Ancient Glass Blog of The Allaire Collection


Posted in Uncategorized by Allaire Collection of Glass on August 29, 2019


The excesses of Victorian glass – epitomized by the exhibition pieces smothered in gilding and color and cut with thousands of shimmering facets – were already being condemned by contemporary critics.  Out of this antipathy toward the mechanical production of the Industrial Revolution grew a desire to return to more natural sources.  The revolutionary effect on design following the opening up of Japan to the West and the publication of pattern-books illustrating ornament from around the world, aided by theorists such as William Morris advocating the role of the craftsman, led to the revolution of a completely new style, Art Nouveau.

The artists of Art Nouveau drew inspiration from organic and geometric forms to create elegant, modern designs.  Art Nouveau was an artistic movement which peaked in popularity between 1890 and 1905 which was practiced in the fields of art, architecture and applied art. … Its short success was a reaction against the late 19th century academic art and was replaced by the development of 20th century modernist styles.

The Arts and Crafts movement was an international trend in the decorative and fine arts that began in Britain and flourished in Europe and North America between about 1880 and 1920, emerging in Japan in the 1920s as the Mingei movement. The founders of the Arts & Crafts Movement were some of the first major critics of the Industrial Revolution. Disenchanted with the impersonal, mechanized direction of society in the 19th century, they sought to return to a simpler, more fulfilling way of living. The movement is admired for its use of high-quality materials and for its emphasis on utility in design. The Arts & Crafts emerged in the United Kingdom around 1860, at roughly the same time as the closely related Aesthetic Movement, but the spread of the Arts & Crafts across the Atlantic to the United States in the 1890s, enabled it to last longer – at least into the 1920s. Although the movement did not adopt its common name until 1887, in these two countries the Arts & Crafts existed in many variations, and inspired similar contemporaneous groups of artists and reformers in Europe and North America, including Art Nouveau, the Wiener Werkstatte, the Prairie School, and many others. The faith in the ability of art to reshape society exerted a powerful influence on its many successor movements in all branches of the arts.

The glass objects made by both movements had their roots based in nature.  Colors of these glass object where more muted and internal surfaces had a misty softness, quite unlike the brilliant finish so important thirty years earlier. Part of the above description is from the book Sothebys-Sothebys Concise Encycolopedia of Glass, Editors, David Battie, Simon Cottle, London 1991

To see Corning Museum of Glass Arts & Crafts collection click on this link: ARTS AND CRAFTS GLASS AT THE CORNING MUSEUM OF GLASS

A group of Clutha glass vessels of the Arts & Crafts period in England 1900s


Posted in Uncategorized by Allaire Collection of Glass on August 27, 2019

French: Lhermite-King, Cent Verres Francais 1550-1750,  Tresors des collections privees,Sylvie Lhermite-King.


(Lhermite-King, Hundred French Glasses 1550-1750, Treasures of private collections, Sylvie Lhermite-King) This volume is a wonderfully illustrated book written in French of glass vessels made in France from 1550 to 1750 gathered from private collections by Sylvie Lhermite-King . The French Renaissance was the cultural and artistic movement in France between the 15th and early 17th centuries. Below are examples of the photographs in this book of French glasses.



Posted in Uncategorized by Allaire Collection of Glass on August 24, 2019

Bell Beaker

Cone Beaker

The Allaire Collection 60E Merovingian cone cone shaped beaker Late 5th to first half of 6th century

Trailed Beaker

127E Allaire collection Merovingian beaker with looped trailing

Festooned Beaker

124E Allaire Collection Merovingian beaker

125E Allaire Collection Smaller Merovingian Beaker


For additional information on each the above beakers click on their corresponding number. (51E) (54E) (60E) (90E) (112E) (116E) (117E) (124E) (125E) (127E)


Posted in Uncategorized by Allaire Collection of Glass on August 21, 2019

Two Beautiful Glass Pitchers in the Allaire Collection

(63A) This Midwestern free blown blue glass pitcher with an applied high handle.  H: 4 ½ inches, D: 1849 H: 9 cm


(88E) This small amethyst pitcher having an optically molded body and perfectly laid on delicate thin handle.

