2018 Schantz Galleries Seattle Tour photo album

These photos are taken by Roger Meyers. There were over 1600 images for us to choose from, and for those, he had to edit his images down from about 3000!  SO, this is a thank you to him and to all the other participants who journeyed on that 5-day tour and had the best time ever looking at glass, meeting the artists, touring around Seattle and dining on excellent food.


Walking into a hot shop is exhilarating, and even if you have done it before, that sense of wonder never lessens, believe us, as we have been going on these trips to Seattle for over 15 years, and some of our collectors have opted to go back with us 2 or 3 times…. It’s that good!

Below is a link to our online blog where many more photos are posted.

Enjoy!  Jim and Kim

 On this five-day Seattle Glass Collectors Tour, … Read More and see the photo album!


Cooperative Glassmaking and the Individualism of the Creative Spirit | Dante Marioni & Preston Singletary

Stockbridge, MA  Schantz Galleries is pleased to present an  exhibition of works by two contemporary artists working in glass. Having worked together on and off over the past 30 years, and maintained a friendship, the two men are each masters of their techniques and have developed extremely different thematic concerns.  Each in their own time has studied and then taught their specialized techniques.

Dante Marioni and Preston Singletary at work together in 2011 during Schantz Galleries June Collectors Weekend.

Glassblowing is by nature a team endeavor, members moving in often-wordless harmony towards a single goal. Glass artists are the conductors, sometimes physically participating but always orchestrating the various participants around their vision. Though the production process requires a skilled and trusted team, the creative process is more often an individual one. When two creative forces come together in collaboration, however, a deep union of their spirits can blossom. Dante Marioni and Preston Singletary, friends and colleagues since high school, have periodically teamed up on collaborative work over the past seven years. This is more than just a marriage of prodigious technical talent and diverse aesthetics, it is a collective honoring of two artistic lights resulting in a sublime body of work.

Marioni and Singletary’s synergy grows out of certain philosophical commonalities. Both express their reverence for nature with graphic or stylized representations. “Marioni’s leaf vessels are elegantly elongated forms whose delicate veining is captured through fine reticello or striking cane work patterns. Singletary’s spirit animals, soul catchers, and glass baskets pay homage to his Tlingit ancestry through economy of form and refined Northwest Coast formline design. Though employing different styles and techniques, both artists convey the essence of their subjects instead of providing direct reproductions. Color is also an evocative tool for both artists, though their palettes differ. Marioni uses translucent purples, sparkling blues, shimmering reds, and luminous greens to impart the innate characters of a leaf. Singletary calls upon earthy reds, rich golds, and deep azures to conjure flora and fauna and suggest the land, sea, and sky upon which they reign.

Singletary uses his glass making skills to connect with his native heritage, translating Tlingit cultural traditions of Chilkat basket-weaving, stone, and wood working into a contemporary medium that bridges new audiences to traditional narratives. In Marioni’s hands, ancient and primitive forms are completely metamorphosed. In his African Gourd, an archetypal shape is translated into a sleek vessel, an opaque container with primitive markings is transformed into a diaphanous surface with stylized graphics, and a utilitarian object becomes an exquisite work of art.

The extraordinary amalgamation of these viewpoints and aesthetics is visually arresting—merging Marioni’s graceful forms, delicate cane patterning, and luminous surfaces with Singletary’s sand-carving technique, Tlingit mythical designs, and deep earthy colorations. Adornments on Marioni’s sleek vessels are traditionally rare and, when existent, clean and streamlined. To their artistic collaboration, Singletary brings the addition of blown glass figural and animal elements. Instead of delicate spherical handles, two black wolves (a symbol of a Tlingit clan) stand upon the shoulders of a graceful vase, melding Venetian and Tlingit traditions in a singular and striking association.

Dante Marioni and Preston Singletary met as teenage boys, when life was about playing music and having fun. Today, each has forged a prodigious career in the field of glass art and gained notoriety for their distinctive skills and styles. With their artist collaboration comes a revival of their youthful camaraderie, along with an egoless openness to the creative process and receptivity to the interchange of ideas. In both their collaborative and individual work, Dante Marioni and Preston Singletary embody both the cooperative nature of glassmaking and the individualism of the creative spirit.

