Topic: Art Deco green vase red 'flame' splotches - Schneider

[Greg.]

Thanks for adding the above info M, on my brief search I've also struggled to find out further info. The majority of references all seem to quote Stefania Żelasko.

On that note, just adding the below link for reference to an article written by Stefania Żelasko from 2010..

https://pressglas-korrespondenz.de/aktuelles/pdf/pk-2010-2w-zelasko-jelenia-gora-jugendstil-2010-eng.pdf

[flying free]

Thanks for adding that link. I read that a few days ago but didn't link it as there was no mention of Erwin Pfohl when that was written in 2010.
There is family information from the Pfohls online and that confirms Erwin was at Josephinenhutte after Alexander Pfohl left.  But there is very little information on him even though, if I understand correctly, he took over his family glass business and didn't die until 1975.
see here - you can cut and paste the information into google translate - it has quite a lot of info on Erwin Pfohl and states that in 1929 he was a designer for Josephinenhutte.  There is no mention of him being there any longer than 1929 but that might be because the only source reference they have is a start date,then his further employment with Reich, so nothing definitive to state how long he stayed as designer at Josephinenhutte:
https://www.pfohl-glaeser.com/familientradition


Much other information does come back to the book however the confirmation find of the photograph by Dr Arthur Traube is a key I think.  I also wonder if the picture in the book is a watercolour rather than a photograph of a collection of pieces? I wasn't sure.  Either way, Stefania must have found it somewhere so that is another piece of confirmatory evidence.  Pictures are so much better than descriptive words when it comes to describing a piece of glass at least.

[flying free]

...
Equally I can't find any info about him making glass.  I can find info about glass he's enamelled and references to him being a designer.
There is for example this signed enamelled piece - I've seen that same picture of the women and water on another differently shaped clear vase, shaped like an old fashioned oil lamp shade bulbous at thebottom with a straight upright neck, in a museum collection:
https://www.bohemianglass.org/katalog/vaza-4-akty-2688/detail/

...

The vase I saw is in the Waldmuseum Zwiesel - see info and pic of it here (you'll need to scroll down through the various pieces - it's clear glass enamelled with women pouring water. I think they date it to 1928:
chrome-extension://efaidnbmnnnibpcajpcglclefindmkaj/https://glastage.zwiesel.de/media/user_upload/Ausgewaehlte_Exponate_Waldmuseum_komprimiert_klein.pdf

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forget my question on whether the picture is a photo or a watercolour.  It's a photo. Wish I could see more of the page!
m

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going back to my links in this post here:
https://www.glassmessages.com/index.php/topic,37744.msg410290.html#msg410290

When I read and translate the quote from the book (Josephinenhutte - Stefania Zelasko) it appeared to say Erwin Pfohl introduced two ranges.  It then goes on to mention just one name, Vineta-Kristall.  So when I first read it, it appeared to me to be describing one range called Vineta-Kristall and  I wondered why the second range hadn't been mentioned.
I think it might mean that there were two ranges under the one name Vineta-Kristall because the pictures in the book and the photograph from Traube show two distinct dekors:  one like mine with flame splotches on it (described by Zelasko translated as 'melted flakes'); the other range with stripes on (described by Zelasko translated as 'filigree ribbons')

Quote from my previous post
 'Translating the information printed there describing the Vineta-Kristall range and using Google translate (very hard to enlarge to read script clearly though!) it appears to say:
'Consisting of numerous colored shapes, melted with flakes and filigree ribbons. This is a mass-colored crystal that, thanks to a special process, imparts seemingly random coloring.'


Also ...
There seems to be a third picture in the book but only the lower portion is visible: 
https://i.ebayimg.com/images/g/Q-cAAOSwE-FoD5eF/s-l1600.webp

That third picture could perhaps contain items like the blue striped bowl I linked to previously: 
https://www.collectorsweekly.com/stories/81417-unsung-heroes-of-glass-2-erwin-pfohl

However this dekor is not shown in the Dr Arthur Traube photograph. Only items with the dekors shown in the bottom two pictures of the book are shown.
https://collections.eastman.org/objects/26986/arrangement-of-vineta-kristall-josephinenhutte-ag-in-seles;jsessionid=BD57D9CA1EC595889D03DE3C1AFB31CE?ctx=45d0c406-f2bf-4c0c-bd6a-0d8d66506713&idx=22

Musing here -  I wonder if the blue bowl has been wrongly id'd as being Vineta-Kristall because the description in original source lit might have mentioned 'melted flakes and filigree' and the dekor on the blue bowl 'could' fit that description unless the description refers to two different and separate dekors i.e. not melted flakes AND filigree stripes on the same piece? The quote definitely mentions two ranges and there are two dekors shown in the Traube photo and in the book but neither are the same as the blue bowl.

