine, their repeated patterns transformed as the glass was heated, stretched, gathered, and blown. Murrini begins with patterned glass rods that are sliced into cross-sections, assembled, reheated, and incorporated into a new object -- a process demanding extraordinary planning and teamwork.

Stang has spent decades refining traditional European glassblowing techniques and is especially admired for his murrini work. Here, however, the real magic is collective: six artists, one hot shop, and one object carrying the energy of a live glassmaking celebration.

Dimensions (in. WxHxD): 10 x 17 x 10

Glamour Legs Girdle by Susan Taylor Glasgow

Susan Taylor Glasgow transforms one of fashion history's most restrictive undergarments into something simultaneously delicate, witty, beautiful, and impossible to wear. Glamour Legs Girdle combines translucent blue glass, corset-like black detailing, floral imagery, and even garter straps in a wall-mounted sculpture from her celebrated Glamour Legs series.

Before becoming a glass artist, Taylor Glasgow worked as a seamstress. She later developed an ingenious process of fusing and shaping thin glass panels and then literally stitching them together. Her work frequently borrows the visual language of 1950s domesticity and femininity to examine expectations placed upon women. The contradiction is irresistible: a material we think of as rigid and breakable behaves like fabric, while an intimate garment becomes sculpture.

Clever, beautifully crafted, and unmistakably Susan Taylor Glasgow, this is a piece people will want to talk about.

Dimensions (in. WxHxD): 2" x 12" x 16"

Iridescent Bowl Entity 2411 by Katherine Gray

What color is this bowl? The answer changes every time you move. Katherine Gray's Iridescent Bowl Entity 2411 shifts through rose, violet, blue, gold, and green as light travels across its velvety surface. The restrained form allows the extraordinary optical effect to become the subject of the work itself.

Gray is an internationally respected artist, educator, curator, and writer whose work explores glass as a material that is at once ubiquitous and almost invisible. She is a Fellow of the American Craft Council, recipient of Pilchuck Glass School's Libensky-Brychtova Award, and familiar to millions of viewers as the Resident Evaluator on Netflix's Blown Away.

And here is the best fun fact: the iridescent coating Gray uses employs technology originally developed for NASA spacecraft windows. She loves that this space-age process mimics the shimmering surfaces found on ancient glass buried for thousands of years -- past and future meeting in one luminous object.

Dimensions (in. WxHxD): 10 x 5 x 13

Murrine Form by Hayden Wilson

Hayden Wilson's Murrine Form turns pattern into sculpture. Black blocks float within a dense network of fine gray lines and flashes of deep amber, while horizontal carving breaks the vessel's surface into subtly shifting bands. The closer you look, the more complicated the structure becomes.

Wilson is a second-generation glass artist based in Western North Carolina who grew up immersed in the glass community. His practice ranges from tableware and lighting to one-of-a-kind sculptural vessels, combining deep technical knowledge with an unusually broad approach to design. Murrine is among glassmaking's most demanding pattern techniques: colored glass is assembled into rods, stretched, sliced to reveal a cross-sectional design, and then recombined into a larger work. In Wilson's hands, that centuries-old vocabulary feels distinctly contemporary -- graphic, architectural, and tactile.

Dimensions (in. WxHxD): 9 x 19 x 4

Cane Platter by Adam Holtzinger

Sometimes virtuosity whispers. Adam Holtzinger's Cane Platter is almost entirely clear, yet fine white lines spiral concentrically through the broad form, gathering into a mesmerizing vortex at its center.

Holtzinger is a Brooklyn-based artist, designer, teacher, and one of the most accomplished technical glassmakers working today. A graduate of the Cleveland Institute of Art, he co-founded KEEP Brooklyn and has produced work for leading artists, designers, architects, and museums while maintaining his own artistic practice. He has taught internationally at institutions including Pilchuck, Penland, Aalto University, the Corning Museum of Glass, and Pittsburgh Glass Center.

The restraint of this platter is precisely what makes it so impressive. Its elegant spiral records the movement of molten glass itself -- an object that appears quiet from across the room and astonishing when you come close.