View Catalog Online


Dante Marioni, Green and Purple Leaves, Trio, 2017

Preston Singletary, Medicine Woman (Raven Woman), 2012, 12.5 x 23 x 8″




Classical, Native and Pop Culture in Glass

3 friends at Schantz 2016 header narrow

Karl Marx wrote in 1845 that “only in community with others has each individual the means of cultivating his gifts in all directions.” The interconnectedness of Richard Marquis, Dante Marioni, and Preston Singletary, cultivated throughout the years, has not created a vacuum of homogeneity in glass. Rather, as these three distinct artists demonstrate, the community of glass has given each individual the “means of cultivating his gift in all directions.”

Richard Marquis, Whole Elk Tower with Manikins, 2015

Richard Marquis, Whole Elk Tower with Manikins, 2015.  Blown glass,murrine whole elk technique,found objects, 17.5 x 19 x 13″

 Schantz Galleries is pleased to present an exhibition of works by three contemporary artists working in glass.  Having worked together on and off over the past 30 years, and maintained a friendship, the three men are each masters of their techniques and have developed extremely different thematic concerns over the years.  Each in their own time has studied and then taught their specialized techniques.

Setter Head Bottle Vehicle Richard Marquis 2016 Glass: hot slab construction, cast glass, wood, brass 7 x 18 x 7"

Richard Marquis, Setter Head Bottle Vehicle, 2016.  Glass: hot slab construction, cast glass, wood, and brass. 7 x 18 x 7″

With over 50 years of experience and a sophisticated understanding of material, color, and form, Richard Marquis balances his training and scrupulous artistic integrity with the playfulness and capacious spirit of an upstart, full of original notions just waiting to burst out in creative action. Simultaneously ironic yet refined, silly yet smart, eclectic yet recognizable, Marquis is nothing if not totally, authentically himself. In part, Marquis’ style emerged from 1960s California funk (he got his B.A. and M.A. from U.C. Berkeley), a counter-movement to east coast Minimalism fusing, among other things, pop-culture, a cartoon aesthetic, and the use of found objects.

Marioni Leaf Vessel Grouping, 2016

Dante Marioni, Leaf Vessels, 2016.  Blown glass, greatest height is 42″


Dante Marioni ­grew up in the thick of the studio art glass movement and first met Marquis when he was 7. When Marioni got into glass as a teen, he felt disconnected with what he called the “loose and free-form” aesthetic that characterized the movement in the 1970s. He has said that “over the course of my career I have been consumed mostly with forms—that is, making interesting shapes. As a glass blower, I have always considered that to be my primary challenge.”

Preston Singletary, Supernatural Being, 2016, 13 x 12 x 12"

Preston Singletary, Supernatural Being, 2016.  13 x 12 x 12″

Preston Singletary uses glass a means of understanding, and sharing, his Tlingit heritage in the context of modern society. He explains that he compares “my current notion of society with that of my ancestors, intuiting ideas and concepts in glass, referencing my connection to my Tribe, my clan and my family. My influences range from Indigenous art around the world to the glass-blowing process, modernist sculpture, design and music.” Though he considered a career in music, he realized that glass-making gave him a purpose and a responsibility, to “interpret the codes and symbols of the land in a new way.”

Preston Singeltary

Preston Singletary, Tlingit Shelf Baskets, 2015. Blown and sand carved glass, greatest height is 8.75″

The unique cultures of the Pacific Northwest, both past and present, encourage friendship, a sharing of ideas, and cooperative efforts. This is certainly true of Richard Marquis, Dante Marioni, and Preston Singletary. From pop to classical to native, from murrini to cane to sandblasting, from witty to refined to narrative, Marquis, Marioni, and Singletary demonstrate the endless possibilities when the creative mind meets molten glass and fire.

PHOTOS: Richard Marquis, Manikins, 2016; Dante Marioni,  Leaf Vessels, 2016; Preston Singletary, Blue Tooth, 2016. photo credits: R.Marquis, K.Saul, Russell Johnson



POP, CLASSICAL, and NATIVE CULTURES IN GLASS (THREE OLD FRIENDS): Richard Marquis, Dante Marioni, and Preston Singletary

Exhibition September 9 – October 4, 2016

Gallery Hours:  11 a.m.–5 p.m.

Schantz Galleries Contemporary Glass, 3 Elm Street, Stockbridge, Massachusetts 01262

Tel: 413-298-3044  www.schantzgalleries.com

For more information, email Kim Saul at kim@schantzgalleries.com



Joey Kirkpatrick and Flora Mace composing a glass drawing for a Soft Cylinder.

