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Glass Discussion & Research. NO IDENTIFICATION REQUESTS here please. => Belgium and the Netherlands Glass => Topic started by: Anne Tique on September 25, 2019, 04:01:18 AM
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Hello all,
I have recently bought this vase at auction. I am using the auction images as they have no copyright and their site has options attached to the images for FB, Pinterest and Instagram, so it is obvious to me that they're ok with people using their images. However, if this is frowned upon, then please let me know. The reason i am using these images is that i can't manage to get a proper image showing the reason for my question, as it is so shiny and my photos reflect more than that they show.
It is a recent production from 1990 and i had been looking for one for ages. The modern or more recent pieces of VSL can be harder to find than earlier ones, due to the financial difficulties the company has experienced over the last 30 or so, and productions and series have therefor been more limited. In fact, besides the catalogue image, I had never seen this design before 'in the flesh', so to speak.
It is initially made of clear glass and has a thick black layer on top of that. The black glass is actually the deepest shade of amethyst, as VSL can't produce black. As you can see, it has this metal leaf, of some kind of metal, that has a light iridescent effect on the top and 'shoulder' of the vase but is difficult to show. Towards the lower part it becomes more grey and beige.
So my question after this all is simple … is there a name for this type of metal? I came across the term 'variegated' but I have the idea that this is just a general one.
Thanks ever so much for your thoughts.
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It looks like sheets of silver leaf applied under the top layer to me
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Looks like a very similar effect to the Isle of Wight "azurene" glass.
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Thank you both for your replies. I can see the similarities with IOW Azurene. For VSL it is very unusual. I have contacted both VSL and the artist, Alfred Collard but none the wiser, AC still has to reply.
The top part is blueish and slightly iridescent, would this be a different metal then or still silver that changes colour during the process under heat?
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Still the silver I think
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If the silver leaf gets overheated during application it "burns" blue and yellow rather than staying as silver metal - it reacts with the glass.
However, it can be an attractive feature. I know they tried to eliminate it at IoWSG, but I rather like it.
I do have a large IoWSG cylinder which had been going well - until they put the rim into the glory hole and burnt the top 3 inches blue in a complete 3" deep band around the top.
I rather prefer it random. But that piece is a clear demonstration of the silver metal burning; and of the where and how it happened. ;D
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Thank you all and Sue for your explanation, it is indeed blue and yellow at certain areas, as you can see on the images. I didn't know silver changes colour. I do like it but would have done so either way. As it is catalogued like this it seems to have been done on purpose, or they kept making the same mistake :D
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I am struggling a bit with images just now - new pc and I can't do a thing with it. ::) ;D
I have found an image which contains that cylinder with the top part burnt in the glory hole. It's at the back left of the bottom right shelf. :)
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Ah yes, spotted it. Quite a display 8)
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Wow, Sue, that's a fabulous collection. Love the platter on the top right shelf......First one I've seen.
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An IoWSG Tortoiseshell charger. Flame pontil scar, no marks, Cat. :)
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Found in a document "Le verre et ses techniques" which I can not find references. Sorry to have to let Google do the translation.
<< Feuilles métalliques - argenture dorure
Description de la technique :
On peut utiliser de fines feuilles de métal ( or ou argent en général) pour créer un décor précieux à l’intérieur de la masse de verre. Ces feuilles peuvent être gravées d’un décor figuratif ou floral et prises en sandwich entre deux couches de verre, comme dans les techniques antiques des verres romains à double fond ou dans les verres de Bohême taillés, à double paroi, du XVIII°siècle. Cette technique se pratique essentiellement à froid, du moins dans un premier temps pour les verres romains. Mais ces feuilles peuvent également être intégrées à chaud et fusionnées dans la masse de verre, se dispersant alors en fines particules flottant dans la masse vitreuse, formant un décor abstrait. C’est cette technique qui nous occupe dans le cadre du travail à chaud et du soufflage. Les feuilles de métal sont posées sur le marbre, collées et amalgamées à une paraison roulée par le verrier, avant cueillage d’une deuxième couche de verre. La paraison est ensuite soufflée et les surfaces du métal se déchirent, en parcelles d’or ou d’argent aux contours imprécis et à l’éclat très décoratifs.
