NASGA Meet the Member – Anne Marie Johnson – Sea Glass Treasures/Seaglassin

NASGA’s Meet the Member Interview- Anne Marie Johnson, Sea Glass Treasures/Seaglassin

Q: How did you learn about NASGA, and how long have you been a member of the association?

A: In 2006, my brother Romeo and I, and my sister Anita and her husband Willy attended the very first large venue of the North American Sea Glass Festival (NASGA) held in Santa Cruz, CA. We attended as exhibitors and met newfound friends and soon to become board members Charles Peden, Richard LaMotte, Teri Reed, Jennifer Reed, Lisa Hall, Sharon Umbaugh, Linda Jereb, Mary Beth Beuke and Cindy Kuhn. As a result, we began learning about the history of sea glass, its competition with artificial sea glass and its true value in its natural state. When Romeo learned that we could become members of the association, we took the next step of joining NASGA. Luckily, I’ve been able to continue my membership for 11 years and have attended every festival to date.

Q: Can you share your personal sea glass story, or how you discovered and developed a passion for tumbled treasures?

A: We were already avid collectors of sea glass on Prince Edward Island, Canada near an old dumpsite that held the treasures from 25 to 50 years ago and possibly even 100 years. It was also in an area known for many shipwrecks from the past. Sea Glass had been brought to our attention by our brother Richard who was living in New Brunswick and already had a sizable collection. Others in the family like Carmella and Yvette had collected it years ahead of this, especially the blue and rare colors. Yvette’s husband George would bring a cupful of blue pieces every now and then to my sister Carmella who was already creating nautical wreaths and ornaments.

In 2006, when I retired from being a principal’s secretary at our local north central Wisconsin school, I flew to Prince Edward Island once or twice a year to help my 90 + year old mother who needed 24/7 care. She had raised 14 children, and all of us tried to share whatever time we could to make her life pleasant. For respite care for myself, I would take in some beach therapy! The constant lapping of the waves, the wind, sun, rain and sometimes snow on my face, the sound of the seagulls overhead, the lighthouse in the distance and the time of solitude were just what I needed. Finding beautiful sea glass pieces along the way was just an added bonus!

Being a songwriter, I also used this time to write songs “in my head” and try to remember them till I got back to Mom’s to write them down. I did this as she sat patiently sorting my sea glass. She loved to hear and admire our special pieces and talk of our adventures and our upcoming entrepreneurship.

Q: Please tell us about your particular craft or skill, such as tools and techniques, training and experience, and how your product or skill has evolved or changed over time. 

A: As my collection increased, so did my desire to use it creatively. I enlisted the help of my brother Richard’s wife Geri, who was so accommodating in helping me get started. Using the simplest design, I made my first pair of dangle earrings out of jewelry findings she sent to me. From that time on, my designs have taken on a life of their own, and I continue to be inspired to try something new. Wire wrapping is one of my favorites as each piece has a unique style due to its shape and size. But from the very start, I’ve always preferred simplicity. So I guess I could be called a true minimalist. My simple designs have been appreciated with positive reviews.

Q: Are you also a sea glass collector (or do you solely enjoy working on your craft or skill)? If you are a collector, can you tell us about your collection, and is difficult to part with some of your creations or favorite pieces?

A: As many collectors find, we have many common colors of sea glass, but the rare colors come along less frequently. So there’s always a good reason to search. My most favorite pieces of sea glass are bottle stoppers and marbles. I’ve sold wire wrapped marbles but have never been able to part with my treasured bottle stoppers. Believe it or not, I found one of my favorite bottle stoppers (a black one) near the Navy Pier in Chicago while having met my daughter there for her research work. As an added bonus, we visited the Abegweit Ferry, which used to run between Cape Tormentine, NB and Port Borden, PEI, now docked and used by the Columbia Yacht Club, Chicago.

Q: Can you share some of the joys and challenges of your business and craft?