Joey Kirkpatrick and Flora Mace composing a glass drawing for a Soft Cylinder.

Each spring we travel west to visit artists and select work for the upcoming season at the gallery in Stockbridge. It is a great experience and we learn something new every time. This year, we visited more than 25 artists over 5 days.  Its a bit like the Woodstock of glass!  Only with great food and wine and witnessing firsthand the amazing creativity and inspiration of the artists we represent.

Our first stop is Chihuly’s Boathouse, the Ballard Studio and then Chihuly Garden of Glass.  Traveling to Seattle and visiting the  artists studios gives us the opportunity to choose some really great work for the gallery.

Surprise treat…. Flora Mace and Joey Kirkpatrick working on a glass drawing for a Soft Cylinder at the Chihuly Boathouse!  Everyone was captivated by the process and thrilled by the rare opportunity to witness these important artists working together.  The team blew two huge baskets with Jim Mongraine as the gaffer.  You can gain a little insight into the week by clicking on the images below and following along. Of course, you can visit our gallery and see some of the great selections we made which are being delivered over the next few weeks, not only from Seattle, but also New England, Tennessee, California, Australia, Sweden, France, Czech Republic and Italy!

See you soon!     Kim & Jim


Under the Influence


Schantz Galleries is pleased to bring work by five glass artists ~ Lino Tagliapietra, Dante Marioni, John Kiley, David Walters, and Giles Bettison ~ to the first annual Silicon Valley Contemporary Art Fair, April 10-13, 2014, reminding us that the intersection between technology and art precedes the digital age. Cutting edge science and innovative expression have long synthesized in the field of glass art. Each of these artists has mastered-then pushed the boundaries of-traditional techniques, achieving breathtaking advances in glass.

  the Maestro: Lino Tagliapietra

Lino Tagliapietra, Africa, 2013

Lino Tagliapietra, Africa, 2013, 10 x 19 x 19″

At age 80, Lino Tagliapietra is the Maestro of the group, a skillful creative spirit on a journey of discovery that began at age 11 years on the famous glass-making island of Murano, Italy.   

Glass artist Lino Tagliapietra is defined by superlatives: skillful, finessed, erudite, creative, sophisticated, yet open and humble. What continues to drive this consummate Maestro is not the accumulation of more laurels but the journey to continued discovery and inventiveness. From an especially early age, Tagliapietra sought to open his world to other traditions and understand art historical precedence, always with an intrinsic loyalty to his own patrimony. Within an aesthetic that is unmistakably Lino, is receptiveness to the visual tropes of varied artistic styles and inspiration from the natural and cultural wonders of the larger world.

Celebrating his 80th birthday this year, Lino Tagliapietra is one of the world’s most accomplished artists working with glass. Lino began his journey with glass at the age of 11 and has been an independent artist since 1989, exhibiting in museums around the globe, receiving countless honors, openly sharing his far-reaching knowledge of the medium and his skill as one of its finest practitioners, and helping to create a new renaissance in studio glassmaking.  As James Yood, adjunct professor of art history at the School of the Art Institute of Chicago and regular contributor to GLASS magazine wrote, “there are probably no two words more respected and honored in the history of modern sculpture in glass than ‘Lino Tagliapietra’; he is the living bridge, the crucial link between the august history of Venetian glass and the ceaseless wonders of what today we call the modern Studio Glass Movement”.

 Each of the other four artists exhibited has studied or worked with Tagliapietra. 

Dante Marioni: Classicism

Dante Marioni, Red and Yellow Mosaic,2013

Dante Marioni, Red and Yellow Mosaic, 2013, 31.5 x 13 x 3″

 Dante Marioni’s mosaic-like murrine vases build upon the ideal classical Greco-Roman forms, but also exhibit a sense of playfulness with exaggerated height and saturated colors.

Dante Marioni embodies the artist who strives for the ideal in his work. Dante’s forms achieve a balance between seriousness and exuberance. His pitchers, vases and bowls share a breathtaking classical symmetry and masterful technique, while their exaggerated height and saturated colors give them a sense of playfulness. Marioni has been greatly influenced by the Venetian Glass tradition which was itself a product of Roman and Greek form. Dante also grew up among many artistic influences. His father, Paul Marioni, was involved in the American studio glass movement and, as a result, Dante was constantly exposed to the glassblowing artists of the San Francisco Bay Area.