Dimensions (in. WxHxD): 17 x 4 x 15

**1st Place, Artwork Valued Over $1k**

Guiro Bottle Pair by Eric DePan

Eric DePan's Guiro Bottle Pair combines sophisticated layered color with rhythmic carving inspired by the ridged percussion instrument of the same name. DePan first builds layers of color through a demanding "stuff-cup" glassblowing process, blows each vessel to form, and then moves to the carving lathe, cutting repeated grooves across the surface. Those cuts reveal buried colors while also creating a tactile, potentially percussive surface.

Born in Houston, DePan pursued glass through programs at Penland, Haystack, and the Corning Museum of Glass, followed by work experiences that took him from Alaska to Murano, Toyama, Japan, and Sam Stang's Augusta Glass Studio. The pair is particularly satisfying together: related but not identical, one dark and compact, the other elongated and olive green. They turn rhythm, repetition, color, texture -- and even the idea of sound -- into sculpture.

Dimensions (in. WxHxD): 17/12 x 5 x 5

El Angel by Robert Mickelsen

Robert Mickelsen has spent more than 50 years pushing flameworked glass into territory few artists imagined possible. El Angel shows that restless experimentation continuing into the digital age. The sculpture was first designed virtually in Blender, the 3-D modeling and animation program, and only afterward translated into lampworked borosilicate glass. Mickelsen is very clear about one contemporary detail: no AI was used in either the digital design or the making of the glass sculpture. The resulting object feels wonderfully otherworldly. Turquoise tendrils rise and curl around a central body punctuated with white spheres, while multiple pairs of brilliant white wings transform the structure into a fantastical mechanical angel.

Mickelsen's work is represented in major collections including the Smithsonian's Renwick Gallery, Corning Museum of Glass, Carnegie Museum of Art, and Museum of Arts and Design. For longtime PGC supporters, he is also family: Mickelsen was an Art on Fire honoree in 2010.

Dimensions (in. WxHxD): 7 x 12 x 7

High Volume by John Miller

John Miller believes more can definitely be more. High Volume takes the elegant proportions of the traditional Venetian goblet and turns the volume all the way up. A generous transparent ruby cup balances above a bulbous pink knop, a vivid purple stem, and a broad matching foot. At this scale, an object associated with the dinner table becomes architecture.

Miller is famous for dramatically oversized blown-glass sculptures inspired by American popular culture -- giant goblets, hamburgers, French fries, donuts, and fountain drinks. His work combines formidable hot-shop skill with the wit and exuberance of Pop Art. He has exhibited internationally, spent decades teaching and working at Pilchuck Glass School, and is represented in collections including the Corning Museum of Glass, Museum of Arts and Design, and Museum of Glass.

It is impossible to look at High Volume without smiling -- which is exactly the point. This is serious glassmaking that refuses to take itself too seriously.

Dimensions (in. WxHxD): 14 x 32 x 14

Notch 15 #12 by Giles Bettison

At first glance, Notch 15 #12 might suggest woven cloth or basketry, but it is, remarkably, glass.

Australian artist Giles Bettison is one of the contemporary masters of murrini, the ancient Venetian process of creating patterned cross-sections in glass. While still a student at Canberra School of Art, Bettison began adapting the technique using strips of colored sheet glass rather than traditional cane, helping create the textile-like visual language that has become his signature. In this vessel, hundreds of precisely organized elements form a dense black-and-gray lattice animated by flashes of red. Subtle notches carved around the silhouette interrupt the regular pattern and give the form a tactile rhythm.

Bettison's work belongs to major museum collections around the world, and his influence on contemporary patterned glass is difficult to overstate. This is a museum- caliber example of a technique he helped reinvent.

Dimensions (in. WxHxD): 10.5 x 5.25 x 5.25

Murrini Stack by Nick Mount

A stack of three colorful cylinders seems precariously balanced in Nick Mount's Murrini Stack, but beneath its playful personality lies nearly five decades of glassmaking mastery.

Mount is one of the foundational figures of Australian studio glass. Introduced to the medium in the early 1970s, he and his partner Pauline established Victoria's first private hot-glass studio and helped build an Australian glass movement with international reach. His work draws deeply from Venetian traditions while remaining witty, idiosyncratic, and unmistakably his own. Here, three individually patterned forms -- amber and yellow, smoky gray and white, and warm brown and white -- lean and balance like an abstract totem. The repeated murrini patterns create visual continuity while each section retains its own personality.

