INGEBORG LUNDIN (Sweden, 1921-1992) for ORREFORS. Sweden, ca. 1960Translucent blown glass.Signed on the reverse base Orrefors D. 3877/231.Wear due to use and the passage of time.Provenance: Spanish private collection, formed between 1970 and 1995.Measurements: 36.5 cm (height); 18 cm (diameter).Swedish Orrefors glassware vase, circular in shape with carved geometric decoration. Designed in the 1960s by Ingeborg Lundin. Lundin studied at the Stockholm School of Art, where she also worked as a drawing teacher. She was employed at the Orrefors glassworks in 1947 as a designer, where she worked with both utilitarian and art glass.She was awarded the Lunning Prize in 1954 and a gold medal at the Milan Triennale in 1957, which brought her international fame. Lundin is represented, among others, in the National Museum in Stockholm and the Röhsska Museum.The Swedish glassworks Orrefors owes its name to the village of Småland where it was founded, a place of craft and industrial production since the 18th century. In the 20th century, the name Orrefors would become synonymous with good Swedish glass. In 1897, the merchant Johan August Samuelson bought the village's complex of smithies and sawmills and introduced glass production the following year, initially producing everyday household and medical glassware, such as bottles and jars. When Consul Johan Ekman became the new owner of Orrefors in 1913, he appointed Albert Ahlin to run the glassworks facilities. Ahlin initiated a new era in Swedish glass production when he acquired the Sandvik glassworks under the Orrefors umbrella and brought in skilled craftsmen and designers to develop new collections. In 1914, Orrefors began to manufacture glass. Soon after, master glassmakers Simon Gate and Edward Hald joined the company to design new designs and shapes, focusing on engraving and overlay techniques. They also began experimenting with the innovative Graal technique, developed at Orrefors by master glassblower Knut Bergqvist. In 1917, Gate and Hald introduced figurative engraved patterns. Orrefors' reputation for excellence spread internationally in the mid-1920s; first as a result of Orrefors' presentation at the Gothenburg Exhibition in 1923, and then through participation in the historic Exposition Internationale des Arts Décoratifs in Paris in 1925, where Orrefors and the artists themselves were awarded the Grand Prix. In 1928, the designer-artist Vicke Lindstrand joined Orrefors and introduced a more sculptural and modernist aesthetic. Following Orrefors and Lindstrand's success at the 1930 Stockholm Exhibition, the company became increasingly associated with simple, subtle forms in the post-war period. In 1946, Orrefors hired architect-designer Carl Fagerlund to expand its glass lighting offering. Over the years, Orrefors designers developed a number of new glass manufacturing techniques. Vicke Lindstrand and Edvin Öhrström introduced Ariel in the 1930s, while in the 1940s Sven Palmqvist introduced the Kraka and Ravenna techniques. Nils Landberg's slender Tulpan (1957) and Ingeborg Lundin's delicate Äpplet (1955) - both icons of mid-century modern Swedish design - were created using the Fuga technique. The 1960s are associated with Gunnar Cyrén's Pop glass, and since the 1970s, designers such as Olle Alberius, Eva Englund, Lars Hellsten, Anne Nilsson, Erika Lagerbielke and Helen Krantz have contributed to Orrefors' rich heritage.
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MULLER FRÈRES; France, ca. 1910.Art Nouveau vase.Acid-etched cameo glass. Signed "Muller Frères Luneville".Procedure: Private Collection, Spain between 1970-1990.Measurements: 11 x 10 x 6.5 cm.Acid-etched glass vase, composed of two layers of glass, the lower one of an amber tone and the upper one dark brown, almost black in the areas where it retains its full thickness, and almost orange, more translucent, where it has been thinned more. The acid-etched motif depicted is a lake landscape on two planes, which are clearly separated by the lake that runs between them. The difference in thickness (and therefore in tone) has been used to reflect the depth of the space in a naturalistic way.The Muller brothers began working for Gallé, and later established their own glassworks in Luneville. Years later, production moved to Croismare, and the pieces were signed "Muller Croismare". The firm produced mottled glass and acid-etched cameo glass, mainly between 1905 and 1937.Cameo glass has been known since ancient times, although it was revived at the end of the 19th century in France and England. Gallé presented his acid-etched cameo technique at the Paris Exhibition of 1889, with the aim of bringing modernist glass to the public. It was a quicker and cheaper form of decoration than the wheel-engraved cameo, resulting in more affordable, mass-produced but handmade pieces, as no stencils were used and the motif was hand-drawn on each piece. The cameo glass technique consists of blowing a bubble of two or more layers of glass of different colours, which are then cut or removed by acid etching the bottom, thus leaving the motif in relief, in the colour of the top layer of glass.