A: One of the favorite joys of my business is educating others on the history of sea glass, and the techniques of drilling sea glass. I offer jewelry tips if requested, as I man my booth at festivals. Hearing other’s sea glass stories are often enlightening as well. Over the years, my husband and I have traveled to Sea Glass Beach, Hawaii, and Monterey, Santa Cruz, Davenport and Fort Bragg in California. You get a different perspective in each location when talking to locals who have been sea – glassing in those areas for years. I also appreciate my husband’s enthusiasm and support with business ideas, traveling plans, computer technical advice, and drilling of sea glass, which have been invaluable.

Q: How does your NASGA membership benefit you professionally and/or personally?

A: NASGA benefits me in my marketing, as I use its policy of authenticity as my push for using no artificial sea glass. Talking about my NASGA participation and my membership in the “about page” of my website makes me look professional. I also appreciate donating to environmental causes through our organization. In 2016, I was on the NASGA communications committee, helping to organize the upcoming sea glass festival in Ocean City Maryland. This year I plan to attend the Wildwood Sea Glass Festival in Oct. 2018.

 Q: Do you plan to exhibit at the upcoming festival in Wildwood, New Jersey, and is there a particular NASGA festival that stands out as a favorite, or a memorable experience associated with a previous NASGA festival?

A: Many of the NASGA festivals have also been an excuse for a mini family reunion. One year, we actually had 12 family members attend from PEI, Ontario, North Carolina, Washington DC and Wisconsin. My desire is to continue my business into my 80s and possibly 90s. It makes life interesting and meaningful and gives me a purpose! A memorable experience began at one of my NASGA booths when I sold a rare red sea glass pendant necklace to an appreciative customer. Little did I know that a year later, she would surprise me by traveling a thousand miles to Prince Edward Island to attend the Mermaid Tears Sea Glass Festival while sporting her rare red sea glass necklace. Believe me, it was a surprise I will always remember. Ellie Mercier, who was the speaker on PEI that year, was especially impressed and remembers it as well!

Q: Can you tell us about some of your other interests or hobbies?

A: Other than sea glass collecting and making jewelry, my hobbies include swimming, walking, singing and songwriting. In 2002, I had some of my songs recorded professionally in a CD called “Songs of the Sea”. Most of my songs describe the beauty and warmth of the ocean, nature and family on Prince Edward Island. In one of them, I also describe my sea glass journey.

Q: How can the public learn more about your craft or skill, inquire about your calendar (upcoming exhibits or events), and/or contact you if desired?

A: My business website, seaglassin.etsy.com, currently has approximately 450 listings of my sea glass jewelry with more than 2600 sales. My upcoming events include the annual NASGA Sea Glass Festival in Wildwood, N.J, the Santa Cruz Sea Glass Festival, the Erie and Buffalo Coastal Festivals, the Mabel Tainter Victorian Theatre in my hometown of Menomonie, Wisconsin, and the Mermaid Tears Sea Glass Festival on Prince Edward Island. This summer we will celebrate the Mermaid Tears 10th Anniversary Sea Glass Festival on July 28 – 29 with our very own Richard LaMotte as the guest speaker!

The Mystery and Allure of Cobalt Sea Glass

Updated from version published in spring 2014 edition of Shorelines Newsletter 

Ellie Z. Mercier

 

Sea glass collectors can certainly relate to the jubilant sensation that transpires when striking gold. Of course, not the sought after nuggets that lured settlers west during the Gold Rush of 1849, yet smoothly tumbled specimens of the finest quality, which actually have no resemblance to gold whatsoever but are dressed in the magnificently rich hue of cobalt blue.

Many enthusiasts would likely agree that discovering prized shards of ruby red, yellow, and purple – and especially those boasting coats of orange – are surely hobby-related milestones worth writing home about. However, although true blue finds are generally more plentiful than the shades ranked as most scarce, few collectors can resist the mysterious allure of cobalt blue sea glass.

Detecting glimpses of well-worn cornflower or royal blue gems ashore may generate well-deserved shrieks of delight on behalf of some beachcombers, while others may experience a stunned silence. Yet despite the differing external reactions to such feats, collectors are often left to ponder the magical significance of the cherished shade.

