Posted 8 years ago
Michelleb007
(256 items)
This Art Deco era Loetz vase is the most beautiful shade of blue. The detailed white enameling really stands out against the rich body color - it is one of my favorite pieces. It stands 9.75" tall, has a fire polished rim, and is unmarked. I have looked hard for the Loetz oval mark commonly found on pieces from this era, but can't find any trace of one on the base.
After looking unsuccessfully for a DEK for this vase, I asked Deb of Loetz.com if there was one, and she very kindly told me there wasn't, but that it was PNIII-355 and that she thought the color was 'cristall a. dunkelblau'.
This vase came to me from the Netherlands and is in lovely condition. I am so pleased to be able to share it with fellow collectors.
Oh!!!!...WOW!!!!!!...soooo!! congratulations Michelle, it's stunning!.....:-))
Thank you so much, inky! I really appreciate your enthusiasm! :)
This colour makes me dreaming.
Beautiful.
Stunning. ..
my goodness Michelle thats so elegant & an outstanding Leotz piece thanks for sharing
Aura & Myjewelryaddiction, thanks so much!
Malkey, you are so kind - I am glad you like it! The vibrant blue just makes me happy. :)
You do find such beautiful pieces, Michelle. Congratulations!
Is it not interesting how the Glasgow Rose was integrated into decoration of the period ?
This is just stunning! wow
Thank you very much, sklo & JImam!
vetraio, they do have that rounded Glasgow shape to them, don't they? I wonder if this shape had become part of the larger European design vocabulary by this time (as opposed to just British) - the design had been around about 15 to 20 years or so by the time this was made, hadn't it?
If you have looked for an oval mark, then I assume this is 1920-30's.
The Glasgow Rose is attributed to the period of the late 1890's, and just past the turn of the Century when "The Four" were very influential in the Glasgow School of Art. It was "The Four" who developed the style referred to as the "Glasgow Style". "The Four" consisted of Charles Rennie MacKintosh, Margaret MacDonald, and Frances and Herbert MacNair. MacDonald was Mackintosh's wife, and Frances MacNair was Margaret MacDonalds sister. "The Four" were also referred to as the "Spook School", because of some of the distorted figures developed in the Glasgow Style art work. The first real exposition of their work was in 1896 at the Arts & Crafts Exhibition in London, where it was not received all that well. The origin of the Rose used by "The Four" was an adaptation of a figure by the progressive English artist Aubrey Beardsley, who passed away in 1898 at the age of 26.
Loetz decors like this never fail to surprise me - really quite beautiful. Nice addition.
Thanks for the information, Craig! :)
Thank you, Mac! :)
Craig, I wanted to add that I did go through the Loetz CD that accompanied the Cantz book, and PNIII-355 is shown as dating to 1914-1915. It was a shape used throughout the Deco period, though, in the 1920's and 1930's. This is just a gut feeling, but based on the decor, I personally think it is one of the earlier ones, so closer to around 1918?
The shape.the colour and the painting create a perfect whole,indeed!
This is just wonderful Michelle!!
adore cobalt blue
Michelle, I would agree with you that it may be earlier than I suggested based on the décor. Warren or Kairomalte may be better qualified to answer that though.
What a wonderful find Michelle! - Cheers! - Bob
Ivonne, phil & kivatinitz, thank you very much!
Craig, I am not sure if you saw it, but on the Art Glass Collectors FB group, Volkmar passed on some interesting information. He said that "the design is from 1914, that would correspond with the missing oval mark, only used from 1918."
Thank you, beyemvey! :)
I did see that, but I believe some Loetz shapes were in use for periods of time, which would not exclude this from being an interwar piece. If the piece was produced post 1918 in this shape, and sold to England for example, it would not have had a provenance mark of any kind on it. The mark would only exist if the piece was sold to, or shipped to a country that required the use of that type of marking and produced post 1918. So the presence of the mark "can" confirm a country, or possible counties it went to, and the time frame in which it occurred, but the absence of the mark only leaves it as questionable, and not proof of age or period of production.
Thanks, Craig. I didn't realize that they wouldn't have stamped vases sent to England. This came from the Netherlands; I wonder if they required stamps at that time? I'll see if I can find out.
Items shipped to England require the master carton or packing crate to be marked as to country of origin. The individual items did not need to be marked, unlike the US that required it on individual items. I think the French did also, hence we see the French spelling of Czech marks on some Kralik production.
Thank you! I was aware of deco-era glass sent to England not needing to be marked, but it didn't really register that it applied to earlier glass, too - thus, basically all imported glass. So, if it didn't apply to the Netherlands, than of course their glass would be unmarked, too. (I still need to check on whether this is the case or not.) I appreciate the reminder about countries and the different marking requirements they had!
!!! Superb piece of decorated tango !!!
Thanks so much, Jericho!
I can see why this is one of your favorites Michelle... It's stunning! The blue is so rich and decorated beautifully with the enamel work! It's a small touch, but I also love how the base and top are separated by the clear glass ball!
Rick, thanks so much for your kind comment - it is such a rich blue, isn't it? I am so lucky to have found this one! :)
Craig is correct abou the Four and their work in the 1890's. But in 1900 Mackintosh visited Vienna and .....
"In Europe, the originality of Mackintosh's style was quickly appreciated and in Germany and Austria he received the acclaim that he was never truly to gain at home. In 1900 the Mackintoshes were feted in Vienna as a result of their contribution to the 8th Vienna Secession and this led to friendships with designers such as Josef Hoffmann and the commission to design the Warndorfer Music Salon. In 1902 the Mackintosh Room at the Turin International Exhibition was also enthusiastically received and he went on to exhibit in Moscow and Berlin."
http://www.gsa.ac.uk/visit-gsa/mackintosh-building-tours/charles-rennie-mackintosh/
Charles Rennie Mackintosh and Margaret Macdonald Mackintosh designed room X of the 8th exhibition of the Secession in 1900. Their work sparked off the Secessionist Movement in Austria and beyond. The rose motif was copied by many designers and integrated into the Secession style.
On CW I have a post of a Paul Dachsel vase of 1918 for Amphora with decoration that includes this same rose .... an emblem of life.
Kevin, thanks so much for this fascinating information! I never knew about their visit to Vienna. I am going to go take a look at your amphora right now! :)
You're welcome MICHELLE !!!!
Gorgeous. And even the transparent joining piece is enamelled!
Thanks, Wow22 - it is one of my very favorites! :)