Glass

Bagley Glass was established in Knottingly, England (south east of Leeds) in 1871. Bottle makers at first they branched out in 1912 and opened a department 'The Crystal Glass company' which made crystal and pressed glass. But it was for the latter that Bagley were to become famous and they became the biggest manufacturer of pressed glass in England in the years before and after the war. Many of their designs were influenced by the Art Nouveau styles and this flower vase, unusually presented complete with its frog and stand, is a classic example of their range.

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It took time for Germany to rebuild after the Second World War and it was not until 1949 that the country regained its national identity. The production of ceramics slowly revived and began to gain momentum in the 1950s eventually reaching a total of over one hundred companies and studio potteries. Some of the concerns produced a substantial output including Carstens, Bay, ES, and Dümler & Breiden but the most prolific of all was Scheurich. In 1927 Alois Scheurich established with a partner a company named ‘Scheurich and Greulich’ (S&G) which focused on producing low cost ceramic and glass items (see image 7). The success of this business provided the springboard for the creation of ‘Scheurich KG Keramikfabrik’ in 1954. While it commenced production rather later than some of its competitors it soon grew to overtake them and the glaze colourings for which it became best known were produced in the 1970s. Eventually the firm changed direction yet again and is now known for producing ceramic garden ornaments which have an international appeal.

Most of the Scheurich pieces are marked, nearly always with two sets of numbers ‘XXX-XX’ and the wording ‘W.GERMANY’, although there are variants. The firm’s name can appear in addition, as here, where we see as well ‘SCHEURICH KERAMIK’, and it is thought that this indicates a later dating to the 1970s/1980s. The first three numbers are the model number and the last two the height in centimetres, here ‘259-41’. ‘259’, as with nearly all the model numbers, was made with a wide variety of glaze colourings and effects. Equally, similar colours and patterns were used on different models. The shape is one of the firm’s most successful. The cylindrical body narrows gently towards the base and has a well defined shoulder with a concave neck and an inturning rim. The bright orange at the centre is bordered with and divided by irregular black ‘crusty effect’ bands. These are an excellent example of the apocryphally named ‘lava’ glaze for which Scheurich was so well known. Either side of this are two sections of grey speckle glaze which complete the whole. The vase is glazed brown inside and at the base which has the factory markings in raised lettering. Similar glaze combinations can be found on other pieces but the result is rarely as successful as here and the colour scheme used enhances the classic simplicity of the shape, loosely derived from a Chinese original.

This is a vase to appeal to decorators and collectors alike and is very much a ‘one off’ example of these popular wares standing rather apart from its many companions.

Heinrich Hoffmann (1875 – 1939) and Henry Schlevogt (1904 – 1984) were relatives as well as business partners, Schlevogt having married Hoffman’s daughter. They worked together on a variety of designs and from the moulds they produced came pieces exclusively pressed by the family glassworks of Josef Riedel established in Polaun (Polubný), Bohemia. The collection was marketed under the brand name ‘Ingrid’ and had an immediate success in Europe and the United States, being introduced at the Spring Trade Fair in Leipzig in 1934 and later in the same year presented at the Chicago World’s Fair. Hoffmann died around the time of the beginning of the second world war but Schlevogt remained in Bohemia until his capture by the invading Red Army in 1944. Eventually rescued through the intervention of influential friends, he settled in Paris and in the 1950s founded a highly successful wholesale business trading in crystals and glassware which he sold in 1972. The Czechoslovak government meanwhile nationalised the glass industry after World War II and some of Schlevogt’s moulds were reused with pressings known from the 1970s made as before at the glassworks of Josef Riedel.

Dating of the pieces is extremely difficult since the later versions resemble the earlier ones so closely and there are few firm guidelines. But the example here, even if there is the possibility that it does not date to the 1930s, is an extremely accurate reflection of the model types produced. The design is striking with the malachite effect glass formed into a two section box the deep base fitted with a shallow domed lid and both parts decorated with naked ladies swimming amidst waves in a swirling design of life and movement. The joins of the moulds can be clearly seen at the sides (see images 8 & 9). The style is quintessentially Art Deco and this is a ‘must have’ for collectors of pieces from that era.

George Davidson founded the Teams Flint Glass Works in 1867, which later became known as George Davidson & Co. In the 1880s the company began producing pressed glass tableware in a variety of shapes and by the 1920s their designs began to reflect the new Art Deco trends. The firm continued production until the 1980s, closing in 1987. This vase is typical of their Art Deco inspired designs although is rather less commonly found today. It has the pattern number '34 'SVF', 'S' standing for 'small', 'V' for 'vase' and 'F' for 'flared rim' and was produced from 1934 to 1942 (see www.cloudglass.com). A slightly larger version was made as well with the pattern number '34' 'VF'. The swirling effect was typical of Davidson's 'cloud glass' designs, one of its most popular ranges. In mint condition, this vase might well fill a gap in a collection of Davidson pieces or pre war British glass generally.

George Davidson founded the Teams Flint Glass Works in 1867, which later became known as George Davidson & Co. In the 1880s the company began producing pressed glass tableware in a variety of shapes and by the 1920s their designs began to reflect the new Art Deco trends. The firm continued production until the 1980s, closing in 1987. Some of their catalogues still exist and one from the early 1930s shows a piece very similar to this one (see image 11). The colour is known as ‘Topaz Briar’ and the swirling effects resemble other pieces in their ‘cloud glass’ range, a pattern for which the firm was famous.

The colourings and small size of this piece make it an unusual find amongst the Davidson wares which can be seen today and the presence of all three elements (perfect and complete) make it a desirable addition to a collection of twentieth century pressed glass.