There is also a special PGC connection: Mount was Pittsburgh Glass Center's 2025 Art on Fire Honorary Artist. For anyone who celebrated with us last year, this piece carries a little extra history.

Northlands Platter by Amanda Simmons

Amanda Simmons doesn't simply shape glass in the kiln -- she collaborates with gravity. In Northlands Platter, hundreds of tiny marks spiral outward from the center in rings of yellow, gray, black, and white. The broad, softly undulating form feels simultaneously geological, botanical, and topographical: a cross-section of a tree, ripples across water, or an aerial view of cultivated land.

The Scotland-based artist works primarily with glass powders, carefully controlling mass, heat, color, and time so that the material stretches and changes translucency as it moves in the kiln. After firing, she uses extensive coldworking -- including sandblasting, hand lapping, and engraving -- to refine the finished object. Simmons has exhibited internationally at venues including Collect, SOFA Chicago, Bellevue Arts Museum, Bullseye Projects, London Glassblowing, and Pittsburgh Glass Center.

This is a work that changes with illumination and viewing angle. Give it light and space, and its intricate surface seems to begin moving again.

Dimensions (in. WxHxD): 21 x 2 x 17

Architectural Series -- House by Judi Elliot

Australian glass pioneer Judi Elliott has spent decades demonstrating how color, pattern, architecture, and landscape can be distilled into glass. This wall-mounted work is quintessential Elliott: an intensely saturated blue field surrounds a compact, house-like arrangement of vivid reds, yellows, purples, greens, white, and black. Its corrugated edge gives the glass an unexpected textile or architectural quality.

Born in 1934, Elliott has been an important figure in Australian contemporary glass and an influential model for generations of women artists. Her work is held in major Australian collections including the National Gallery of Victoria. The timing of this auction makes the piece especially meaningful: in 2026, Wagga Wagga Art Gallery is presenting Look Straight Ahead, a major exhibition celebrating Elliott's career and her lasting influence on Australian glass.

Bold enough to animate a room yet compact enough to live easily on a wall, this is an opportunity to collect a genuine piece of contemporary glass history.

Dimensions (in. WxHxD): 20 x 20 x 1

Love Bird from the Diamond Cut Series by Richard Royal

Richard Royal's Love Bird appears caught in motion. Dark glass sweeps forward into a beak-like point while a series of dramatic cuts opens the surface to reveal layers of pale blue, white, pink, and violet hidden within. Royal conceived his Diamond Cut Series as a metaphor for self-exploration. Multiple colors are layered one over another to create a vessel -- the "self" -- and a diamond saw is then used to cut through the exterior. Like the rings revealed inside a tree, those openings expose what had previously been invisible. Over time, Royal says, the series has evolved toward joy, spontaneity, and a greater integration of the inner and outer self.

Royal began at Pilchuck Glass School in 1978 and later became one of Dale Chihuly's principal assistants before establishing an internationally recognized practice of his own. PGC audiences may remember him as our 2017 Art on Fire Honorary Artist. This is Royal at his most sculptural, elegant, and exuberant.

Dimensions (in. WxHxD): 11.5" x 8" x 13"

Awaiting Spring - Pale Blue by Emma Varga

Emma Varga creates images inside glass. In Awaiting Spring -- Pale Blue, dozens of delicate blue and violet blossoms rise through a thick transparent slab, their stems multiplying and overlapping as though a living plant has somehow been suspended in water -- or frozen in time. Tiny bubbles scattered throughout the glass heighten the sense of an underwater world.

Varga developed an extraordinarily labor-intensive multiple-layer fusing technique in which thousands of small glass elements are cut, assembled, and fired in stages to construct three-dimensional imagery within transparent glass. Born in the former Yugoslavia, she worked in the glass industry for two decades before settling in Sydney, Australia, where the colors and landscapes of her new home transformed her artistic practice. Part of Varga's environmentally inspired Blue World series, Awaiting Spring is both beautiful and quietly urgent: an intimate ecosystem rendered in a material that can preserve a moment seemingly forever.

