Topic: Stuart cut crystal--Ludwig Kny pattern?

[Scott13]

Hi, I was wondering whether this could be a LK pattern, if not , any ideas?
It has the Stuart England mark but it's very faint and I can't get an image.
It's about 19cms high.
Any help appreciated, thanks
Scott

[chopin-liszt]

I think we need Nigel,  but it looks a bit fussy for Kny to me.
Not that I know much, cut stuff isn't my area, but this does not look like a traditional cut, so that's a good start.

[Scott13]

Hi Sue, thanks for your reply, yes, let's hope Nigel looks in sometime!
It was the non traditional cut that appealed to me and made me think of LK.
Cut glass doesn't seem very popular at the moment but I'm sure its time will come again!
Scott

[Paul S.]

I can't see this design in either Nigel's collaboration with Jeanette Hayhurst or Charles Hajdamach's 'C20 Glass  -  to my eyes the design looks perhaps a little too much as though taken from subjects in nature (and I agree 'fussy')  -  as opposed to the more positive, bolder geometric offerings from Ludwig Kny.                                   
Mustn't sound too dogmatic though - anything is possible.
This type of naturalistic pattern looks to have more in common with some of John Luxton's 'nature inspired' work from the 1950's - he did a variety of designs with 'floral motifs' but again, can't see this particular design in my books.                Perhaps if Nigel does look in he might know if this is one of Luxton's 1950's designs.

Outside of the 1930's - 40's big name progressive and modernist cut work, the other 98% seems to have almost no appeal to collectors - which is not surprising, since it's mind blowingly boring, usually.               Like anything where the image is a large part of the appeal, it's easy to get bored if what we're seeing doesn't stir the emotions or make us want to look again, and this is true of so much cut glass from the C20.

[Scott13]

Hi Paul
Yes definitely inspired by nature; possibly a stylistic representation of trees ( reminds me of Scots Pines, with the long curving mitre cuts representing the trunks ).
Not sure whether this will help in dating it, but, the strokes of the letter t (Stuart) appear to rise.
The reason I bought it was because of its unusual stylistic design.
I'm not really into the traditionally cut 20th century pieces either.
Thanks for your reply and for taking the time to look.
Scott

[chopin-liszt]

Irene Stevens was fond of long sweeping mitre cuts, Clyne Farquarsson did simple stylised flowers and leaves.
(I don't even know if they worked for Stuart though.) Jack Lloyd did a lot of flowery intricate stuff. (Tudor and Webb-Corbett, I thingk)

I did have a decanter a long time ago that Nigel thought was a collission between Kny and somebody else

[Scott13]

Hi Sue
I can't say that I've heard of Jack Lloyd, just shows how superficial my knowledge of glass is!
I do however know of Irene Stevens (post war?) and Clyne Farquharson ( whose ' Leaf' vase would be a great find--preferably signed of course! ).
They both certainly produced some pretty adventurous designs.
I've no idea whether either of them ever worked for Stuart.
Your decanter--the product of a collision between Kny and someone else sounds interesting--presumably you were unable to find out anything more about it.
Many thanks
Scott

[Paul S.]

Obviously the Board's search facility not being used again             It really is a storehouse of information.

On it you will find information on Jack Lloyd - his Stourbridge work is highly collectible and shows great skill.                   
To the best of my knowledge Irene Stevens worked and designed (from 1947 to 1957) for Webb Corbett only, and then as consultant until 1963.
Clyne Farquharson seems to have been equally loyal to Walsh from when he joined them in 1924 until the company's closure around 1951  -  apparently his famous design, 'Leaf' was continued after this date under the Tudor Crystal trademark.

Ref.     'ART DECO TO POST MEDERNISM - A Legacy of British Art Deco Glass'  by Nigel Benson and Jeanette Hayhurst  -  Text: Nigel Benson  -  Photography:  Jeanette Hayhurst       2003.

           'The Glass Of John Walsh Walsh 1850 - 1951  -   Eric Reynolds  -    1999.

[chopin-liszt]

I meant to write collusion. I took it to London for Nigel to see, I never got it back.
It has been missappropriated - not by Nigel!
I never found out much more than that. A wall of silence surrounds it now.

[Paul S.]

huh -  you never came to London to see me     -    and I would have bought you a coffee and even given you a piece of glass to take home for Michael  -  I know how to treat a girl