FRANTISEK PAZOUREK (Czechoslovakia, 1905-1997), for SCHLEVOGT. Bohemia, ca. 1940.Vase "Grape Harvest", Art Deco period, in malachite moulded glass, green.Provenance: Private collection, Spain between 1970-1990.Measurements: 13 cm (height); 7,5 cm (largest diameter).American-born Curt Schlevogt established his own company focusing on the export of pearls from Jablonec in 1928. In the following years, however, his company also became heavily involved in the production of artistic glassware (tiny objects of applied glass made by moulding or blowing). This was probably caused by his son, Henry Günther Schlevogt, who was extensively involved in the introduction of this type of production at the Jablonec export company A. Sachs & Co. as its representative in the USA.At the 1934 spring fair in Leipzig, the Schlevogt company presented its moulded glass collection under the brand name "Ingrid". The collection was opened and gradually received new patterns. The most artistically impressive ones were the result of the company's collaboration with prominent artists such as Ladislav P?enosil, Zden?k Juna, František Pazourek, Artur Pleva, M. Petrucci, E. Rottenberg and many others. The company gained fame and favour among glass lovers mainly for its fashionable glass materials, jade, turquoise jade and lapis lazuli, of which a significant part of the collection was moulded at the Josef Riedl glassworks in Polubný. A supreme example of the artistic efforts of the Schlevogt company was its "ArtisticCrystallery-Ingrid" catalogue, which included figurative sculptures awarded the Grand Prix at the 1937 World Exhibition in Paris. Among the conventional Art Nouveau and Rococo models, functionalist designs or, eventually, variations on the Art Deco style and Bruno Mauder's designs (vases, jugs) predominated.
VICKE LINDSTRAND (Gothenburg, Sweden 1904 - 1983 ), for KOSTA. Sweden ca. 1950.Vase "zebra".Blown glass.Hand signed with burin on the back of the base "K VL 1016".Provenance: Private collection, Spain between 1970-1990.Measurements: 13,5 x 10 x 6 cm.Vase "Zebra" in translucent blown glass, with maroon and white decoration.Victor Emanuel Lindstrand, known as Vicke Lindstrand was a glass designer, textile and ceramic designer and painter. He is considered a pioneer of Swedish glass art. He began his career at the glass manufacturer Orrefors in 1928. He pioneered more daring art glass designs at Orrefors and, together with Edvin Öhrström and Knut Bergqvist, invented the Ariel technique. In 1950 he joined Kosta Glasbruk as artistic director before retiring in 1973. At Kosta, he was the dominant designer and lent his name to many designs that are now classics. At this point, Lindstrand began to inject more and more colour into his creations, resulting in iconic designs such as Trees in the Fog and Autumn. He spent the last 10 years of his life as a freelance artist working with Hanne Dreutler and Arthur Zirrnsack at Studio Glashyttan in Åhus. He made his debut as a designer at the Stockholm World Exhibition in 1930, where he presented twelve glass vases with enamel decoration in exotic patterns. For this he received great attention in international design publications. Lindstrand added new artistic dimensions to the already famous Orrefors glass with his unique designs and revitalisation of classical forms and techniques. During his time at Orrefors, he worked on etched glass and Graal vases. With sculptor Edvin Öhrström he developed the new Ariel technique. Orrefors could not afford to keep Lindstrand during the war and between 1943 and 1950 he became creative leader at Uppsala Ekeby, where he designed many different stoneware objects, from vases to figurative sculptures.
Art Nouveau vase. BACCARAT, ca.1900.Carved glass.Signed "Baccarat" on the base.Procedure: Private Collection, Spain between 1970-1990.Size: 35 x 13 x 13 cm.Art Nouveau vase in cut glass, showing vegetal decorations worked in relief around the cylindrical body, slightly widened at the top. It combines different qualities and textures. The town of Baccarat has been recognised as one of the most important in refined glass design since King Louis XV granted Cardinal Louis-Joseph de Laval-Montmorency permission to found a glass workshop in the town, in the province of Lorraine.
