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This wonderful example of Bohemian Art Nouveau free-blown glass displays all of the characteristics associated with quality, in terms of its design and the glass making techniques required to produce such a piece.
It is not a documented pattern, however it is most probably the work of Kralik and that it is was produced pre-1910 is sacrosanct.
The vase has been produced using conventional continental methods of the period, having been blown & worked from the top of the vase only and so a pontil mark is not present.
It is always a pleasure for me personally to have acquired and to handle free-blown glass such as this, as one can visualise with a certain amount of accuracy how these historical items were made and the working procedures involved...
... To produce this vase for example, a gather of peacock-blue glass would have been blown by mouth into an elongated shape. Wooden (or metal) tweezers were then used to reduce the shape of the molten glass (below & above the applied frill) whilst rotating the glass to keep it uniform and on axis. Working quickly and whilst a second glass worker fetched a second gather of glass for the frill, the glassblower used a wooden paddle upon the still molten glass to form the base and facetted sides to the vase, whilst also adding a few decorative indentations. Working as one together, the second glass-worker, trailed a steady flow of molten glass onto the vase with precision, whilst it was being rotated to form an accurately placed spiral, which was then quickly `pinched' & patterned with tweezers to provide the vase with its frill. Back into the furnace the entire would have gone, sufficiently enough to bring the top of the glass into a manageable working temperature, and once removed from the furnace, gravity would have been allowed to produce the sight twisted top of the vase by suspending it vertically and/or by the use of holding the piece once again with tweezers and pulling the molten glass into its double gourd shape. Only then would the iridescence be applied by spraying the hot surface with metallic salts, to achieve the incredible array of colours which are as present today as they were at time of manufacture, some 100 + years ago.
Without attaching a ponty rod to the base of a piece (or a gripping tool) the top of a piece cannot be worked in its molten state. Once the glass has cooled, one cannot return to re-work it again without the very strong likelihood of cracking beyond repair. All working procedures have got be done whilst the entire piece is hot and before the annealing process. Hence the very reason as to why items such as this have a cut, roughly edged top. They have not been sealed within a flame, but `cut' once the glass has cooled. This is totally acceptable with these vase types, as it was a part of the working procedures used by many glass factories of the period within Europe outside of England.
Examples such as this vase were then often made available with metal mounts for their tops however this is by no means the case with all... This vase is in its original entirety as intended when it left its factory, and it is absolutely gorgeous...
In view of the above, a few very minor nibbles are evident to the top rim but they do not detract. There are no cracks, or missing parts of the glass frill and the vase presents itself as the splendour that it is. You will not be disappointed to covet this vase and as an investment piece its value is destined to grow... This is a unique antique piece of Bohemian Art Nouveau glass for your collection with an iridescent quality all of its own.
Height: 18cms – 7.25 inches Base diameter: 3 inches Top diameter: 1.25 inches Postage weight: 1k 200gms
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