Punch goblet 1867

Curator: Here we have a punch goblet with accompanying glasses. It was made in France by Cristalleries de Baccarat in 1867. The set is made entirely of glass, with a Greek and Roman art style. Editor: It’s striking how elaborate this punch set is. The delicate blue glass and classical motifs suggest luxury. What stands out to you when you look at this? Curator: I see the hands, literally and figuratively. Skilled hands that painstakingly crafted each piece of this set and also the absent hands of the consumers, those who likely enjoyed social gatherings with this opulent punch bowl. The materiality of glass here speaks to the social stratification and consumption patterns of the 19th century in France, doesn’t it? Editor: That’s an interesting point, I hadn't thought of the labor behind it, just the elegance. Curator: Consider the process. The glassmaking process itself was fairly industrialized by this point, involving different specialized roles in design, glass blowing, etching, and assembly. Are we really appreciating the contributions and experience of skilled labourers, or only buying into the illusion of luxury? Editor: So you’re suggesting the aesthetic appreciation is incomplete without acknowledging the modes of production? Curator: Precisely! And how does that production, driven by the desires of a particular class, influence design choices? The Greek and Roman motifs aren’t arbitrary; they reinforce ideas of classical luxury, power, and sophistication desirable to the wealthy. Editor: I see. So, looking beyond the object itself helps reveal social relationships and economic systems that underpinned its creation and use. That gives me a lot to think about. Thank you. Curator: Indeed. Material analysis challenges us to think critically about value. Instead of purely admiring, we now think of labor, class and economy reflected even in a pretty object like this goblet.