Jugendstil LOETZ vase; Austria, ca. 1900.Iridescent blown glass.An iridescent blown glass vase from the Austrian Manufacture of Loetz, with an amphora-shaped body and an open mouth. Mottled decoration in red, yellow and brown. Handles and side decoration in vegetal forms in gilt metal.Provenance: Private Spanish collection, formed between 1970 and 2010.Good condition. Normal wear and tear due to use and the passage of time.Measurements: 30 cm (height) x 11.5 cm (largest diameter).Johann Loetz Witwe was the most important maker of artistic glass in Klostermühle, Bohemia. The works of Johann Loetz are among the most outstanding examples of Art Nouveau. One of the oldest glassworks was located in Wottawattal, which was bought in 1850 by Johann Loetz, the founder of the company and former owner of glassworks in Deffernik, Hurkental, Annatal and Vogelsang. In 1879, Max Ritter von Spaun, grandson of Johann Loetz, took over the factory from his grandmother and continued to run it under the old company name "Joh. Lötz Witwe". The factory had previously been equipped with an important milling workshop. It was here that heavily cut glass and perforated enamelled intermittent glass was manufactured. The company began producing coloured glass in the 1860s. Loetz glass has always been special because of its purity and fiery colours, and was initially purchased as raw glass by the North Bohemian refineries, which refined it by painting and polishing. Later, due to the high regard for glass, the company started the production of special luxury items. The company was the first to produce so-called baroque glass (objects with applied glass decorations) in Austria. Sample warehouses were located in Vienna, Berlin, Hamburg, Paris, London, Brussels, Milan and Madrid, which soon gave the products a worldwide reputation. The glass ingeniously imitated all kinds of onyx, jasper, carnelian, malachite, lapis lazuli, inlaid glass, etc. At the anniversary exhibition in 1888, the "Kaiser Franz Josefs Vase", designed by Hofrat Storck and produced by the Lötz company in Grauonyx, was presented. It was the largest blown glass vase ever made. Most of the world exhibitions were filled with the company's special products and received the highest awards.
Jugendstil LOETZ tabletop centrepiece; Austria, ca. 1900.Iridescent blown glass.An iridescent blown glass table-top centrepiece (flower vase) from the Austrian manufacturer Loetz, with a circular base with wavy sides and a soliflower vase in the centre with conical forms and a wavy mouth, connected to the base by a piece of gilt bronze. Cobalt Papillon" decoration on blue marbled with metallic granules (oil stain). Provenance: Private Spanish collection, formed between 1970 and 2010.Good condition Normal wear and tear due to use and the passage of time.Measurements: 47 cm (height) x 27 cm (largest diameter).Johann Loetz Witwe was the most important maker of artistic glass in Klostermühle, Bohemia. The works of Johann Loetz are among the most outstanding examples of Art Nouveau. One of the oldest glassworks was located in Wottawattal, which was bought in 1850 by Johann Loetz, the founder of the company and former owner of glassworks in Deffernik, Hurkental, Annatal and Vogelsang. In 1879, Max Ritter von Spaun, grandson of Johann Loetz, took over the factory from his grandmother and continued to run it under the old company name "Joh. Lötz Witwe". The factory had previously been equipped with an important milling workshop. It was here that heavily cut glass and perforated enamelled intermittent glass was manufactured. The company began producing coloured glass in the 1860s. Loetz glass has always been special because of its purity and fiery colours, and was initially purchased as raw glass by the North Bohemian refineries, which refined it by painting and polishing. Later, due to the high regard for glass, the company started the production of special luxury items. The company was the first to produce so-called baroque glass (objects with applied glass decorations) in Austria. Sample warehouses were located in Vienna, Berlin, Hamburg, Paris, London, Brussels, Milan and Madrid, which soon gave the products a worldwide reputation. The glass ingeniously imitated all kinds of onyx, jasper, carnelian, malachite, lapis lazuli, inlaid glass, etc. At the anniversary exhibition in 1888, the "Kaiser Franz Josefs Vase", designed by Hofrat Storck and produced by the Lötz company in Grauonyx, was presented. It was the largest blown glass vase ever made. Most of the world exhibitions were filled with the company's special products and received the highest distinctions.