H: 9 cm, D: 1780


Posted in Uncategorized by Allaire Collection of Glass on August 17, 2019


The Augustinus Collection of Ancient Glass

AcoaG # 22.1 Side view


4th. Century A.D.  Probably about 325-375

Variation to the so called Kowalk-glass

Isings form: 96b, Morin Jean form: 70 |

 ↑ 6.9 cm | Ø Mouth : 12.5-13 cm | Ø mid body: 9.5 cm | Ø Base facet: 3.2 cm| W: 295 g |

Technique: Formed in a mold, wheel cut incised, ground and polished; rim tooled and rounded off. The inside of the bowl is polished to a finer grain than the outside. The facets show the roughest surface.

Description: Bell-shaped bowl, handheld beaker or lamp. Transparent pale green thick glass, formed in a mold to a hemispherical shape; wide out splayed rim; wall and base decorated with 22 abraded facets in total. At the rim one cut line and below that, at a distance of 1.0 cm, three cut lines. One series of 13 round, almost oval, facets (2.0-2.2 cm) of which one facet is smaller (1.5-1.9 cm), below that a second series of 8 round facets (2.0-2.1 cm), finally at the base one large facet (3.2 cm.), slightly eccentric in position. The facets, that are adequate to hold the grip, are at some edges vaguely or unevenly abraded, but stand straight in line and are a wonderful example of craftsmanship, as stated by many scholars: this bowl-shaped Kowalk glass is exceptional.

Condition: Complete, repaired from two circularly broken parts by Restaura Haelen/Heerlen (NL). Scratched, with some pitting, some weathering, some horizontally squeezed bubbles near the rim. Two very small parts missing from the rim. The bowl did not undergo cleaning and is in semi-translucent condition.

Remarks:  Variation to the so called Kowalk-glass, named after a site of find in Poland. This version is a bowl instead of a beaker. (See Whitehouse, Lierke and Sjternquist.)

Anton Kisa calls the bowl-type with ovals rare: ‘Beakers (rarely bowls) with ground ovals or facets.’ He, and Oscar Almgren, discuss the bowls in the chapter: Finds of Ancient Glass in Scandinavia. ( Vol. III, Ch. XI.5).

According to C.Isings, form 96b, p 114-115: ‘Wheel-cut or wheel-incised bowls with facet patterns, coming, among others, from Strasbourg and Amiens, plus from scandinavian finds at Ganzkow, Sigerstad, Skørringen and Himlingöje.’

  1. Doppelfeld brings up the thought, that: ‘From such a regular grit it is a small step to the mazes of the Cage-cups.’

Also F. Fremersdorf, 1967, Vol. VIII, states at p 16: ‘And if we come to have a closer look at the geometrical decorations of the tall bell-shaped beakers, so we come to the conclusion that there must have been some kind of influence from or a correlation to the cage-cups.

According to Whitehouse the findplaces fall into two broad groups: ‘the first is in south-eastern Europe, Hungary, Rumania, and Ukraïne, and the second is in north-western Europe, Norway, Sweden Denmark, and northern Germany.’ The majority of find-places is outside of the Roman Empire.

Regarded as a lamp the outsplayed rim forms an excellent possibility to hang it with a bronze chain device, while the facets create a wonderful display of circular shapes around the room or on a table. As Rosemarie Lierke calls it:, ‘Light breaking ground facet-decoration’, suggesting these bowls to be lamps. (Lierke, Antike Glastöpferei, p 97- 138.)

According to Berta Sjternquist both beakers and bowls, of the ‘Kowalk’-type, have been in exsistance, where as the bowls, because of their limited height, have rather sparse decoration.

