Posted 9 years ago
IanBrighton
(573 items)
These to me represent a part of a continuum of design that borrow heavily from earlier days - feet, teardrops/tadpoles (but massive and chunky), worked rims, graduated colour, &c.
The post-war work of Chribska and Sklrdovice, to mention two most exported and now ubiquitous firms, borrow and adapt techniques from Italy to produce similar items from the 1950s to 1980s. These date from the later period of production.
It is not quite correct to call the wings on the larger vase tadpoles as the method of production was different, but, for me, the echoes are there.
23.5 and 17cm.
I just love these, Ian. I pared down my collection....well a bit! Yet another shared collecting area.....
Stunning Pieces -- Thanks for Sharing !!
Sorry to disagree with you Ian, but I find your analysis of these items to be over-simplified.
Sure lots of Chribska designs were made, not really surprising, as the works was part of Borocrystal/ Borské Sklo/ Crystalex from 1952 onwards. These designs by Hospodka and others were not ground-breaking, but serviced a market for cheap-end non-challenging designs, with maximum export potential. I am somewhat bemused by your linking to the Skrdlovice works, which really was an experimental hive of activity. One should not assume that all techniques used in Czechoslovakia were adapted or borrowed from Italy, particularly as Chribska was active in glass-making for five centuries or more.
I personally don't like what Chribska produced under Hospodka, heavy lumpy work of little finesse or charm. I find it has dated badly, seen one piece of Chribska/Hospodka, seen them all. Classy, not at all, but it made hard currency roll into the Comecon area.
M
I don't mind disagreement - especially from you! How can I summarise the meanings you and I understand in 100 words?!
Your comment is greatly appreciated as it sums up a lot of what I like about this glass and in Bohemian / Czech glass in general - I think my only mistake was to associate Skrdlovice with Chribska - but they did some similar designs to the 1960s.
I bow to you on the comment about not everything being borrowed from Italy - I agree there was a lot of independent design activity.
I think you are right that there is a lot of Chribska about, it had mass appeal, and was massively produced.
That is one of the reasons I like it.
I do find their designs stand the test of time and are maybe more complex than they might seem - but that's another discussion!