Jugendstil LOETZ vase; Austria, ca. 1895.Iridescent blown glass.An iridescent blown glass vase from the Austrian Manufacture of Loetz, of conical form with circular mouthpiece, with "Phaenomen" decoration in purplish yellow tones. Decorated in relief with handles, side ornaments and a gilt metal base. Label on the back of the shop where it was first acquired in Barcelona in Calle Fernando VII, where the best shops of the time were located, between the end of the 19th century and the beginning of the 20th century.Provenance: Private Spanish collection, formed between 1970 and 2010.Good condition. Normal wear and tear due to use and the passage of time.Measurements: 42.5 cm (height) x 17.5 cm (largest diameter).Johann Loetz Witwe was the most important maker of artistic glass in Klostermühle, Bohemia. The works of Johann Loetz are among the most outstanding examples of Art Nouveau. One of the oldest glassworks was located in Wottawattal, which was bought in 1850 by Johann Loetz, the founder of the company and former owner of glassworks in Deffernik, Hurkental, Annatal and Vogelsang. In 1879, Max Ritter von Spaun, grandson of Johann Loetz, took over the factory from his grandmother and continued to run it under the old company name "Joh. Lötz Witwe". The factory had previously been equipped with an important milling workshop. It was here that heavily cut glass and perforated enamelled intermittent glass was manufactured. The company began producing coloured glass in the 1860s. Loetz glass has always been special because of its purity and fiery colours, and was initially purchased as raw glass by the North Bohemian refineries, which refined it by painting and polishing. Later, due to the high regard for glass, the company started the production of special luxury items. The company was the first to produce so-called baroque glass (objects with applied glass decorations) in Austria. Sample warehouses were located in Vienna, Berlin, Hamburg, Paris, London, Brussels, Milan and Madrid, which soon gave the products a worldwide reputation. The glass ingeniously imitated all kinds of onyx, jasper, carnelian, malachite, lapis lazuli, inlaid glass, etc. At the anniversary exhibition in 1888, the "Kaiser Franz Josefs Vase", designed by Hofrat Storck and produced by the Lötz company in Grauonyx, was presented. It was the largest blown glass vase ever made. Most of the world exhibitions were filled with the company's special products and received the highest awards.
LOUIS COMFORT TIFFANY (United States, 1848 - 1933).Jack in the pulpit" vase. Art Nouveau, ca. 1910.Favrile glass.Signed "L.C. Tiffany- Favrile" on the back.Measurements: 30,5 x 17 x 9,5 cm.This vase was made in Favrile glass, a type of glass patented by Tiffany in 1892. As we can see, Favrile glass has a peculiar characteristic that is common to some glass from classical antiquity: it has an iridescent quality. The iridescence causes the surface to shine, but it also causes a degree of opacity. This iridescent effect of the glass was obtained by mixing different colours of glass together while it was hot.Louis Comfort Tiffany was the American artist and industrial designer most associated with the Art Nouveau movement. He was a painter, interior decorator, designer of stained glass windows and lamps, glass mosaics, blown glass, ceramics, jewellery and metalwork. Louis attended Eagleswood Military Academy in Perth Amboy, New Jersey. His early artistic training was as a painter, studying with George Inness and Samuel Coleman in New York City and with Leon Bailly in Paris. In about 1875 he became interested in glassmaking and worked in various glassworks in Brooklyn. In 1879 he partnered with Samuel Colman and Lockwood de Forest to form Louis Comfort Tiffany and Associated American Artist. Tiffany's leadership and talent, along with his father's connections and financial resources, made the business a success. Tiffany's desire to concentrate on glass as an artistic element led to the dissolution of the company in 1885, when he chose to establish his own glass-making firm. The first Tiffany Glass Company was incorporated on 1 December 1885, and in 1900 it became known as Tiffany Studios. In his factory he used opaque glass in a variety of colours and textures to create a unique style of stained glass, which contrasted with the method of transparent painted or enamelled glass that had been the dominant methods of stained glass making for hundreds of years in Europe. The use of coloured glass for stained glass was motivated by the ideals of the Arts and Crafts movement and its leader William Morris in England. Artist and glassmaker John La Farge was Tiffany's main competitor in this new American style of stained glass. Both had learned their craft in the same Brooking glassworks in the late 1870s. In 1893 Tiffany built a new factory, called Tiffany Glass Furnaces, located in Corona Queens, New York. That same year his new company introduced the term favrile in conjunction with its first blown glass production. Early examples of his lamps were exhibited at the Chicago World's Fair in 1893, and he registered the term favrile on 13 November 1894. He then extended the use of this term to his entire production of glass, enamel and ceramics. The first commercially produced lamps date from around 1895. Much of his company's production was the manufacture of stained glass for windows and the creation of lamps, although his company designed a complete range of decorative objects for interiors. At its peak, his factory employed more than 300 craftsmen. Tiffany used all his skills to design his own house in Oyster Bay, New York, Long Island, which had 84 rooms and was completed in 1904. It was later donated to his foundation for art students, along with 243,000 m² of land, but was destroyed by fire in 1957. Tiffany maintained a close relationship with the family-owned Tiffany Company.
