Glass Message Board
Glass Identification - Post here for all ID requests => Glass => Topic started by: Paul S. on August 24, 2009, 07:44:07 PM
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ref. to Keith's posting from 22/08 "old or new frilly vase" - and looking at the spiralling pattern of white panes and that sort of cherry red, reminded me of something similar in the attached pic.which I've had for a while thinking it was a kind of Czech spatter glass. Can I assume mine is also Kralik? - although the inner white is far less opaque. The outer clear casing is very thick at the bottom - almost perhaps 4mm in some places. I wud call it a lidded jar, but I don't have the lid. Grateful for advice. Paul S.
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Had a bowl, with lid and similar interior very much like this only shorter I'm afraid it had a very nasty accident some years ago,beyond repair,shame,Keith.
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Looks like English "end of day" glass to me...
/Blair
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It looks Kralik to me. I might as well include a picture of another probably-Kralik that is along the same line, but looks like it has green aventurine. I'm not sure if the metallic sheen is colored silver or aventurine. Alberto writes on his site that this type of vase may have inspired Dugan's starburst vases. (The one that he refers to on his site is actually threaded, but otherwise of the same spirit.)
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My experience with these has been that they are rather on the thin side, and my impression is that they are not Kralik at all, but some other Czech maker.
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Paul, I agree that it is Czech it bears a reasonably strong resemblance to the glass on this piece:
http://www.glassmessages.com/index.php/topic,28185.msg153424.html#msg153424
This one appears to be a bit thinner in construction, and also less intense in color. It appears, at least as well as I can tell in the image, to have the same layering of glass. It may simply be a later piece, as the form of this one would lean me in the direction of the 20's or 30's.. I would leave the final call on Kralik or not to Alfredo.... but my tendency would be to say it is.
Anita,
Yours does not have the threading, but other than that it sure looks the same. Alfredo uses white frit, which this piece appears to have used, as a marker for Kralik. I also, personally, associate that particular pattern of metalwork with Kralik, although others may have used it also. It seems I see it on pieces I can identify as Kralik.
It appears on both vases and also inkwells.
Craig
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thanks to everyone for their input - very much appreciaed. It was in fact Keith's posting from Saturday, Craig, that prompted me to post my item. I just thought that the pattern and colouring seemed so similar that there was a good chance they originated from the same source. However, don't think mine has quite the same quality as Keiths. I'm sorry about the accident Keith. Paul S.
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I would guess the rose vase is probably not green aventurine or silver but mica. The cage is a standard cage bought in from a metal company who supplied many different glass producers, so in itself this will not disclose the maker.
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Looks like English "end of day" glass to me...
It's not English and "end of day" is another of those urban myths. There's far too much work in creating this effect!!!
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postscript - as already mentioned, my original thought was that my piece was cheapish Czechoslovakian (1920's - 30's) and I rushed for Ruth Forsythe's book, but nothing quite like this colour palette there (plenty of 'spatter' tho.) I sense that this author was collecting what may - when it was made in the 1930's - have been termed the lower end of the market (now very desireable of course). The term 'Czecho-Slovakian' is post 1918 - is it possible that in having nothing in her book matching the colours of Keiths fairy lamp or my jar, Forsythe avoided Bohemia?? To call something Czechoslovakian is a very wide embrace - taking in Bohemia, Moravia, Slovakia and Carpathia (or it was 50 years ago). Does anyone know where most of Forsythe's material came from. As well as producing the gorgeous pieces that are in the Truitt's book, did Bohemia also have a cheaper end to their market, similar to Forsythe's collection.
Actually, in the end I wasn't going to post this, as I became more confused as it went along......anyway I have, and if anyone isn't confused maybe they wud like to waste their time with a reply if they think they know what I might be trying to say! :-[ Paul S.
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Hi Paul... I can not address the question of Forsythe's book.
I do believe that the intention of the Truitt's book was to document some of the better examples of the regions work. Historically, their first publications appeared not too long after the fall of the iron curtain, a political entity that had greatly restricted the west's access to the type of information they started to accumulate.
The production of Czech (Bohemian) glass is all across the board as far as quality levels go. There are even large disparities in quality levels within companies depending on the time period one examines. In looking at Kralik as an example, the company(s) are actually the result of divisions and inheritance over a period of around 25 years. (see Loetz.com under Kralik for a brief historical summary) The original division occurred in 1877 after Wilhelm Kralik died. One portion of the company retained the name of Meyr’s Neffe. This portion of the company is know to have produced very high quality production. The other portion of the company was taken over by two other sons and took on the name of "Wilhelm Kralik Sohn". This division of the original company is the Kralik work we see and recognize the most. The quality of their work varied greatly over the next 40 years, and they are known to have produced not only some very generic and mundane work, but to have also produced some very advance and creative deco era work.
I have examples of early Bohemian glass, some of which you would swear were designed yesterday. I have also seen examples that even if they were free, I would not want in my collection......
There are, as you see and examine examples of works that are stamped "Made In Czechoslovakia", or identified as Bohemian, great disparities in the quality.... There are obviously differences in the imagination and talent of designers at different factories, and as with all markets, there are those that take pride in their work, and those that simply do it for the money..... Time may change many things, but that does not appear to be one of them.....
Hope this helps, Craig
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thanks for your generous and in depth reply Craig - that region of eastern Europe is, both historically and geographically, very complex, and I always end up feeling more confused than when I started. Just to make matters worse, I now understand that there was (or still is perhaps) a German factory called Kralik & Co. - nothing to do with the Wilhelm Kralik Sohn that you mention, in Bohemia. Lets just get back to enjoying looking at the glass (until the next query comes up). Paul S.