Represented as the first element in the ninth column of the periodic table, cobalt possesses an atomic number of 27 and is recognized by the symbol Co. The mineral was formally discovered in 1735 by Swedish chemist George Brand, who dispelled the myth that the element Bismuth was responsible for the rich blue color of glass. However, coba

lt compounds were used for thousands of years before Brand isolated the element. Scientists have traced the use of cobalt back to the ruins of the ancient city of Pompeii and to early civilizations of Ancient China, and the mineral was also used in Egyptian art and Persian pottery. Although prior to the 1940s, cobalt was used sparingly due to the limited quantity, the expense, and the difficulty to extract the mineral. Modern day collectors often associate the shade with luminous blue medicine bottles and cosmetic jars produced during the early to mid-twentieth century.

However, cobalt’s use as a coloring agent is not limited to glass, jewelry and ceramics; the compound is also used as a pigment for paint, ink and even cosmetics. Other applications of cobalt include the production of rechargeable batteries and the electroplating of cutlery and jewelry. Rather than an element found in nature, cobalt is a hard yet brittle mineral contained in the Earth’s crust and is a byproduct of the mining of other metals, including nickel, copper, silver, lead and iron. In its natural state, the color is a bluish-white shade, similar to gray. Cobalt salts are actually the source of the brilliant and permanent rich hue associated with the mineral. The majority of cobalt is mined in Africa, particularly in the Democratic Republic of Congo (or Zaire, prior to 1997), which extracts close to forty-percent of the world’s supply annually. Other sources are found in Canada, Brazil, Russia, China and Morocco. Also, researchers believe there is a vast source of cobalt contained in the ocean’s floor, although scientists currently lack the technology to extract the element. Interestingly, studies conducted by the United States Geological Survey conclude that cobalt likely exists in the shallow waters of the Hawaiian Islands (USGS).

Ironically, among the many interesting facts about cobalt is the mysterious nature of how the color’s name originated. Long ago, superstitious German silver miners believed that malicious spirits were affecting their health as well as stealing silver ore from the mines, and they referred to these spirits as kobalt, a derivative of kobold, which is German for goblin. Other fascinating facts surrounding the element include artist John Varley’s presumption that cobalt is an ideal substitution for the shade of ultramarine blue, which was widely used for painting skies. Another artist, Maxfield Parrish, was so well known for his superior cobalt blue sky-scape paintings that the hue is sometimes referred to as Parrish blue. Cobalt was also the primary pigment used in notable blue and white Chinese porcelain, originally produced in the late eighth or ninth century. Furthermore, cobalt is used to illuminate the cornea of the eye to detect corneal scratches and is used in the production of magnets, and Radioactive Cobalt is used to treat cancer. And oddly enough, cobalt is added to the diet of sheep in order to prevent disease and improve the quality of their wool.

The outward reactions of those fortunate enough to experience such a hobby-related milestone as striking gold – or rather, witness sudden brilliant glimpses of blue jump out from the sandy canvases before them – may differ significantly, but few sea glass collectors can resist the powerful allure of cobalt treasures, which in many aspects, are truly gifts of Mother Nature.

Photos: Ellie Mercier

  • Ellie found the frosty marble in the Abacos (her first marble find & she remembers that she was extra excited because Richard LaMotte shared that cobalt marbles are more rare than red marbles).
  • The bottle is from Ellie’s bottle collection – She also collects antique bottles.
  • Ellie found the jar lid in the Chesapeake Bay (almost a decade ago)
  • Yet most interesting is the image of the large cobalt shards, which Ellie found following the 2009 festival in Lake Erie…One of her customers took me combing along the river in nearby Conneaut, Ohio, where much slag glass was discarded in the 1960s by the GE Light Bulb Base Plant (these are huge, and the hue is extremely vibrant, alike bright violet).

Genuine, Artificial and Altered Sea Glass

“When any true item becomes of value, a faux or artificial product is not far behind.” –Mary Beth Beuke “Genuine Vs. Artificial Sea Glass: Why It’s Important

It is the mission of the North American Sea Glass Association (NASGA) to educate collectors and consumers about pure, natural sea glass. NASGA requires that its commercial members “leave sea glass in its natural state and do not create imitation sea glass; meaning that the sea glass will not be altered by, acid etching, sand blasting, tumbling, or by any other means so as to artificially replicate genuine sea glass.” This article is provided to provide information to consumers in order to help identify some of the differences between genuine, imitation and altered sea glass.

