Glass Message Board
Glass Identification - Post here for all ID requests => Glass => Topic started by: antiquerose123 on July 31, 2011, 06:25:14 PM
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:hi:
found this and have no clue about it...or anything worthy at all. Is it Chinese as I think I have been looking at too much glass lately and I am getting :ho:
It is 7 inches tall, and 4 inches wide at the widest point. Tiny opening at top. Pontil scar on base with some wear.
something, nothing, or back in the bin...LOL
***(Anne sent you a email via pottery .....will b there..........)
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Looks like a piece of studio glass to me Rose
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Looks like a piece of studio glass to me Rose
Oh really :o I had no idea.
It kinda has an iridescent shine to it. Would you call that shape ?? teardrop ? or something else?
Thanks Lustrousstone :kissy: :thup: as always
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Assuming the iridescence isn't all over, I think it's from where the silver chloride, which has been used to make the yellow streaks, has come right to the surface of the glass.
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Just to agree with Christine. There are quite a few examples of pretty primitive glass making from the 1970's/80's around Canada. I've been told that this is the easiest shape to blow. The ethos at the time was don't let technique thwart artistic vision. The problem was that there wasn't any artistic vision either. I recently found a piece by a glassblower I know and found out he had made it in the first month of blowing glass 36 years previously. He was quite embarrassed by it and couldn't understand why anyone had kept it. I think they're interesting curios.
David
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As if someone started to blow and then changed their mind and went out for coffee and cigarette. Came back and thought "ill just put that to one side". If the same thing happened in a coin mint the coin would be rare and worth a fortune. I like it anyway and i have a bin here send it here to me and ill put it in my bin >:D >:D :24: then on emptying day id craftily have it for my shelf.
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You have to bear in mind that at the time these were mind boggling concepts and also close to the natural form of a blown form. Artists were only really just starting to use the materials and learning the ropes. It does not take a lot f experience to make a blob, but years to take control of the form.
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Here are a couple more pics -- if they help at all....in different light (a bit). I have not found nothing on the Net even close to it .....yet.....and all your thoughts on it. I have no clue :thud:
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Rose, with this one, if it's not signed and you don't bump into the maker, it will forever remain unattributed.
David
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Just enjoy it. It's a lovely example of silver chloride at work.
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:D ;)
***Polite 2014 Bump on this item.
Any New ideas??
Thxs
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Sorry Rose I don't recognise this at all. Or the base finish really. Is it ground flat but not polished leaving the snapped pontil scar? The piece looks a bit 'studio' ish but the base finish doesn't look right for a Studio piece.
m
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That's an interesting vase, though I can't help with the maker.
I just wanted to make a comment about base finishes. I've got a few pieces of Polish studio glass which are signed and dated, but the base finishes are unrefined. I don't know why some artists -- paricularly Polish artists -- didn't pay more attention to the underside of their pieces.
Here are two from my collection: a rather ugly green cube with an indent on one side and a hole at the top, signed N '85, and a pretty inkwell-ish bubbly piece signed Skoczylas '85. (I don't know anything about either artist, but the pieces were purchased from a Polish art gallery in the 1980s.)
Anik :)
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Anik I love the inkwell piece :)
I have some 1930's pieces with finely ground but unpolished pontil marks. And WMF is a case in point where their base finishes do actually vary widely. Again I have some that appear to be very finely ground almost shiny but not shiny (not perfectly round either).
On your inkwell piece, I guess it's possible that as a studio maker they may not have had access to grinding and polishing equipment to be able to finish it as ground and polished. Therefore leaving it fairly neat but with no further work given it's not seen when the piece is on display seems to be par for the course for my earlier studio pieces.
m
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Thank you, m! I also am smitten with my bubbly inkwell.
I think your theory regarding some studios not having access to grinding and polishing equipment might be perfectly plausible. :)
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I have a particular fondness for the early work of artist who went on to become something - and for some early work from artists who did not pursue glass too much in their careers becuase of working in other media.
I don't neccessarily agree with langhaugh that the artistry is not apparent in a technically immature piece.
I adore your bubbly inkwell, Anik.
Sorry Rose, I cannot help with your little piece, but I agree with Christine - it's a lovely example of silver chloride effects, just enjoy it. 8)
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Sorry Rose, I cannot help with your little piece, but I agree with Christine - it's a lovely example of silver chloride effects, just enjoy it. 8)
Thanks all for your insights.
Just thought I would check back with this one again to see any new thought.
Thanks again!!