In 1979, the Marioni family moved to Seattle and Dante began to study glassblowing at The Glass Eye. He spent summers at the Pilchuck Glass School in Stanwood, Washington where his father taught. After graduating from high school, he started to pursue glassblowing as a career. Marioni learned the art of glassblowing from masters like Lino Tagliapietra, Benjamin Moore, and Richard Marquis. Subsequently, he has taught throughout the United States, Australia, New Zealand, Japan, and Europe. Dante has expanded on his art of perfection with the quest for experimentation that grew out of the American Studio Glass Movement. His most recent Leaf Vases and Reticello Urns are examples of combining classic form with playful expression. There is no doubt that Dante has become a major contributor to the renaissance in American Glass as well as an influential force among his peers.

“I have never really been in love with all the obvious qualities of glass. I am more in love with the process and the traditions, age-old and of the contemporary studio variety. Form is always my primary concern; light manipulation and color are almost an afterthought. My influences range from a simple doorway on my furnace to a horizon on the North Sea from the Scottish Highlands. I continue to be enamored with nature, particularly as other people interpret it in the decorative arts.”~ Dante Marioni

John Kiley: Abstraction

John Kiley, Twisting Overlap, 2014 14 x 12 x 13"

John Kiley, Twisting Overlap, 2014 14 x 12 x 13″

John Kiley achieves a state of weightless balance with his elliptical forms, poised like dancers en pointe. Within the purity of modernism, Kiley fragments his sculptures and creates a tense interplay between positive and negative space.

John Kiley’s Sculptures are simultaneously elegant, sublime and challenging. The works balance precariously at an uncanny angle while the overlapping shapes create a sense of harmony. Using the design principle of negative/positive space, the artist gives the eye a “place to rest,” increasing the appeal of a composition through subtle means. Viewed from any angle, there is balance, tension, air and a sense of movement in the architectural space the work occupies.

One can view Kiley’s work as studies in architectural form. Utilizing the transparency of the glass medium, he creates spaces to explore that are visible both from the outside and the inside, allowing the viewer to enter from a variety of directions. While Kiley’s work gives reference to modernist sculpture which embraces the essence and purity of form, in the more recent works we see aspects of deconstructivism characterized by fragmentation. This kind of ease of interplay and dialog with his sculptural applications can only be achieved with great facility and technical expertise.

  David Walters: Narrative

Dave Walters, The Cost For Hot Water/Slow Boil, 2014 20 x 10"

Dave Walters, The Cost For Hot Water/Slow Boil, 2014 20 x 10″

David Walters’ intricate vessels are painted glass and enamel reminiscent of scrimshaw, telling stories that merge fairy tale and personal experience.


  Dave Walters work leans heavily on references from familiar stories and fairytales, though the work now injects more contemporary and current events in the telling to give them a more specific relevance while still trying to capture a sense of timelessness. There are clear relationships between Walter’s work and that of print makers like Albrecht Dürer or the more expressive William Blake, but two-dimensional work on vessels also has strong links to the tradition of Greek vase painters. Another significant influence seems to be early Christian or Byzantine painting and mosaics, in which the surviving Roman tradition has evolved into a powerful linear emotional expression.

The narrative of the work, is that there is a price for all the choices in our lives. “The culture of convenience we consign ourselves to often bring a greater cost than we allow ourselves to believe.  “It’s an effort to bring some consideration of that for myself as well. I think of my work as an effort to reevaluate or question the things I believe, or struggle with philosophically and in so doing relate to the viewer that struggle in myself and maybe in them as well, or at least stir some sense for the wonder of it all.”  ~ David Walters

  Giles Bettison: Evolving the Ancients

Giles Bettison, Vista, 2008

Giles Bettison, Vista, 2008

As a student, Australian Giles Bettison experimented with the murrine technique by using strips of American-made colored sheet glass instead of sliced cane, resulting in a softer and denser surface reminiscent of woven fabric and evocative of the light and color of rural Australia.

 Giles Bettison is a glass artist from Adelaide, SA, Australia. He has evolved the ancient Venetian technique called “Murrini” or mosaic glass to construct patterned sheets from colored glass canes.  Bettison cuts and combines these sheets to build intricate vessels piece by piece. His work is truly unique, combining old and new technology.

“My work is an exploration of my movement through life, expressed in colors, patterns and forms. The light and color in rural and outback Australia are part of my experience of connecting to place and people. I use abstract representations of these and other places to explore my feelings; I want to include some essence of what these places mean to me.” – Giles Bettison