Dimensions (in. WxHxD): 2 x 15 x 10

The Valley by April Surgent

From across the room, The Valley could be mistaken for a haunting black-and-white photograph: winter trees frame an open sky, traffic lights hover near the horizon, and two birds cross overhead. Move closer and the illusion becomes astonishing. The image has been engraved into glass.

April Surgent is one of the leading contemporary practitioners of cameo engraving. In 2003, Czech master engraver Jiri Harcuba introduced her to the centuries-old technique, which Surgent has spent more than two decades pushing into distinctly contemporary territory. Her work is rooted in close observation and scientific research, particularly climate change and vulnerable ecosystems. Her fieldwork has taken her to Antarctica with the National Science Foundation and to Hawaii working alongside NOAA researchers. Her work is held by institutions including the Smithsonian American Art Museum and Corning Museum of Glass.

Quiet, atmospheric, and technically extraordinary, The Valley rewards both the immediate emotional response of an image and the wonder of discovering how it was actually made.

Dimensions (in. WxHxD): 23 x 2 x 22

Winter Spirit Globe Rattle by Preston Singletary

Few artists have changed the possibilities of contemporary Indigenous glass as profoundly as Preston Singletary. Winter Spirit Globe Rattle is a commanding example of Singletary's fusion of blown glass with the visual language of his Tlingit heritage. Deep blue glass becomes the ground for boldly sand-carved formline imagery, its symmetrical eyes, ovoids, and flowing shapes wrapping continuously around the spherical form.

Singletary began blowing glass in Seattle in 1982 and later worked in Benjamin Moore's studio alongside artists including Dante Marioni, Richard Royal, and Lino Tagliapietra. His artistic direction changed when he began incorporating Tlingit stories and designs drawn from his own cultural lineage. Today his work is internationally recognized and held by institutions including the British Museum, Seattle Art Museum, Museum of Fine Arts Boston, and Smithsonian National Museum of the American Indian.

This 2009 work offers a chance to acquire an important piece by an artist who helped establish an entirely new conversation between Indigenous tradition and contemporary glass.

Dimensions (in. WxHxD): 12 x 6 x 14

Patchwork Coffeepot by Dick Marquis

Richard "Dick" Marquis transforms an everyday domestic form into a riot of white ribbons and jewel-toned fragments -- turquoise, orange, purple, ruby, green, and black -- then tops it with an improbably tall striped lid. The result is playful, slightly eccentric, and technically formidable: classic Marquis.

Marquis is one of the pioneers of American studio glass. In 1969, a Fulbright-Hays Fellowship took him to Murano, where he worked as a guest designer at the legendary Venini factory and mastered Venetian cane and murrini techniques. He subsequently became instrumental in introducing those methods to American studio glass. His work combines that breathtaking technical command with humor, collecting, kitsch, and an enduring affection for peculiar objects.

Marquis was Pittsburgh Glass Center's 2016 Art on Fire Honorary Artist. For serious glass collectors, his influence is foundational. For everyone else, this tiny coffeepot may simply be impossible to resist.

Dimensions (in. WxHxD): 3 x 9 x 3

Fall Fire in Rouge Flambe and Mandarin by 2026 Honorary Artist Amber Cowan

Amber Cowan gives forgotten American glass a spectacular second life. Under a clear glass dome, Fall Fire in Rouge Flambe and Mandarin erupts into a dense fantasy landscape of fiery red, orange, coral, and yellow. Flowers, leaves, curls, beads, and mysterious organic forms pile one upon another until the sculpture seems almost to be growing before your eyes.

Cowan is celebrated for transforming discarded and obsolete American pressed glass into elaborate sculptures that explore memory, domestic life, collecting, and the disappearance of the American glass industry. She sources material from scrapyards connected to defunct factories as well as flea markets, antique stores, and donations, then combines flameworking, glassblowing, hot sculpting, and found glass into extraordinary new compositions. She received a United States Artists Fellowship in 2021. And this one carries special significance: Amber Cowan is Pittsburgh Glass Center's 2026 Art on Fire Honorary Artist. Fall Fire isn't merely part of this year's auction--it is a centerpiece of the celebration.

Dimensions (in. WxHxD): 8 x 12 x 8