Jugendstil LOETZ ashtray; Austria, ca. 1905.Iridescent blown glass.An iridescent blown glass ashtray from the Austrian Manufacture of Loetz, with a circular body and three lateral ornaments in the form of a vegetal form. Crete Diaspora" decoration on a green background, with a touch of gold enamel.Provenance: Private Spanish collection, formed between 1970 and 2010.Very slight, almost imperceptible chipping on the mouthpiece. Normal wear and tear due to use and the passage of time.Measurements: 4 cm (height) x 12 cm (largest diameter).Johann Loetz Witwe was the most important maker of artistic glass in Klostermühle, Bohemia. The works of Johann Loetz are among the most outstanding examples of Art Nouveau. One of the oldest glassworks was located in Wottawattal, which was bought in 1850 by Johann Loetz, the founder of the company and former owner of glassworks in Deffernik, Hurkental, Annatal and Vogelsang. In 1879, Max Ritter von Spaun, grandson of Johann Loetz, took over the factory from his grandmother and continued to run it under the old company name "Joh. Lötz Witwe". The factory had previously been equipped with an important milling workshop. It was here that heavily cut glass and perforated enamelled intermittent glass was manufactured. The company began producing coloured glass in the 1860s. Loetz glass has always been special because of its purity and fiery colours, and was initially purchased as raw glass by the North Bohemian refineries, which refined it by painting and polishing. Later, due to the high regard for glass, the company started the production of special luxury items. The company was the first to produce so-called baroque glass (objects with applied glass decorations) in Austria. Sample warehouses were located in Vienna, Berlin, Hamburg, Paris, London, Brussels, Milan and Madrid, which soon gave the products a worldwide reputation. The glass ingeniously imitated all kinds of onyx, jasper, carnelian, malachite, lapis lazuli, inlaid glass, etc. At the anniversary exhibition in 1888, the "Kaiser Franz Josefs Vase", designed by Hofrat Storck and produced by the Lötz company in Grauonyx, was presented. It was the largest blown glass vase ever made. Most of the world exhibitions were filled with the company's special products and received the highest awards.
DAUM-Nancy. France, ca. 1900.Art Nouveau jug.Blown and enamelled glass.Signed on the reverse "Daum Nancy" and cross of Lorraine.Provenance: Spanish private collection, formed between 1970 and 1995.Measurements: 18 x 9,5 x 8 cm .Art Nouveau vase of circular shape in cameo blown glass with rough base in translucent and pink tones with floral decoration and polychrome with golden touches. Mouthpiece, lid and handle of contrasting silver.The Daum manufacture was founded at the end of the 19th century by Augustin Daum (1853-1909) from a small family glassworks in Nancy. He was joined by his brother Antonin (1864-1931), and the Daum workshops soon became a meeting place and training ground for many young artists, who gave impetus to the Art Nouveau style in Nancy. At first they made ordinary glass, but in 1891 they decided to open a decorative workshop and to embark on artistic production, probably as a result of the success of Émile Gallé (1846-1904) at the 1889 Exhibition. Eventually, Daum had a factory with more than three hundred employees and a wide range of artistic production. During the First World War, the factory closed, but resumed production after the war, adapting to the change in aesthetics and leaving behind the modernism of its first period. During the Art Nouveau period, most of Daum's pieces were made of acid-etched cameo glass, but with the new Art Deco style, new techniques and decorative styles were investigated.
