Tired of the serried ranks of colourful - yet clinically identical - Scandinavian glass that was fashionable in the Swinging Sixties, Harris harnessed newly developed techniques that freed designers and artists from the confines of factories to be able to use glass as a medium for art and sculpture. These techniques and technology were developed by two Americans, Harvey Littleton and Dominick Labino in the early 1960s, and brought to Britain by the pioneering glass artist Sam Herman, who was studying for a scholarship at the Royal College of Art in London in 1966. Harris, then the RCA’s tutor in glass design, learned about them from Herman, grasped them with both hands and decided there was a gap in the market for handmade, unique sculptural art glass – each piece of which was unique. After tentative, yet successful, experiments, he left a secure job in academia to pursue his dream – with less than a year’s experience of hands-on glassmaking. 

Michael very much learned as he went along and, with sheer grit, hard work and perseverance, his skills and artistry in glassmaking grew rapidly. The company’s products were almost immediately successful, with much of the early success coming from tourists visiting the island – a ready audience of buyers. But there was more to it. Before the studio glass revolution of the late 1960s, very few could witness the dynamic spectacle of glassmaking in person, as factories were closed to visitors. Now anyone visiting Malta could see wonder of the fiery orange molten glass being blown, pushed and pulled into extravagant forms. The ‘experience’ encouraged sales. 

Michael’s forms accentuate the medium of glass, so are curvaceous and sculptural, echoing the liquid state of molten glass. He was also a clever marketeer too - he realised that most tourists holidaying in the Mediterranean would want something that reminded them of their holidays in the sun. Hence, the colours of Mdina glass echo the deep greeny-blues of the sea, the sandy beaches, and the bright blue skies. They were also different from much else that was available. 

Mdina art glass became successful outside Malta too, and a strong export business grew rapidly, with sales to department stores, galleries and retailers across Europe, into the US, and beyond. Heal’s even put on display of this new type of ‘art glass’.  

Most affordable, so most common and affordable today, are near-spherical paperweights, some of which look like they contain entire complex galaxies inside them.  They were also easily packed into tourists’ suitcases and were unlikely to break. Today, examples cost anything from £10 upwards, making an affordable entry point. 

At the opposite end, at the top of the tree, are his now-legendary ‘Fish’ vases. If you’re wondering about the name, then think of a manta ray. Highly complex and time-consuming to make, these could only be made by Michael in the first years of the company’s existence. Their curving form, impressive size, multiple layers of coloured glass, and thin neck make them more a sculpture than a functional vase, and the form has no precedent. It is considered his hallmark form and values today can exceed £1,000 – not bad for a holiday souvenir! Michael always believed in pushing himself to do better, “Our best work will be done tomorrow”, he said. Derived from, but more complex than, Fish are rare Crizzle Stones with their pebble-like forms and web-like sandy internal layer. Fewer than 50 examples are known today, and prices can exceed £3,000! 

In between, prices range from around £30 to around £500, with a plethora of forms to collect, some with curious names such as the ‘Chalice’, the ‘Inside Out’ vase, or the ‘Side Stripe’ vase. Although these are largely more practical and functional in nature, and look great with flowers, their strong forms and vivid colours mean that they also look magnificent when they stand alone. The colour palette he devised also works well whatever the interior – it works just as well as a ‘colour pop’ on old English oak as it does on Scandinavian Modern blond woods. The handmade nature of Mdina Glass also fits in with the ‘spirit’ of these popular looks too.  

As regular readers will know from my columns, ‘the devil is in the detail’. Much, but not all, Mdina glass is signed with the company’s name. But look closely at the bottom as, if Michael Harris signed a piece with his name, values can rocket by as much as 50-100% depending on the form. Michael didn’t believe in signing his work with his name as he considered all the glass produced as the achievements of the team, not one individual. That makes his signature rare. 

The political situation changed in Malta in the early 1970s and Michael, together with many British expats, was ‘asked’ to leave in 1972. Undeterred, he went to another island – this time closer to home – to found Isle of Wight Studio Glass the following year. But I’ll save the continuation of Michael Harris’ ‘journey in glass’ for another article.  

Pictured above

An early-mid 1970s Mdina Glass paperweight, designed by Michael Harris. 

A rare Mdina Glass, designed and made by Michael Harris c1971. 12in (30.5cm) high 

An early 1970s Mdina Glass ‘Chalice’ or Goblet, with knop echoing the wavy sea, designed by Michael Harris. 8in (20.5cm) high. 

This article first appeared in Tunbridge Wells Business Magazine in August 2024.