Historique de la technique :
Cette technique décorative ancestrale a été mise en oeuvre dès l’Antiquité, en Mésopotamie et dans tout le monde classique, avant même l’invention du soufflage En témoignent des flacons à parfum (alabastron) phéniciens, réalisés selon la technique d’enduction sur noyau. Après la période médiévale où elle a subi une éclipse, l’inclusion de feuilles d’or a été redécouverte à Venise lors de la Renaissance, où elle est également utilisée en complément des techniques de verre filigrané ou craquelé. Depuis elle a été surtout extrêmement appréciée et fréquemment employée par les verriers vénitiens. En France elle a été particulièrement mise en valeur dans certaines pièces de Daum, typiques des années 20. A la même époque elle conserve tout son brio à Venise dans les créations de Napoleone Martinuzzi pour Venini. Dans ses vases sobres des années 30, Carlo Scarpa revisite, entre autres techniques traditionnelles, la feuille d’or alliée au “sommerso”, de manière très subtile.Dans les années 40-50 citons les créations d’Ercole Barovier pour Barovier et Toso et les belles pièces polychromes à feuille d’or de Giulio Radi pour A.V.E.M.>>
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Thank you for your input Tremblas, merci beaucoup!
For those of you who don't speak french, basically it explains the use, techniques, terms and the history of using gold and/or silver leaf.
My question here though, was about the differences of colour on my vase and what metal and cause it could have been, not knowing this changes under heat as well explained by Sue.
Just another question, just out of interest and perhaps the answer is in the question ... my vase is not clear cased, I can feel and hear the difference in the surface where the leaf is applied and where it is not. If it would have been cased, would this change of colour still have happened or would it have been less so, due to the fact that the silver was 'protected' by a layer of clear glass?
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If the casing glass is too hot the silver can discolour but if it have been just right it would have been bright silver. Have a look at some of the Murano glass that uses silver leaf
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Thanks Christine, I can see what you mean, it is the effect of heat and change of colour that is new to me. It must have been a desired effect, It has been confirmed yesterday that not many were made but it was catalogued like this.
Thank you all for your replies 🙏, you have been of great help and it is very much appreciated.
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If the silver has remained as silver metal on the surface of a piece and a casing has been applied - and the casing does not change the colour of the silver by adding more heat and causing a reaction with the hot glass, then bright shiney silver appearance will be "protected".
Keeping the heat low enough is what "protects" the silver foil from reactions and/or burning.
my computer is doing something very strange - I suspect it is translating me into and then back out of French.
The words I type are not the ones that appear. ???
I've found a pic I have of two IoWSG Azurene Lollipops together. One is early, with the silver sometimes reacting, sometimes remaining as silver.
The other is much later, after the experiance had been gained to get it "right" and is also treated with Stannous chloride to give it iridesence.
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So the answer was in the question. 8) Fascinating stuff.
Sorry to milk it, but does gold leaf react in a similar way? …. just out of interest
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No. Gold is inert. A noble metal, which silver is not.
Silver is the god of metals when it comes to glass. ;D
It has all sorts of weird and wonderful reactions with it - it's a subject all on its own.
(one which rather inspires me - silver is the root of all the fabulous colours in Mdina.)
I did mean to say those lollipops have gold foil on too.
(and with this strange translation going on, you have turned into a Tick on my pc Anne! :o)
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Thank you Sue, very interesting indeed. After my Sam Herman pieces i'm looking very different at studio glass, and just for info, Alfred Collard and Herman have worked together at VSL.
Re your computer, you have a tablet or a laptop? You should have a language option for your keyboard, pop-up or not.
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I have a flat screen thingy, with a big black box beside it.
The big black box is smaller than my old grey one. There's another flat white thingy, with sticks poking up from it and some green lights, and a load of weirdly placed little holes in it.
I don't think it's a laptop OR a tablet. :)
It's not set up enough for me to find any "options". I wouldn't know what they were or what to do with them.
Silver was very much used in early Studio Glass, Anne. It was before the days of health and safety, they didn't know how dangerous it was to be breathing in silver gas fumes while working with it - and chlorine gas from the chloride.
I think a fair few of us suspect Michael Harris' death from emphysema might have been because of his exposure to this.
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Just a couple of images to illustrate the explanation given by Sue. I haven't altered the colours on the images, this is how it shows up. You can just spot the iridescent effect at the top.
The vase fits the philosophy of the artist perfectly, well for me at least, when he says that beauty can be found in colours and simplicity of form and shape.
Having said that, even though I like the vase very much, it is still a pain in the neck to take pictures of.
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It might have been a pain, but you succeeded. :)
That is a good illustration, and it does look deliberate. It could have been achieved at the glory hole, if done carefully.
Unlike my cylinder, which was accidentally over-burned. ;D
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It must have been a desired effect as it was catalogued like this, not as bright in colour I have to admit, but that's just a question of light I guess.