DAUM-Nancy. France, ca.1900.Art Nouveau vase.Blown and enamelled glass.Signed on the reverse "Daum Nancy" and cross of Lorraine.Provenance: Spanish private collection, formed between 1970 and 1995.Measurements: 17,5 x 8,5 x 7,5 cm .Art Nouveau vase of ovoid body with circular base, in blown glass in translucent and green degradé tones. The surface has been satin-finished and then enamelled with a floral and landscape design with a dog and a bird.The Daum manufacture was founded at the end of the 19th century by Augustin Daum (1853-1909) from a small family glassworks in Nancy. He was joined by his brother Antonin (1864-1931), and the Daum workshops soon became a meeting place and training ground for many young artists, who gave impetus to the Art Nouveau style in Nancy. At first they made ordinary glass, but in 1891 they decided to open a decorative workshop and to embark on artistic production, probably as a result of the success of Émile Gallé (1846-1904) at the 1889 Exhibition. Eventually, Daum had a factory with more than three hundred employees and a wide range of artistic production. During the First World War, the factory closed, but resumed production after the war, adapting to the change in aesthetics and leaving behind the modernism of its first period. During the Art Nouveau period, most of Daum's pieces were made of acid-etched cameo glass, but with the new Art Deco style, new techniques and decorative styles were investigated.
PALLME KÖNIG. Austria, ca.1910.Art Nouveau centre, ca.1910.Blown glass. Relief enamels. Silver-plated metal mouthpiece.Provenance: Private Spanish collection, formed between 1970 and 1995. Measurements: 10 x 23 x 23 cm.Centre in blown glass, decorated with enamels depicting sinuous water lilies floating amidst typically Art Nouveau delicacies.The Pallme glassworks was first established in Steinschonau, Austria, in about 1786 by Ignaz Pallme-Konig. In the 1880s and 1890s, Ignaz Pallme-Konig's firm manufactured and exported high-quality chandeliers and etched glass. Around the turn of the century they merged with Wilhelm Habel's Elizabethhutte glass factory near Teplitz and became known as "Glasfabrik Elisabeth, Pallme-Konig and Habel".During the Art Nouveau period, this glass company produced high quality iridised glass, and its finest production was of the type illustrated on the left. Hot glass trails were wound around the iridised glass to form a network, and the piece was blown into a mould so that the trails were pressed against the glass.Elizabethhutte's production was and still is highly appreciated in Austria. The production of this beautiful and highly specialised type of design continued until the early 1920s. Pallme-Konig vases often have cut-outs in the top and folded pieces in a way that emphasises the once molten nature of the glass.There were several factories with the Pallme-Konig name and many of them continued to produce glass until the industry was nationalised after the end of the war in Europe (1945). Pallme-Konig and Habel glass is not usually signed, and does not normally have a pontil mark. The entire vase, with its molten traces on the surface, was usually blown into a mould and then finished from the top.
DAUM FRÈRES. Nancy, France, ca.1910.Berluze" soliflower vase.In blown glass.Signed on the side "Daum, Nancy", and with the cross of Lorraine.Provenance: Private Spanish collection, formed between 1970 and 1995. Measurements: 45 x 11,5 x 11,5 cm.Vase of Art Nouveau style, in blown glass, follows in its design the Berluze typology, introduced by the house Daum in its soliflore vases. It combines marbled tones with cobalt marbling. The Daum manufacture was founded at the end of the 19th century by Augustin Daum (1853-1909) from a small family glassworks in Nancy. He was joined by his brother Antonin (1864-1931), and the Daum workshops soon became a meeting place and training ground for many young artists, who gave impetus to the Art Nouveau style in Nancy. At first they made ordinary glass, but in 1891 they decided to open a decorative workshop and to embark on artistic production, probably as a result of the success of Émile Gallé (1846-1904) at the 1889 Exhibition. During the First World War, the factory closed, but resumed production after the war, adapting to the change in aesthetics and leaving behind the modernism of its first period. During the Art Nouveau period, most of Daum's pieces were made of acid-etched cameo glass, but with the new Art Deco style, new techniques and decorative styles were investigated.
