Category Archive 'Glass'

29 Jun 2020

Nice Vase

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Lot 132: DAUM Important tubular vase with conical neck on pedestal.

Est: €18,000 – €20,000
€18,000 0 bids

July 2, 2020, 2:30 PM CET
Paris, France

Important tubular vase with conical neck on ringed pedestal. Made in purple and white marbled glass. Decorated with violets etched with acid and entirely enhanced with natural polychrome enamel. Lower part and pedestal decorated with engraved leaves and insects enhanced with gilding.
Signed in gold under the base.
High. : 70 cm

Similar to model presented by Daum Establishments at the Nancy International Exhibition in 1909.


I get lots of auction notices by email.

I’d buy this one for my wife like a shot, except not for €18,000, alas!

07 Jul 2017

Mosaic Glass Bowl


Roman Glass Bowl, 0-100 A.D., 12 cm diameter, Inventory number: H2901, Thorvaldsen Museum.

This glass bowl is in bluish green glass with a pattern in yellow, lilac, white and pale green. This colourful glass bowl has acquired its delightful pattern by means of a special technique called mosaic glass or millefiori, a thousand flowers, as the finished result often emerges as a flower-pattern. Glass using this technique was made by slowly melting different-coloured glass rods, fusing them together, cutting them into discs, placing them in a mould and finally polishing them.

26 Jun 2017

Glass Sculptures by Jack Storms


30 Jan 2015

Roman Mold-Blown Glass Cups

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Ennion, mold-blown glass cups (1st century A.D)

From the Metropolitan Museum via Belacqui.

29 Jun 2014

Mixed Media Sculptor Christina Bothwell

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Christina Bothwell, Deer sculpture in glass and ceramic

Ridiculously interesting:

[M]ixed media sculptor Christina Bothwell: Taking aesthetic inspiration from vintage toys and dolls, antique medical illustrations and old machinery, her work embodies a sense of the nostalgic entwined with that ineffable emotion of wonder. With their colorful glass bodies, delicately modeled limbs and faces, hidden layers and surreal appendages, Bothwell’s imaginative figures seem like they were plucked from some forgotten fairy tale (one which I am desperate to read).

There is an enchanting quality about her work which I can’t quite articulate, but I think at least part of it stems from her use of the translucent glass to explore the co-existence of the inner and outer workings of the body. The glass allows a soft light to radiate through the figure and reveal hidden treasures and imperfections within, but its material vulnerability also mirrors the vulnerability of the figures she depicts: little girls, infants, and small animals. A little bit magical and a little bit menacing, Bothwell’s intriguing sculptures invite the viewer to imagine their own narrative for her figures and to delight in their visual curiosity.


Irene Hardwick Olivieri interview


Interview in Glass Quarterly


Heller Gallery


Obsoleteinc examples for sale


Hat tip to Madame Scherzo.

14 Sep 2012

Lalique Art Nouveau Brooch

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René Lalique, Serpents brooch, 1898-1899.

One of my European Facebook friends forwarded a photo of the above piece of jewelry, which I, at least, failed to recognize as Lalique.

My curiosity is strong, so I captured the picture and ran it through a search program (Tineye), thereby identifying its source as, a Spanish-language web-site regularly purveying images of art.

(I never actually studied Spanish, but for the convenience of my Anglophone readers, I have combined my own feeble efforts with Google translator to produce a readable (reasonably accurate, I hope) version of Odisea2008’s accompanying text.)


René Lalique was born in 1860 and died in 1945, and lived two successive artistic lives, as he expressed different facets of his personality in two diametrically opposed styles: the Art Nouveau and the later Art Deco.

Basing his inspiration on nature and having had the audacity (for the time) to use the female body as an element of ornamentation, Lalique created some of the most representative jewelry of the Art Nouveau style. His earrings, brooches, tiaras, glasses, combs were original and imaginative works using the most elaborate techniques. He was not afraid to use previously little-used materials, such as horn, ivory, semi-precious stones, enamel and inlaid glass that was combined with gold and precious stones. His originality and talent caused him to be regarded by Emile Gallé as the inventor of modern jewelry.

At the height of his career as a jeweler, Lalique gradually changed direction and became a glazier. His earliest experiments dated back to the 1890s, but his encounter with the perfumer François Coty in 1908 played a decisive role, causing him not only to create produce bottles for the greatest perfumers, but gradually also to add to his productions, boxes, vases, lamps, and so on.

His reputation in the realm of glass was such that his factory at Combs-la-Ville, could not meet the demand, so after the World War, Lalique opened a second manufactury in Alsace at Wingen-sur-Moder, knowing that he could find in this region with a tradition of stained glass production the necessary skilled labor and that he would be able to obtain support from the government which at that time was seeking to establish the region of Alsace and Moselle as “the glass-center of France.”

Glazier of genius and eclectic creator, Lalique was not only interested in the arts of tableware and perfume bottles. He also produced, in the luxury years of the 1920s, equally emblematic designs for car radiator mascots, lighting for trains like the Orient-Express, for passenger ships like the Normandie, and for luxury stores. Lalique also took a special interest in religious architecture for which he produced some extraordinary designs.

After the death of Rene Lalique in 1945, his son Marc succeeded him in directing the company. Imbued with the same passion for the work, he used his technical skills to rebuild and modernize the factory largely destroyed during the war. Abandoning glass in favor of crystal, He exploited the contrast between the transparent and the satin-glazed to achieve the maximum expressivity from this pure material. It was this particular effect which became famous worldwide and was recognized as characterizing the brand “Lalique”. Under his guidance, the company quickly reached the highest position among the great French and foreign glassmakers.

Marie-Claude succeeded her father Marc in 1977, with the intention of combining tradition and renewal, along with the love of natural forms and the capability of reproducing and communicating their essence in objects, that for three generations has marked the creative sensibility of Lalique.

In 2008, the Lalique Company was merged into the Pochet Group of Art and Fragrance Companies and Saint-Germain Finance. The aim of its president and CEO, Silvio Denz is to strengthen the brand name in the world market and to increase its production capacity of glassware. Collections of jewelry and perfume bottles continue to be developed in parallel with traditional stained glass activity. Reissues of old works and contemporary creations are still produced in Wingen-sur-Moder by master glassmakers, where several of the best workers in France perpetuate the cult of excellence.

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