This majestic and highly skilled work of Swedish design is a sculpted Op Art art glass vase that has been created in the style of Hanne Dreutler (b. 1942 - d. 2009), glass artist and silversmith for Kosta Boda glassworks. Dreutler's career included an important contribution to the art glass field in the excelling at a technique called Graal glass. There are a number of glass artists from Kosta Boda who have been fond of the Double-Threading technique that is featured on this vase, such as Bertil Vallien, Ulrica Hyd-Vallien and Kjell Engman. However, this style of this piece has close similarities to Dreutler's works, e.g. https://anyesattic.com/products/studio-ahus-sweden-by-hanne-dreutler-optical-art-sculpted-art-glass-bowl-signed-and-dated
This particular piece bears vivid threads of Vermilion red edged in with varying tones of Cornflower blue that are woven and looped together into the cross-hatch pattern and blown into the final teardrop form. The visual overlapping of the lines creates the Op Art illusion and crosshatch effect. This net-like effect is suspended in a curved and clear glass form.
This refined piece is stylistically timeless and yet also prominently of the Swedish Modernist art glass design. The combination of the form, striking size with the colour palette and its condition makes it a rare find.
CONDITION
Excellent. No chips, cracks or repairs. There is negligible surface wear that is most prominent on the underside of the base. Please refer to photos as they form part of the description. The vase is labelled with Kosta Boda's 'Kosta Boda, Sweden 1742'.
MEASUREMENTS
Height: c. 18.1" / 46 cm tall (from base to rim). Rim c. 2.1" / 5.3 cm. Width: c. 7.9" / 20 cm (across widest point). Depth: c. 3.9" / 10 cm (across deepest point). Base: c. 3" / 7.5 cm x c. 2.3" / 5.8 cm. Unpackaged weight: 5.8 kg / 5,790 g
NOTES
Vase will be securely packaged and shipping will be insured. Shipping will be combined for multiple items.
A BIT OF HISTORY
Hanne Dreutler (b. 1942 - d. 2009) / Studio Ahus
Hanne ( Hannelore ) Margarete Dreutler was a recognised German-Swedish glass artist and silversmith.
Dreutler trained as an industrial designer and silversmith began her career as an independent silversmith in Stockholm. She would go on to work for the Målerås and Flygsfors glassworks from 1968.
Dreutler moved to Kosta glassworks in 1971 where she would meet Arthur Zirnsack, and both would worked under Vicke Lindstrand. Dreutler and Zirnsack married and the couple started their own glassworks, Studio Åhus in 1977, one year after Kosta became Kosta Boda. Studio Åhus specialised in the famous traditions of Scandinavian glass art and Lindstrand worked at Ahus after he retired from Kosta Boda.
Dreutler's career included an important contribution to the art glass field and that was in the excelling at a technique called Graal glass. Graal glass is the cutting and engraving to reveal different colours of a blown glass bubble that consists of one or more layers of coloured glass overlaid on clear glass. The bubble is reheated and re-blown to the final shape of the object. The invention of this difficult technique was considered the 'holy grail' of glassblowing - hence the name ('graal' is Swedish for grail).
Dreutler's achievements include representation at the Stockholm National Museum, the granting of Studio Ahus' appointment to the King of Sweden in 1993 and in 1999, the awarding of the Kristianstad Municipality's cultural prize.
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THE ITEM
This exceptional Modernist work of sculpted art glass is by glass artist and designer Jaroslav Svoboda (b. 1938 - ) from his own glassworks studio Svoboda Karlov. Svoboda is well known from his works at the renowned Skrdlovice glassworks designing many popular and much-loved pieces in clear and cobalt blue glass.
This sculpted piece is crafted from clear glass throughout with the exception of the cobalt blue horn accents.
The form distinctly avoids harsh angles and lines and instead, opts for softly exaggerated curves all over, creating multiple effects within the glass and how it interacts with light; from magnifying to refracting to prismatic. Depending on the angle of display and light, the undulating curves internally reflects the cobalt blue of the horns, casting an icy blue tint over different parts of the glass body.
CONDITION
Excellent. No chips or cracks, there is mild use wear that is present and is commensurable with the age of the piece, please refer to photos as part of the condition report. The piece bears an original partial Svoboda Karlov label, identifiable by the glassworks logo.
MEASUREMENTS
Height c. 6.3" / 16 cm by c. 8.3" / 21 cm in length. Depth / Width of body (across widest point): c. 4.3" / 11 cm.
Weight c. 2.2 kg / 2,170 g
NOTES
Sculpture will be securely packaged and shipping will be insured. Shipping will be combined for multiple items.