SCHNEIDER-LE VERRE FRANÇAIS. France, first half of the 20th century.Art Deco vase "Glycines", ca.1927.Acid-etched glass. Circular wooden base.Similar works are published in the book "Charles Schneider: Le verre français-Charder Schneider", by Marie-Christine Joulin and Gerold Maier, p. 170.Signed on the wooden base.Procedure: Private Collection, Spain between 1970-1990.Measurements: 51.5 cm (total height).Large vase with an elongated, slender oval belly, with handles on the sides and raised on a stepped circular base, the latter in wood. It is made of two layers of glass, the lower one translucent, yellow in colour, and the upper one acid-etched in orange. The decoration is based on large floral bouquets, arranged in an orderly and highly naturalistic manner, in keeping with the Art Nouveau aesthetic.Ernest (1877-1937) and Charles Schneider (1881-1953) founded a small glassworks in Epinay-sur-Seine, France, in 1911. Charles Schneider, a graduate of the École des Beaux-Arts in Paris and gifted with unusual artistic skills, together with his brother, succeeded in making his production the most important art glassworks in France between 1926 and 1930. His pieces were always hand-blown, which meant that each glass in the same series would never be identical to another. At the same time, the range of hot and cold decoration processes was always applied with virtuoso mastery. Charles Schneider meticulously studied the temperature and chemical compositions to obtain an extremely extensive palette of colours, some of them never seen before and of unprecedented strength in the art of glass. The so-called Tango, for example, an explosive orange, was to become the most innovative. Known as Verreries Schneider, the firm realised two production lines. The first, under the brand name Le Verre Français, includes pieces decorated with the acid-etched cameo technique, with generally two colours of glass superimposed and a stylised floral decoration, shiny on a matt background. The second line, under the emblematic Schneider brand, is made up of pieces in shorter series, sometimes unique, offering smooth and shiny glassware, with more elaborate and personal decorative techniques. In any case, the success of this firm was undoubtedly due to the creative frenzy, enthusiasm, talent and genius of one man, Charles Schneider.
VENINI. Italy, 1982.Blown glass vase.Signed and dated on the base.Procedure: Private Collection, Spain between 1970-1990.Measurements: 28 cm (height) x 15 cm (diameter).This ornamental blown glass vase is a direct heir to the glassmaking tradition of the Venetian island of Murano, one of the most important historical centres of glass production in the history of Europe. It subtly and elegantly combines the colours blue and red, arranged in a helical format.Paolo Venini was an important designer in Murano glass production, as well as a notable contributor to 20th century design. Together with Giaccomo Capellin, owner of an antique shop in Milan, Venini opened a glass factory on the islands of Murano, the historic centre of glass production in the Venice lagoon, under the name Vetri Soffiati Muranesi Cappellin Venini & Co. Venini himself was involved in the design of several of the firm's best-known products, including the famous "fazzoletto" (handkerchief) series which he created with designer Fulvio Bianconi. After Venini's death in 1959, the company was continued by other members of the family, only to be sold in 1985.