Parallels: F. Fremersdorf: ‘Such in comparison simple cut decorations appear in Denmark at a regular basis; though these finds concern very often almost conical beakers with a round base.’ National Museum Copenhagen, 846, FO Tofte-Lolland, 8306 FO Hojrup, 8986, FO Hoernum, etc. Fremersdorf VIII, Vol.II, plate 33, text Vol I, p 69, plate 33, no R822, from the city of Mainz in Germany, and from Cologne no 24.400 as a close parallel. From Sigersted: Inv. 22218, Kobleaa: Inv. C6339.

Provenance: From a Dutch collection, first publication. Fremersdorf states that the Scandinavian finds of facet-beakers and bowls nevertheless might be products of the Cologne area and partly of East-European background. ( VIII, Vol. II, p 35, footnote 5a.).


Kisa, 1908, vol. III, ch. XI. 5, p 905. Finds of Ancient Glass in Scandinavia.

Harden, 1938, Karanis, 426, plate XVI, p 152.

Isings, 1957 form: 96b, Hemispherical decorated bowl, p 114.

Doppelfeld, 1966, no’s: 148, 149. Tekst: p 64, Fassetten- und Kugelschliff.

Fremersdorf, 1967, VIII, vol. I, cfr Plates: 32-110. Vol. II, Tekst: idem.

Rau, 1973, P.443, Werner 1988 fig 12, Vaday 1994, fig 4.

Von Saldern et al, 1974, p 183, no 507, p 185, no 512.

Whitehouse 1997, CMG vol I, p 260, no 444.

Cmog Acccession number 66.1.21


Lierke, 1999, Antike Glastöpferei, p 97- 138.

Sjternquist: A glass beaker with cut decoration found at Uppåkra, Sweden.

She quotes from different Scandinavian sources as: Näsman (1984), Straume (1987),

Hansen (1987).

Bell-shaped bowl from Mainz Germany, inv. R 812, Fremersdorf 1967, VIII, vol. I, plate 33. H: 4.2 cm, D-rim 5 cm.

Bell-shaped bowl from Mainz Germany, inv. R 812,



Posted in Uncategorized by Allaire Collection of Glass on August 15, 2019

GUTTUS of Nico F. Bijnsdorp



3rd – 4th century AD. Eastern Mediterranean, probably Syria.

H= 18.8 cm. D max= 9.3 cm. D rim= 3.9 cm. D base= 4.8 cm. Weight 76 gr.

Condition: Intact. Some iridescence.

Technique: Free blown. Wheel-cut.

Description: Transparent, almost colorless glass with a grayish green tinge. Squat globular body with pushed in base ring. Kicked base with pontil mark. Horizontal shoulder with pinched vent-spout. Long vertical tubular neck, curving at right angle towards a funnel mouth with rounded and thickened rim. The body decorated with three bands of horizontal encircling lines: one narrow band just below shoulder and one similar band near bottom, a broad band at midpoint of body.

Remarks: The function of this vessel is unknown. It might have had a medical application. Some scholars suggest it was a distilling apparatus, but the vent suggests more a pouring vessel to allow the liquid to be poured at controlled rate. Also the date is difficult to define: some scholars date this guttus back to 1st-2nd century AD. This example is extremely rare because of its base ring which makes free-standing possible. None of the parallels have such a base ring.

Provenance: Collection Dr. G. Kersley, Bath. Folio Fine Art, London. Charles Ede Ltd., London.

References: Christie’s 5/6 March 1985, Kofler-Truniger Collection, No. 62., La Baume 1976, Karl Löffler Collection, No. 104.
Kunz 1981, Kunstmuseum Luzern, No. 394., Massabò 2001, Aquileia Museum, No. 71.