A BIT OF HISTORY
Jaroslav Svoboda (b. 1938 - ) Svoboda entered the world of glassmaking from a young age and in his father's workshop, his father worked for the Inwald glassworks. Svoboda would pursue academic knowledge of the arts at the age of 15 before officially beginning his career in glass in 1966.
In the years to follow, Svoboda would go on to become the Head of the ÚUŘ Glassworks in Skrdlovice and becoming Professor and Head of Glass Studio at the Academy of Arts, Architecture & Design in Prague before finally establishing his own glassworks studio.
Svoboda has had significant achievements throughout his career; he has won numerous awards and his works are featured in collections in many museums including the Corning Museum of Glass in New York, the Kunstmuseum für Kunst und Gewerbe in Hamburg, the National Gallery in Prague and many more.
His work has been presented in over 60 exhibitions, either as a dedicated individual exhibition or part of a collective. There are also around 30 Svoboda commissioned pieces in state, financial, school and industrial buildings in his native Czech Republic and abroad.
Presenting a sculpted work of Italian Mid Century Modern, Modernist design by the Bertoncello pottery that was sadly closed in 1999.
The sumptuous glaze of this piece is smooth to touch and not too overtly glossy. Visually, it presents as a refined blending of rich, pale vanilla that is feathered with deep sienna, giving additional depth. Step back and look at the piece as a whole, the effect resembles leather or marbled stone.
The gently exaggerated curves in the 'bulb' and handle of the form adds to the sculpted look, as well as aesthetic balance.
A BIT OF HISTORY
Bertoncello Ceramiche was founded in Schiavon, Italy around 1956. For many years it was run solely by a Mr. Lini and Giovanni Bertoncello (1930-2011), but by the 1970s had a staff of around 30. Giovanni was the creative force behind the forms and glazes, supported later by a Mr. Boatto – a Venetian teacher.
Sadly not a lot is known about the company because all its catalogues and archives were destroyed when the company closed in 1999. The forms of Bertoncello pottery are often very sculptural, modern and organic and some look like smaller studies or maquettes for massive modernist sculptures that are yet to be built. This sculptural appearance of many pieces was enhanced by the use of feet which subtly raise the piece off the surface on which it sits.
CONDITION
Excellent, no chips, cracks or scratches to the body. There is imperceptible use wear ( mainly in light movement marks on the underside of the vase's base) - please refer to photos as part of the condition report.
MEASUREMENTS
c. 7.3" / 18.5 cm tall by c. 4.7" / 12 cm wide (across body's widest point). Base diameter: c. 2.4" / 6 cm
Unpackaged weight: c. 0.4 kg / 352 g
NOTES
Vase will be securely packaged and shipping will be insured.
Shipping will be combined for multiple items.
THE ITEM
This superb work of Italian Mid Century Modernist design is by the Bertoncello pottery that was sadly closed in 1999.
The glaze is silky and smooth to touch and visually, is a refined blending of rich and golden ochre, tinged with sienna which gives added depth. Step back to look at the piece as a whole, it resembles well-aged tanned leather or Italian marble.
Like Antoni Gaudi's architecture, there are no sharp angles or perfectly straight lines to this piece but nor are there unnecessarily exaggerated curves where there shouldn't be. Overall, there is great aesthetic balance.
A rare size, the height and width lends great presence and makes this piece a work of art that can hold court in its own space and would perhaps even tower over others in a collection. Would suit a retro, mid century modern, contemporary, vintage or even industrial decor themed room.
A BIT OF HISTORY
Bertoncello Ceramiche was founded in Schiavon, Italy around 1956. For many years it was run solely by a Mr. Lini and Giovanni Bertoncello (1930-2011), but by the 1970s had a staff of around 30. Giovanni was the creative force behind the forms and glazes, supported later by a Mr. Boatto – a Venetian teacher.
Sadly not a lot is known about the company because all its catalogues and archives were destroyed when the company closed in 1999. The forms of Bertoncello pottery are often very sculptural, modern and organic and some look like smaller studies or maquettes for massive modernist sculptures that are yet to be built. This sculptural appearance of many pieces was enhanced by the use of feet which subtly raise the piece off the surface on which it sits.
CONDITION
Excellent, only very light movement marks to the base - commensurable with age of the piece - no chips, scratches, cracks or crazing to the vase body. There are a few tiny 'fleabite' chips along the rim of the base which are not noticeable when the vase is upright - please see photos as part of the condition report. Base bears the number '933'.
MEASUREMENTS
c. 16" / 41 cm tall by c. 8" / 20 cm wide (across body's widest point)
Unpackaged weight: c. 1.5 kg / 1,539 g
NOTES
Vase will be securely packaged and shipping will be insured.