ÉMILE GALLÉ (Nancy, France, 1846 - 1904).Vase, ca. 1920.Acid-etched cameo glass.Signed on the reverse.Procedure: Private Collection, Spain between 1970-1990.Measurements: 13 x 8 x 6 cm.Acid-etched cameo glass vase, with an ovoid body and curved mouth. It is decorated with floral decoration that is freely arranged on the surface, as is typical of Gallé cameo glass. It is composed of two layers of glass, yellow, white and green in colour, cut at different levels to create tonal variations and details that add three-dimensionality to the flowers.Gallé presented his acid-etched cameo technique at the Paris Exhibition of 1889, with the aim of bringing Art Nouveau glass to the public. It was a quicker and cheaper form of decoration, resulting in more affordable, mass-produced but handmade pieces, as no stencils were used and the motif was hand-drawn on each piece.Émile Gallé began his career working for his father, who owned a glass and ceramics factory, producing designs with floral and heraldic motifs. Very interested in botany, he studied it in depth during his youth, alternating with drawing classes. Between 1862 and 1864, at his father's request, he travelled around Italy, England and Germany, taking an interest in the applied arts but also in subjects that he would later reflect in his works, such as music, philosophy and nature. On his return he settled in Meisenthal, where his family's glass furnaces were located, in order to fully learn the craft of glassmaking. He also travelled to London and Paris to see the collections of their museums. In 1874 he took over his father's factory and soon achieved great international success, winning prizes at International Exhibitions and selling works to important collections and museums. Today, works by Emile Gallé can be seen in the Hermitage Museum in St Petersburg, the Metropolitan Museum in New York, the Orsay Museum in Paris, the Brohan Museum in Berlin and the Victoria & Albert Museum in London, among many others.Nature is one of the main sources of inspiration for Gallé, whose style is characterised by the naturalistic rendering of the elements, as if observed through a macro, at a large size, or in the form of landscapes. This piece is worked with hydrofluoric acid, which was Gallé's main industrial production technique. It is a cameo glass, which consists of making a piece with two or more layers of glass of different colours so that, after immersion in the acid, the decorative motif is in relief on a plain background of a different colour. The decoration in this case has three levels, with variations in relief, the dark motif on the light background and, finally, a twilight sky in ochre tones. Gallé presented his acid-etched cameo technique at the Paris Exhibition of 1889, with the aim of bringing Art Nouveau glass to the public. This was a quicker and cheaper form of decoration, resulting in more affordable pieces, which were mass-produced but handmade, as no stencils were used and the motif was drawn by hand on each piece.
MARLO-Nancy. France, ca.1900.Art Nouveau jug.Blown and enamelled glass.Signed Marlo-Nancy on the base.Provenance: Spanish private collection, formed between 1970 and 1995.Measurements: 26 cm (height); 9.5 cm (largest diameter).French Art Nouveau vase, in blown glass in various shades of yellow and brown in mottled form, with hand enamelled decoration with floral ornaments. The mastery of the arts of fire is the fruit of a long tradition of glassmaking in Lorraine which has stood the test of time. In Nancy, a land of creations, many great glassmakers succeeded one another, especially during the artistic effervescence of the Art Nouveau period. Gallé, Daum, Gruber? ... so many great names whose heritage is still present throughout the city.
LOETZ. Czech Republic, ca. 1910.Art Nouveau vase.Blown glass.No signature.Vases of similar characteristics and decorations at www.loetz.com/decoraciones.Provenance: Spanish private collection, formed between 1970 and 1995.Measurements: 30 cm (height); 11 cm (largest diameter).Art Nouveau vase of clear floral inspiration, made in yellow glass, iridescent on the inside. It is made using the air-blowing technique, and the organic appearance of the upper part, imitating a leaf, has been obtained by hot modelling the glass, using tweezers and other tools. The iridescent, multicoloured and irregular appearance of the upper part is typical of Art Nouveau glass, characterised by its ornamental sense and technical experimentation.The quality of the materials and the workmanship of the glass is common in the Loetz firm, especially in the use of iridescent glass, widely used in Central European modernism, characterised by its chromatism, which changes according to the angle of incidence of light on its surface, and by its metallic appearance. This material, the result of intensive technical research carried out in the artistic glass workshops of the second half of the 19th century, is obtained by adding various metallic oxides to the base mass of glass.Loetz, founded in 1840, was a pioneer in the use of new techniques and materials, following the line of experimentation of the glass artists of the second half of the 19th century. The firm took part in the 1889 Paris International Exhibition, where its pieces were unanimously acclaimed by the critics.
After models by FRANÇOIS THEODORE LEGRAS.French vase, ca. 1930.Blown and engraved glass, enamelled with landscape. Gilt metal foot.Unsigned.Provenance: Spanish private collection, formed between 1970 and 1995.Measurements: 23 x 8 x 8 cm.Blown glass vase. With a geometric design of square shapes. The decoration in enamels, covering the whole body, represents a lake landscape drawn in tans tones on pink and green gradations, in dégradée.The firm of F. Th. Legras was founded by Auguste Jean-François Legras (1817 - 1887) around 1864 in St. Denis, near Paris. At the beginning of the 20th century, the firm specialised in the production of acid-etched cameo glass, inspired by Gallé's pieces. Legras & Cie. produced a multitude of pieces for sale, as well as several of particular quality for display at international fairs.
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