At the North American Sea Glass Festival and certain other festivals where noted, only genuine sea glass is allowed. At some events, craft glass and other altered sea glass is used and it is up to the consumer to determine what they’re buying.  NASGA feels our commercial member artists who create only using genuine glass can’t compete with those using those much less expensive materials. Ideally, as long as vendors at various regional sea glass and coastal festivals don’t label their items “pure,” “genuine,” or “wave-tumbled” sea glass it’s not a huge problem because essentially they can use any materials they want. But consumers should know what they’re buying. Sometimes it can be easy for people to tell the difference between real or tumbled glass, and sometimes it can’t, especially online.

The number in manufacturers of artificial sea glass has grown in recent years as demand for pure sea glass has increased and its supply has dwindled. Beaches are overpicked, with more and more people hunting for sea glass. Entire businesses have been created in which “sea glass” is being created nowhere near the sea by savvy individuals with a good working knowledge of what real sea glass should look like. Some of the manufacturers of eco-friendly or “green” glass very clearly label their product this way and make it clear to consumers that what’s being purchased is not glass from the sea, and some do not.

Many producers trying to pass off non-genuine sea glass as real go to a great deal of trouble to make the counterfeits look natural. Unlike the rock tumblers of the past that made fake glass easier to spot, they’re using advanced tumbling, sandblasting and acid-washing processes that give glass a similar appearance to real sea glass, and buyers think if they see the “c” marks and white-coated “frosting” layer on glass, it must be real, and this isn’t always the case. Sometimes manufacturers purchase vintage glass (including marbles, perfume stoppers or figurines) from antique stores or other venues and put the glass into cement mixers or even cages in the ocean and let it tumble around for a period of time, then sell it online in Facebook groups, Etsy shops and on eBay as real sea glass.

Feeling the glass in your hand is often the best way to tell real from fake because textural differences in the surface make the consistency of genuine sea glass in your hand nearly impossible for a machine to reproduce. The depth of the pitting in the surface of genuine glass is something that goes nearly to the center of the glass that historically spent time in the body of water; while in a tumbled piece, only the surface has been made smooth, leaving a shallower appearance to the glass. Real hydration over time in a natural body of water in random wave patterns will always leave a different finish on a piece of glass than anything a machine or artificial process can produce.

Unfortunately, people are spending a lot of money on fake sea glass at shows, in shops and online every day and may not know the item they have purchased is not genuine sea glass. Here are some things to consider.

Signs the “sea glass” you’re buying might be fake:

  1. Does the seller keep selling similar batches of the same rare styles and colors and shapes of glass over long periods of time with hundreds of sales? No beach in the world produces endless hundreds of pounds of rare colors in repeated jewelry quality perfect shapes and sizes.
  2. How trustworthy is the seller? Did they beachcomb the glass themselves or purchase it from another party? Do you know them personally? The sea glass community is small enough that if you want to buy, often someone can point you in the right direction (whether it’s a Facebook group or reputable eBay seller known by a friend) without having to buy from complete strangers. Only buy from people you trust. This is simply the best way to know you are buying genuine glass. Reviews on eBay and Etsy are not always the best way to get information, since people have been buying fake glass and not knowing it for a long time from many sellers.
  3. If you’ve bought a piece you suspect is fake, does it feel unusually smooth compared to other pieces in your collection? Sea glass often has a rougher texture to it after tumbling in the ocean. Fake glass is more likely to have an odd perfect satiny sheen on it. However, this can often depend on which beach it comes from as sea glass surfaces depend on ph levels in the body of water. For example, sea glass from different parts of the world can have a more satiny sheen. There is still a difference between the finish in the glass from these beaches and the glass a machine tumbler produces- the main clue being the similarity in shape and size and color across batches. So texture can be one clue to determine genuine glass, but is not always the best one since some beaches do produce silkier glass. If you hold a handful of genuine glass in one hand and a handful of tumbler glass in the other, you can feel the difference in a very clear way. At NASGA’s annual show, educational samples showing the difference between genuine and manufactured glass are available to help you learn the difference.
  4. Another way to spot sea glass that’s been in a tumbler is tiny diamond “glints” on the surface. If you turn the piece in your hand, often the tiny “cuts” will catch the light and will reflect in a diamond-like glinting fashion that pure sea glass generally does not. (This feature can be found on genuine sea glass sporadically because of the way it broke in the surf, but if you are holding a handful of fake glass, you can find these glints consistently across the pieces).
  5. It is very difficult to tell genuine from fake glass, especially in photos. Knowing your seller (and whether they have beachcombed the glass themselves or know exactly who did) is key! Keep in mind that when you buy sea glass from North American Sea Glass Association members, you can be certain they are required to sell only genuine sea glass, so ask if the seller is a member of NASGA.

