Thanks to Anne, I've just seen this post...
Well, lucky you Anik. It SOUNDS like it's the same - but be very sure...as large quantities of opaque white cased colour glass painted with sprays of flowers were produced over the years, and continue to be. I also saw a similar vase, but unpainted, a few weekends ago in Berlin. The shape was much clumpier and considerably less well executed, but they're out there too.
If it is 'identical' in the subject matter of the enamelled patterns, modern form, slightly curved grid-like cutting, colours etc, then it's from an incredibly rare range - at least I have only seen a handful of examples over the past 6 or so years. Nearly all of those were shown in the Hi Sklo Lo Sklo exhibition, and their quality and appeal are such that I doubt any others would have been passed over by collectors or dealers had they turned up at any point.
I did indeed appear on BBC national television and state that in my opinion the value of that bottle from the range would be around Â£2,000. So, no chance of wriggling out of that one then!
Not that I'd want to.
Like all those spots, my spot on Czech glass was strongly forward-looking as regards values, comparing it to Murano glass a decade or more ago, when the market was still developing. Unless I said prices were current (as with the pressed glass piece), prices were my opinion of what may be paid in the future.
This is an extremely rare range that appears to have been specially designed for the 1958 Brussels Expo and, from memory, features in a special 'supplement' in the correctly dated edition of Czechoslovak Glass Review of 1958. The range never appears in CGR again, even in photographs of other exhibitions, and was obviously considered important enough to feature both in that supplement, and in a large photograph. At that early date, the designer was not important - the product and the design were. As such, at that stage, CGR very very rarely attributes designs featured to designers by name.
Examples I have seen can - very, very tenuously - perhaps be further be tied into exhibitions. A few years ago in Canada, I spotted a PAIR (!) of similar zingy lime bottles (beyond my meagre budget) in a cabinet in a large antiques centre. The owner, who I know, told me that they came out of a very grand house with some other great pieces, and had been there since the 60s or 70s. I wonder if they came from the Montreal Expo in 1968? Nobody can be sure, but it's perfectly possible as the Czechs did exhibit there and the design would still have been relevant. BTW - before you try and track them down, they are no longer there!
An auction house in Germany attributed the design to Libensky, the cutting to Honzik, and the enamelling/gilt to Lebeda. I can't find any other link to these names, and sadly never received a reply to my email, but perhaps Jindrich can find out more? If these attributions were correct, most particularly with Libensky, this would make this range extremely important.
In the course of researching Hi Sklo Lo Sklo, I asked Karel Wunsch if he designed them. He replied saying he did not, but thought Lebeda produced the enamelled/gilded designs. If I recall rightly without referring to my notes, the incredible and erudite Dan Klein also agreed with the Lebeda connection. Jindrich may know more, but apparently Lebeda was a slightly subversive 'underground' cartoonist and artist outside his day job.
From a design perspective, they represent key aspects of postwar Czech glass design - almost like no other range. The fine forms are modern takes on traditional forms, such as the bottle, baluster etc. Furthermore, the cutting is a modern take, and the enamelled designs are, I believe, exactly as I said on screen. Progressive, modern art such as this (inspired by Picasso, Braque, etc) was deemed decadent by the Powers that Were, and banned. If you painted those designs on a canvas, it would have been a bad thing indeed. As glass was not deemed a 'threatening' art form by the government, and was indeed deemed a way of showcasing the successes of Communism in Czechoslovakia, designers and artists were more free to experiment.
I used an image of that bottle in a lecture I gave that Marcus also attended. I gave a similar value and, in a serious and sober manner, he told me during (!) and after that I was probably undervaluing it.
As I hope glassmakers on here would agree, they are challenging and time-consuming to make for a number of reasons - certainly compared to something mould blown or 'free blown'. Taking all of this into account, in a world where a hexagonal, mould blown piece of British factory glass in the right colour can fetch Â£1,500, the value doesn't seem too scary to me. Yes, the designer name is there with that piece, but as I keep saying, Czech glass isn't at that stage - yet!
I really do rate pieces from this range, in case you hadn't guessed. I know we don't do values on here but, Anik, I'm sure your 50 euros are safe if it is from this range - more than safe in fact.
As I said on screen, if the market for Czech glass grows like that for Murano did, I feel perfectly comfortable with my opinion on the value for the bottle, especially if they also remain as scarce and important as they are when the market broadens. I think they're important things, and there's nothing quite like them in the open market. I'm sure you'll all have your own opinions, but that's mine!