Glass Discussion & Research. NO IDENTIFICATION REQUESTS here please. > France
unusual stoppers - ID = Lalique "Pouilly" stoppers
chopin-liszt:
The way the green appears on the pate de verre piece is very like your stoppers too. 8)
Paul S.:
Pate-de-verre is usually quite distinctive in appearance, and many of the period pieces were without a cavity in the sense of being hollow, so perhaps it might lend itself to making stoppers. Sue, to which of the pieces are you referring as being pate-de-verre?
chopin-liszt:
The rarebit Lalique plant pot found on AR in 2008.
I posted a link which contained an image of it. I remembered it had mucky/mossy looking green bits on it, like these stoppers do.
It was to confirm Lalique did use a green finish like the stoppers have.
flying free:
Can you add some clearer photographs please?
ok forget that - I enlarged it. When you say the fish are green - do you mean the fish are clear but inbetween them has been enamelled with green?
That's what it looks like to me. There was another French make that used this technique.
Apparently a Daum name/make/line. I sold my beautiful vase before I realised it might have been linked to Daum but mine had orange enamel and butterflies.
Thank you.
m
Paul S.:
I'm not inclined to thinking that either one or other, or both, of these stoppers are pate-de-verre - not that I've ever owned glass made in that method - but have always assumed stoppers (solid ones at least) have been mould formed originally. Some of course are then cut whilst others are left to show the design incorporated into the mould, then further worked to get the stub to fit the bottle. Pate-de-verre is so named from the method of using 'glass paste' - though literally it was apparently crushed/powdered glass - then heated until the glass fused to form a solid - as a method it was time consuming and mostly a one-off or very limited edition process.
In appearance, it lends itself to opaque finishes, usually of a dense colour with one colour running into another in a way that makes for a unique and arty appearance - the majority of the pieces are signed in some way. Seems the French borrowed the idea from the Egyptians - so nothing new then - but not associated with clear glass pieces.
You can't imagine these stoppers would have been made in the 'powder' fashion, and it's a fact that Lalique's work, whilst stunning with sepia tints and moulding to die for, was the result of press-moulding techniques.
Quite how Rene achieved his tinted colour shades over the clear glass I've no idea - perhaps he coated the inside of the moulds with metalic oxides etc.
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