In addition to manufactured fake glass, other methods are used to alter sea glass from its original form. Some are allowed by NASGA as part of our commercial memberships and some are not. For example, the drilling of sea glass in order to create a jewelry piece is not restricted, because this method is used by the artist in order to create the piece of jewelry and it is also clear to the consumer that a hole has been drilled, so no effort to cover up the alteration has been made. Similarly, some artists paint on top of the surface of sea glass in an artistic manner. For example, artistic renderings of sea life are depicted on the top of a piece of white sea glass. This is also allowed since the alteration of the sea glass is clear to the consumer purchasing the art piece.

A newer method of altering sea glass called “colorization” has entered the industry in which sea glass is permanently altered using a chemical process from the backside of a piece of white sea glass (see photo on the left), which is then placed into a bezel setting and sold as genuine sea glass. Also “staining” (see two photos on the right) sea glass is taking place where the color of white sea glass is changed in a dyeing process. It is the opinion of NASGA that since the color is being presented to the consumer as an “illusion” this violates our guideline that commercial members should “leave sea glass in its natural state and not create imitation sea glass”and that “sea glass will not be altered by …any other means so as to artificially replicate genuine sea glass.”  These artificially created colors have the potential to confuse consumers both at sea glass shows and online since in a bezel setting or (with staining) even loose, individuals cannot tell the difference between genuine and artificial colors, especially when natural sea glass colors are being replicated.

It is the opinion of NASGA that sale of colorized sea glass undermines sale of genuine rare and common sea glass colors by artisans and sea glass hunters who obtain these colors in natural bodies of water and that this glass should not be labeled “genuine” since it has been permanently, irreversibly altered and therefore does not represent genuine colors found in glassmaking history.

Beer and sea glass bottles in Wilmington, Delaware

The 12th Annual North American Sea Glass Festival will be held on Saturday, September 23, 2017  and Sunday, September 24, 2017 at the Chase Center on the Riverfront in Wilmington, Delaware along the revitalized Christana River waterfront.     Wilmington is a city in Delaware on the Christina and Delaware rivers. Downtown’s early-20th-century DuPont Building is part of the local DuPont family legacy, which is also evidenced at the Hagley Museum. Those grounds include the 1802 DuPont gunpowder works and the family’s Georgian-style home. The Old Swedes Church, between the Christina River and Brandywine Creek, is from 1698.  European settlement had begun with the arrival of the Swedes and Dutch in the 1630’s and were the first European settlers in the Delaware Valley.

This year the North American Sea Glass Festival is excited to take place in one of the first locations in the United States to brew and bottle beer.  Why is this fun fact relevant to our festival?   Because as all sea glass collectors know, beer bottles and their colors, clear (white), amber and green are still plentiful to find and still makes sea glass collectors happy to find, even if they are considered sea glass common colors.

Here’s some interesting information and excerpts from Delaware Beer History about the history of beer (and bottling!!) in Wilmington, Delaware.

