Ancient Glass Blog of The Allaire Collection

FAÇON DE VENISE WINE GLASS FROM THE NETHERLANDS

Posted in Uncategorized by Allaire Collection of Glass on April 24, 2012

FAÇON DE VENISE WINE GLASS of Elisabeth & Theo Zandbergen

FAÇON DE VENISE WINE GLASS Origen: Southern Netherlands around 1650

FAÇON DE VENISE WINE GLASS
Southern Netherlands around 1650

Origen: Southern Netherlands around 1650
Dimensions: H: 15,1 cm.; ø cuppa 7,7, cm.; ø foot 9,6 cm.; weight 153,6 gram

Description: The cup shaped bowl is set via a directly attached merese to a short solid cylindrical part connecting to the first flattened hollow knop connecting thru another solid part to the second flattened hollow knop which connects to another short solid section finally connecting thru a flattened knob to the very wide almost flat folded foot.  It seems that the multiple knopped stems – three or more – are more widely documented than the two knopped ones. In our opinion the two knopped ones are more rare than the three and more knopped ones. This based on publications known to us.
Condition: intact
Material: Soda glass. (cristallo)
Parallels: (among st others)
– Jacqueline Bellanger, Histoire du Verre, pg. 108 (has three graduated knobs)
– Glass in the Rijksmuseum Amsterdam Vol. I pg. 36 pict. 31
– Catalogue Art Fair Den Bosch 2007, pg. 114 ((Laméris)
– Henkes, Glas zonder glans, (Glass without gloss) pg. 211.
Published:
– Vormen uit Vuur, nr. 197, 2007/1, back page.
Provenance:
– Glass collection ms. Ch. Loopuyt, the Hague
– Christies Amsterdam 2007,
– In owners collection since 2007.

Remarks on the type of stem and how the stem can help in dating this wine glass.

The stem of this Façon de Venise glass, with a slightly tapered rounded bucket bowl, is regarding the architecture quite specific for the period in which this glass was made. The glass was made in the Southern Netherlands most probably in an area around Liege approx. mid 17th century. For those not up-to-date on history, the Southern Netherlands, nowadays Belgium, were in those days a part of the Netherlands.

The stem architecture changed over time as glasses were made less exuberant making these available for a wider public. The exuberant glasses with the “wings” attached to the stems remained en vogue throughout the 17th century but disappeared gradually with more or less at the same time changes to the form and shape of the bowls. All in all the glasses became lets say more austere, this while becoming more balanced in form and shape. Harold E. Henkes describes one-another quite well in his book “Glass without gloss”, see page 211/213. From the less complicated designs, especially the bowls, the glasses lent themselves better to the arts of the glass engravers. So, many glasses fell to the hands of the engravers. Glasses from this period have most of the time a simple flat to slightly conical foot. However, like this glass there are still a lot of which the foot has a folded rim strengthening the foot.

Glasses with two hollow bulbous slightly flattened knops like the one shown here and ie. Henkes nr. 10 pg. 211, are more rare then the ones with one or three, or even more knops which can be found in many textbooks. One could make the hypothesis that the ones with two knops were for common use while the ones with three or more were more for the “upper classes” say for the show or perhaps the showcases. When one looks ie. at the finds in Rheine, “Glas funde aus einem unterirdischen Kanal”  Falkenhof Museum, Rheine, a lot of high quality glasses, also from the upper classes, were broken and ended up in the cesspits.

The dry summing up of the constituent elements of the stem is like mentioning the type of paint used by ie. Rembrandt or El Greco, “killing” the artistry of the painter creating a piece of art, or in this case the skill and artistry of the glassmaker forming the stem in an almost perfect balance with the bowl.

The bowl is connected to the stem at first with a very thin merese followed by a short cylindrical solid section connecting to the first hollow flattened knob connection by a very thin merese, to a short solid cylindrical stub which connects to the second flattened hollow knob which connects via a very thin merese to a somewhat concave solid section finally connecting to the very wide, ø 9,6 cm, foot with folded rim. All in all, creating a robust but elegant glass ready to receive some good red wine.

In short, this stem architecture could be called a double hollow flattened spherical knop stem with a wide folded rim flat foot.

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