Chippendale glass was designed and patented in the USA in the early years of the 20th Century and imported into Britain. The moulds were purchased by a Charles Pratt and Davidson’s used them to produce this range of glassware purchasing the exclusive rights to manufacture Chippendale glass when they realised its popularity. Various forms were included in the range and manufactured by the pressed glass technique for which the firm had become famous. The mould marks of this pair can be clearly seen at the bases (see image 4). The clean angular lines are typical of art deco designs and Davidson’s produced here a model which was both practical and decorative.

This model can be seen in the firm's catalogue for 1931 where the bowl and stand are combined with a separate pierced flower holder in the same style. No doubt the size of the ‘frog’ was up to the purchaser who could choose from a range of dimensions which probably explains the slightly different proportions here to the catalogue image which otherwise illustrates our example extremely well, even down to the milled edging to the rim of the bowl. With its archetypal shape and colouring this piece would be an excellent addition to any Art Deco collection as well as providing a striking and decorative item for a contemporary interior.

This set is sold with matching contemporary illuminated stands which enhance the decorative effect considerably and provide a modest light display installation for the home (see illustrations 5 and 6).

It is sold with a matching contemporary illuminated stand which enhance the decorative effect considerably and provides a modest light display installation for the home (see image 6).

Kosta Boda, previously known as Kosta Glasbruk, is a Swedish glassmaking company founded by two foreign officers in Charles XII's army, Anders Koskull and Georg Bogislaus Staël von Holstein, in 1742.It is located in Kosta, Sweden. Early production consisted of window glass, chandeliers and drinking glasses. From the 1840s, the factory was at the forefront of new trends and technical developments, producing pressed glass, and in the 1880s setting up a new glass-cutting workshop. In 1903, the company merged with the Reijmyre glassworks but both retained their own names and Kosta went on to maintain its reputation as one of the leading Swedish manufacturers with a range of fine art glass and tableware by distinguished designers such as Vicke Lindstrand, artistic director from 1950-1973.

Vases in this form were produced by the well known French maker Daum in the 1950s and the 1960s. The sizes and designs can vary with some examples measuring up to two feet and intended as table ornaments. This piece is rather smaller and perhaps more elegant. The crystal glass is of extremely high quality and reflects the light in a very attractive way. The weight is good and the glass itself is thickly blown and expertly formed, The flat base shows signs of bevelled edging at the exterior and one of the sides bears the typical etched Daum mark with 'Daum' and 'France' separated by a device comprising an upright line with two crosses.

The more petite size and the quality of the manufacture and design make this a most appealing example of Daum's work at its best. Dating can be assumed to be around 1960 if not slightly before. A desirable piece indeed for collectors of twentieth century art glass.

Thomas Webb began his glass career in 1829, when he became a partner in the Wordsley Glassworks. Various career changes followed and in 1859 he was joined by his sons Thomas Wilkes Webb and Charles Webb and began trading as Thomas Webb & Sons based in Stourbridge. The firm was run by various family members until mergers started to occur in the early twentieth century and Sven Fogelberg, previously from Swedish glassworks Kosta, became manager in 1932. Production continued with more mergers in the 1960s and 1970s until the firm closed in 1990. This vase was made by Thomas Webb during the 1950s as part of their 'Gay Glass' range in a design called 'Old English Bull's Eye' and has the typical 'Webb England' mark to the base.

The Harrach glassworks is named after Alois Raimund von Harrach (Count Harrach), on whose estate it was founded in Bohemia, in the early eighteenth century. Managed at first by one Elias Muller, the firm traded under a variety of names becoming known as Harrach in the nineteenth century and Harrachov, the name eventually given to the town where the factory was situated, in the twentieth. These opulent vases were a popular part of its range in the nineteenth century, the pattern being produced in a variety of similar shapes and always as shelf ornament pieces. The decoration here is particularly lavish with an attractive use of colour and has survived in excellent condition making these a desirable addition for collectors of Bohemian glass or admirers of nineteenth century glass style generally.

The influence of Art Deco style of this piece is clear and it does indeed date to the 1930s. The model, termed ‘Arabella’ can apparently be seen in the 1934 catalogue of the German glass manufacturers Walther and Sohne, founded by August Walther in 1888 at Ottendorf-Akrilla near Dresden. In the 1930s the firm was famous for its Art Deco designs and also produced a version of ‘cloud glass’ which at one time was held to be exclusive to the English manufacturer Davidson. But some of the English glass makers also drew on their German rival’s work such that Walther and Sohne patented some of their designs in the UK in 1937, presumably to protect their work. This centrepiece set is a classic example of Walther and Sohne’s pre war productions and a distinctive example of Art Deco glassware.

The Sowerby family came from the North West of England near Carlisle and settled in Gateshead in the late eighteenth century. The firm Sowerby Glassworks is known from 1807 onwards and continued production until 1972, concentrating on pressed glass. Catalogues of their wares still exist and they produced pieces in a wide variety of styles and shapes which retain their popularity today.

The Sowerby family came from the North West of England near Carlisle and settled in Gateshead in the late eighteenth century. The firm Sowerby Glassworks is known from 1807 onwards and continued production until 1972, concentrating on pressed glass. Catalogues of their wares still exist and they produced pieces in a wide variety of styles and shapes which retain their popularity today.

The centrpiece figurine, which was intended as a flower holder or ‘frog’, is rather unusual; normally the figures are female but the style of the modelling is identical. Similar designs to the bowl can be found in a 1936 catalogue but versions of it even appear in another catalogue from 1882. Many centrepiece/bowl combinations are found and some of them are not always original. This may possibly be the case here but if so the ‘match’ is extremely pleasing to the eye and the two elements set one another off perfectly to produce a striking example of Art Deco decorative design.