“Brewing began in Delaware with the arrival of the first sizeable European settlement.  Shortly after establishing a trading fort, Fort Christina, at present day Wilmington in late March 1638, Swedish and Finnish settlers immediately began making preparations to grow barley and locate hops for brewing beer.  Beer was a staple of the European diet in the 17th century, as it was recognized as the healthful alternative to drinking water.  Back in their native homelands, water supplies were often polluted and unsafe for drinking.  Of course, they had not yet discovered that boiling  during the brewing process killed bacteria.  Ale was consumed throughout the day by men, women and children, though the latter two groups tended to be served drink with a lower alcohol content.”

Bavarian-Luxburger label (John Medkeff collection)

Skip ahead a few hundred years and prohibition stopped beer operations in America.  However, one of Delaware’s beer pioneers, Carl H. Eisenmenger maintained ownership of Wilmington’s Bavarian Brewery at 5th & DuPont Streets.   “Eisenmenger, who understood that Prohibition would likely soon be a reality, had began brewing a ‘near beer’ cereal beverage as early as 1918.  In 1919, the Bavarian Brewing Company officially changed its name to the Peninsula Products Company, Inc.  The company continued with its Quex ‘near beer’ product and added a line of soft drinks.  After an initial surge in business, the venture ultimately failed and, in 1925, Peninsula closed its doors for good.   Eisenmenger, who maintained ownership of the 5th & DuPont property, rented the complex to other soft drink companies and businesses.  He temporarily withdrew from the beverage industry but would return again to revive brewing operations after repeal of the 18th Amendment.

When Repeal came in April 1933, Eisenmenger immediately formed a stock company and began working on plans to revive the brewing business.   Delaware granted Bavarian-Luxburger the state’s first post-Prohibition brewery license on September 1933.  After securing a Federal brewing license a few weeks later,  the company began production.  On November 27, the first cases of bottled Bavarian Beer finally left the plant.”

Read more Delaware Beer History here>

After the North American Sea Glass Festival, meander along the Christina waterfront to find modern day craft brewers to quench your thirst, such as Iron Hill Brewery, located a short walk from the Chase Center on the Riverfront.

View a map of the Wilmington Riverfront here>

Hartmann and Fehrenbach Brewery, had its origins with the “Father of Lager Beer in Delaware”.  The year 1890 also saw the Hartmann & Fehrenbach Brewing Company expand their operations into bottling,  which were beautifully embossed with the company’s logo, the mythical winged stallion, Pegasus.

While other regions in America have been better known historically as centers of beer production, few have been brewing as long as Delaware brewers.  For nearly four centuries, First State brewers have been producing high quality, award-winning ales and lagers.  Explore the state’s fascinating and, until now, largely unknown brewing history on this site and in the pages of the book Brewing in Delaware by John Medkeff, Jr.

More fun facts about beer history and how to date bottles:

“Until the late 1800s, most beer was sold in kegs since bottled beer had to be consumed quickly or it would spoil. But the advent of pasteurization in 1876 made it safe to bottle fermented products, and along with America’s growing rail system, the bottled-beer industry boomed.

In the early 1890s, Congress passed taxes on bottled beer, along with legislation allowing companies to bottle their brews onsite and bypass an archaic process of barreling, transporting, and packaging their drinks into bottles elsewhere. Prior to this action, beer bottles often featured a bottling credit on them in addition to the name of the brewer, which is one way to date a beer bottle. While early beer bottles came in a variety of glass colors, including brown, blue, green, and clear, the first American bottles were made from ceramic stoneware. This style was often used for dark beers like porters and stouts or non-alcoholic drinks like root beer or ginger ale.

Since bottling was costly, many early containers were embossed with a company’s name to help ensure their safe return, although this didn’t deter bootleggers from reusing them. At the time, many would-be brewers made their products out of their homes and used their bottles for multiple beverages, so some of these embossed bottles never even included the word “beer” on them (the brewer’s company and city names were all a customer needed to know). As these fledgling enterprises grew into mature companies, though, phrases like “Brewing Co.” were added. Less common embossing features included a company’s phone number and graphic icons like animal mascots. William Painter’s invention of the single-use “crown cap” in 1892 sealed the deal for mass-produced beer bottles. The innovative design, with its crimped edge and cork lining, overtook some 1,500 different styles of bottle stoppers used prior to 1892. The crown cap also led to more uniform, machine-made bottles.” – Collectors Weekly

Have you found old bottles, beer, soda, liquor, medicines?   The body of a bottle has an assortment of characteristics or diagnostic features that can assist a person trying to date or at least tell a more complete story of a given bottle.  Learn how to date your bottles on the Society for Historical Archaeology website here>

Happy hunting!