I would describe my vase as being influenced by WMF Ikora (the new amazing dekor/'thing' launched that had to be be competed with ?) and Schneider jades.  Perhaps on his travels, Erwin was influenced by French Art Deco internally decorated glass?

[flying free]

...
I would describe my vase as being influenced by WMF Ikora (the new amazing dekor/'thing' launched that had to be be competed with ?) and Schneider jades.  Perhaps on his travels, Erwin was influenced by French Art Deco internally decorated glass?

The foot of two of the vases in the Traube photograph is interesting - it's very similar to the way the foot is formed on this Schneider vase from Fieldings:
https://fieldingsauctioneers.co.uk/lot/105061

see photo:
https://collections.eastman.org/objects/26986/arrangement-of-vineta-kristall-josephinenhutte-ag-in-seles;jsessionid=BD57D9CA1EC595889D03DE3C1AFB31CE?ctx=45d0c406-f2bf-4c0c-bd6a-0d8d66506713&idx=22

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See Antonin Langhamer, The Legend of Bohemian Glass page 140
https://www.google.co.uk/books/edition/The_Legend_of_Bohemian_Glass/UwLCa_h3hTEC?hl=en&gbpv=1&dq=josephinenhutte+pfohl&pg=PA140&printsec=frontcover

He says Erwin Pfohl was a designer at Josephinenhutte (no date mentioned but post 1924 when he graduated) and 'returned to Novy Bor in the 1930s'. 

He studied at the Vienna School of Applied Arts in Paris (post 1924 after he graduated).  The Schneider influence perhaps?

[flying free]

Thanks for adding the above info M, on my brief search I've also struggled to find out further info. The majority of references all seem to quote Stefania Żelasko.

On that note, just adding the below link for reference to an article written by Stefania Żelasko from 2010..

https://pressglas-korrespondenz.de/aktuelles/pdf/pk-2010-2w-zelasko-jelenia-gora-jugendstil-2010-eng.pdf

Oops Erwin Pfohl was mentioned.  And mentioned as being at Josephinenhutte in the 1920s.  My apologies.

[flying free]

see page 181 and further on page 182 here for information on Erwin Pfohl.  If I have read that correctly he  only stayed at Josephinenhutte (Szklarska Poręba) for one year 1929.
chrome-extension://efaidnbmnnnibpcajpcglclefindmkaj/https://www.muzeumkarkonoskie.pl/wp-content/uploads/2022/03/Dr-S.-Zelasko-SZLAK-SZKLA-.pdf

Source:Stefania Żelasko SZLAK SZKŁA NA POLSKO-CZESKIM POGRANICZU, SKLÁŘSKÁ STEZKA NA POLSKO-ČESKÉM PŘÍHRANIČÍ, THE GLASS TRAIL ON THE POLISH-CZECH BORDERLAND

'His younger brother Erwin Pfohl (1906-1976) took his place at Josephine. He was particularly talented and after graduating from the glass school in Bor he studied in Vienna and Paris. He stayed in Szklarska Poręba only for a year for the climate was too severe for him. He designed very modern, colorful projects which were launched at the end of the twenties of the 20th century. He introduced new techniques of decorating glass. He worked for Reich company in Berlin since 1930. In 1932 and 1934 he made artistic journeys to Paris.

Erwin designed for the Rachmann Brothers Company ....'

Obviously this doesn't preclude Josephinenhutte continuing to make the designs after he left however it could indicate they were only made for a short period of a year.  Which may explain why there are so few around.

Two have been found which match those in the two photographs (the vase in the Miller's book and the vase Steven first linked to on eBay): 

see here ebay vase -  13cm high  and 14,3cm wide.
https://www.ebay.co.uk/itm/256910089263?mkcid=16&mkevt=1&mkrid=711-127632-2357-0&ssspo=Odl6IYYdRb-&sssrc=4429486&ssuid=TnRYvsRcQx6&stype=1&var=&widget_ver=artemis&media=WHATS_APP
and
The Miller vase is 33cm high:
https://m.media-amazon.com/images/I/91UuFyCAYSL._SL1500_.jpg

Zelasko book photograph showing various sizes:
https://i.ebayimg.com/images/g/cqwAAOSwp95oD5et/s-l1600.webp


For comparison my vase is 35cm high and 19cm wide  at widest point.

Two found are from the range (mine and I believe also the rolled rim marked 'Schneider' vase) but do not appear in the photographs. 

There are 13 other designs that appear in the two photographs of the 'flame' versions or those with melted flakes in (two vases the same colourway/shape appear in both photographs so I've counted those as repeats).

It perhaps moves the photograph of Vineta-Kristall by Dr Arthur Traube to 1929 from the given date of c.1925.

[flying free]

On the timeline of development for Ikora Crystal
Source: page 37 and 38, WMF Ikora and Myra Glaser, Burschel/Scheiffele
'...and this group made the first Ikora Crystal Collection for the 1927 Leipzig Trade Fair.'