Shipping will be combined for multiple items.
THE ITEM
The blue of this vase ... how to describe? Are you familiar with the Hokusai print 'The Great Wave off Kanagawa'? personally, I feel that if there was ever a glaze that could be attributed to the stylised wave of that print, this would be it - in the vibrancy of the blue and the white that organically branches out over and down the body of the vase.
The detail doesn't end there, towards the base of the vase, you'll see the stronger slices of white, carved lightly into the body, the edges of the white feathering outwards. Resembling a band of feathers or snowflakes circling the base. And last but not least, the triple handle detail, adding another further character to the vase, like a wave cresting over the edge.
The vase is finished with the bubbling of light lava glaze on the internal ring which flows into the black internal glaze.
A BIT OF HISTORY
Kunsttöpferei Unterstab (KTU) - Ralf and Gudrun Unterstab, almost nothing is known about this studio. Gudrun Unterstab (* 1940) is the daughter of the famous potter Albert Kießling. With her husband Ralf (* 1937) she operated from the early 1960s, a ceramic studio in Langenhessen.
Many of their ceramics are attributed to a Kerstin Unterstab , however, this is inaccurate, as there never was a Kerstin Unterstab (at least not in connection with the Unterstab Pottery).
CONDITION
Excellent - no damages or crazing, please see photos as part of the condition report.
Base is inscribed with 'KTU Undestab' studio mark.
MEASUREMENTS
c. 8" / 20 cm tall x c. "3.5 / 9 cm diameter across the base.
Unpackaged weight: c. 0.9 kg / 851 g
NOTES
Vase will be securely packaged and shipping will be insured.
Shipping will be combined for multiple items.
THE ITEM
I think it's pretty safe to say that this piece is striking. With the peak wave of the 'splash' down to the base measuring around c. 43 cm / 17", it would be difficult for this sculpture to not be a centrepiece.
The amethyst is deep and intense at the base and gradually grows paler as it reaches upward, white ripples reaching outwards towards the end of each wave accentuates the height. This is a wonderfully executed piece of mid-century art glass.
And if you really, really, really wanted to; you could also use it as a bowl. If you really wanted to....
CONDITION
Excellent, no chips, cracks or scratches. Bearing a few light movement marks on the underside of the base.. Please do refer to photos as they form part of the condition description.
MEASUREMENTS
c. 17" / 43 cm tall by 10.5" / 26 cm diameter, across its widest point.
Unpackaged weight: c. 1.6 kg / 1,606 g
NOTES
Vase will be securely packaged and shipping will be insured.
Shipping will be combined for multiple items.
This beautifully sculpted and handblown piece is the work of mid-century Japanese glassworks Sanyu with the iconic Citrine Amber and Emerald Green. This classic Sanyu palette is accentuated with a cradling of rich Lapis Lazuli Blue at the base of the vibrant green. Wrapped around this central well of colour is a diagonal ribbon of alternating gold and silver avventurrine.
Last but absolutely not least, enveloping the jewel-like colour is the handblown clear crystal casing, shaped with a gentle twist. The highly tactile and undulating form gives this piece a brilliantly prismatic ability. The hidden prismatic magic in this piece is very apparent when it is placed in the pathway of sunlight and surfaces light up from the refractions thrown.
Whilst the Amber and Green is a common Sanyu colour combination, the addition of the blue, the gold avventurine and the arched form makes this piece a rare find.
CONDITION
Excellent. No chips or cracks or damage, There is very mild wear of movement marks on the underside of the base that is commensurate with age. Please refer to photos as they form part of the condition report.
MEASUREMENTS
Height: c. 9" / 23 cm tall x c. 4.7" / 12 cm width (across widest point). Base: c. 2.4" / 6 cm (across widest point). Unpackaged weight c. 1.8 kg / 1,800 g
NOTES
Vase will be securely packaged and shipping will be insured. Shipping will be combined for multiple items.
A BIT OF HISTORY
Sanyu Glass Co. is based in Osaka, Japan and has been producing art glass since the 1950s. Similar to other better known Japanese glassworks of Iwatsu and Hineri, the quality and style is often mistaken for Murano and Czech glass from the same era.
Though knowledge of the Japanese glassworks is scarce in the Western countries, what is known is that the quality of Japanese art glass during the 1950s to the 1970s rivalled that of Murano, Scandinavian, and Czech glass production. Recognition has been relatively low and most pieces imported into the Western market are often simply marked with the word 'Foreign' or not at all. It is rare to discover pieces with the original glassworks or importing company's label.