Excerpts in this post from Collectorsweekly.com and DelawareBeerHistory.com 

Find out more about the 2017 North American Sea Glass Festival in Wilmington, Delaware here>

North American Sea Glass Festival 2017 lectures announced

North American Sea Glass Festival Lectures to be held Saturday, September 23, 2017
Wilmington, Delaware, Chase Center on the Riverfront

Fake Versus Genuine Sea Glass Across the Globe
Richard LaMotte and Mary McCarthy
11:30 a.m.

Buyer beware! With all the fake sea glass for sale online, how can shoppers tell the difference between fake and genuine sea glass?  This lecture by NASGA founder Richard LaMotte and the current NASGA Education Chair Mary McCarthy will describe how consumers and collectors can distinguish the difference between genuine sea glass and fake sea glass, including an exhibit of sample fake sea glass.

Richard LaMotte is the author of the award-winning book Pure SEA GLASS and a recent sequel titled The Lure of Sea Glass. He was a co-founder and past-president of the North American Sea Glass Association.  Richard works in Chestertown, Maryland and lives in southeast Delaware. He and his wife Nancy started a Chesapeake Bay sea glass collection for her jewelry business in 1999. In 2002 he began researching glass history for a lecture which led to extensive research into glass colors, as well as the physics and chemistry behind the frosted glass forms found along the shoreline.

In 2006 Pure Sea Glass was awarded first place for non-fiction in Writer’s Digest 13th Annual Self-Published Book Competition.  Richard and his book have been featured in The Washington Post, on Martha Stewart Living TVCoastal LivingParade Magazine, Baltimore SunThe Boston Globe, Delaware Beach Life, on NPR and Maryland Public Television.

Bestselling author Mary McCarthy is a lifelong journalist whose career includes a number of national and regional newspapers, magazines and websites. She lectures at the University of Maryland’s College of Journalism and is an instructor at the Writer’s Center.  Mary serves on the Board of Directors of the North American Sea Glass Association where she is also Chair of the Education Committee, speaking regularly at beachcombing conferences around the country. Mary is a mother of four on Maryland’s Eastern Shore where she enjoys kayaking and beachcombing. She is the founder of SeaCrate, an ocean-themed monthly subscription box service and is currently working on a beachcombing memoir.

Amazing Journeys: Glass Fishing Floats, from the East and the West
Dr. Deacon Ritterbush (aka Dr. Beachcomb)
1:30 p.m.

A life-long beachcomber, Dr. Deacon Ritterbush (aka Dr. Beachcomb) is an award winning author (A Beachcomber’s Odyssey) and founder of the annual International Beachcombing Conferences. She lectures throughout North America on sea glass, pottery shards and the archaeology of beachcombing. To learn more about her or about beachcombing, visit Dr. Beachcomb on Facebook, Instagram and http://www.drbeachcomb.com.

Her lecture at the 2017 NASGA Sea Glass Festival will focus on fishing floats from the east and west, including their practical and spiritual aspects as well as the amazing sea glass shards resulting from their breakage.

 

What Makes Sea Pottery Regionally Distinct?
Connor O’Brien
3:30 p.m.

Lifelong beachcomber and avid collector Connor O’Brien will discuss his experiences beachcombing and investigating sea worn artifacts that were collected during his international travels and correspondence with beachcombers around the world. The topic will be sea pottery, with an emphasis on factors that make sea pottery regionally distinct. Attendees will enjoy one of the largest showcases of sea pottery to date, handle exotic shards from around the world, as well as learn the skills required to identify and date sea pottery. Viewers should expect to walk away with an increased appreciation for the aesthetics and history of sea pottery as well as an eagerness to take a closer look at their own pottery finds.