Posted in Uncategorized by Allaire Collection of Glass on August 12, 2019






Roman Empire, almost certainly Asia Minor │ 3rd – 4th century
Size: ↑ 29,0 cm; Ø max. 6,2 cm; Ø rim 4,3 cm. │ Weight: 227 gram

Technique: Free blown. Tooled.
Classification: Variant of Isings (1957) form 82.
Descripton: Transparent olive green glass. The tall, slender form tapering almost evenly from bottom till rim. Rim folded out and in and flattened. Domed base highly pushed in. Pontil mark. At two-thirds from rim a deep constriction between neck and body.
Condition: Intact with some iridescence.
Remarks: The found candlestick unguentaria of Isings form 82 are countless but this variant out of Asia Minor has been found comparatively a few.
This form is always very tall, between 22,9 cm and 30,0 cm. All references have a deep constriction at two-thirds from the rim and a domed base, highly pushed in.
The very fat glass of this candlestick unguentarium makes a high weight: the references of the British Museum weight less than half.
Provenance: 1965 – 2012 Private Collection, Cologne.
Reference: British Museum London. nos. 1878,0311.33, 1878,0311.34, 1908,0724.6 and 1933,1117.1 (all found in Asia Minor); Musées d’Art et d’Histoire Ville de Genève, no. 010660 (also found in Asia Minor); Antike Gläser im Frankfurter Museum für Vor- und Frühgeschichte (E. Welker, 1987). no. 31; Antike Glãser (L. Barkóczi, 1996), no. 98; Archéologie (Pierre Bergé et Associés Paris), Auction 15-12-2009, no. 368; Fascinating Fragility – A Private Collection of Ancient Glass (Bijnsdorp, 2010), no. NFB 126; Kunstwerke der Antike (Cahn Auktionen AG Basel), Auktion 7, 03-11-2012, no. 127.


Posted in Uncategorized by Allaire Collection of Glass on August 9, 2019


The Augustinus Collection of Ancient Glass

 2AcoaG # 6.1

Date: Second century B.C.;  Eastern Mediterranean or Greece

Size: H: 3.8 cm, D: 9.00 cm, Thickness rim: 0.39. cm, Bottom: 0.32 cm, Isings form: 1.


Technique: Mouldpressed, or sagged, hemispherical bowl; from a convex mould; wheelcut line underneath the rim into the same glass pattern.

Description: Hemispherical bowl, i.e. convex curving side and convex bottom; mosaic pattern formed from polygonal sections of a single blue bar as the centre, with an opaque white spiral surrounded by an amber coloured field that joins the other intersections with visible lining; rough wheelcut rim, slightly polished; one wheelcut groove at approximately 0.85 cm below the rim.

Condition: Complete and intact; polished; surface pits and remains of iridescence and weathering on the inside and outside.

Remarks: The rim is not finished with a coil of a different pattern, which might indicate an older date, or a primitive approach in technique.

Provenance:  From  a dutch collection. Said to have been aqcuired in Sicily, Italy.

Reference: Isings, 1957, form no: 1, p.15, Olivier, 1968, Millefiori glass in classical Antiquity, p.65, n.4, Slick-Nolte/ Stern, 1994, Early Glass of the Ancient World, Ernesto Wolf Collection with elaborate explanation on the technique.



Posted in Uncategorized by Allaire Collection of Glass on August 6, 2019

OIL LAMP or UNGUENTARIUM of Hans van Rossum

Date: 1st – 2nd century AD | Roman Empire Size:↑6.8 – 5.0 cm | L = 8.0 cm | Width = 5.8 cm | Weight 72 g


Technique: Free blown, tooled; handle applied

Condition: Intact, silvery iridescence on the interior; handle broken and restored.

Description: Pale, almost colorless glass, made as a bowl with polished rim; sides pushed together, the marks of a hand-hold tool, used for folding the sides together                                            are still visible; flattened base without pontil.

Remarks: This glass object said to be an oil lamp because of the clearly visible spout on one side. Oil lamps in glass are rare and worldwide only a few examples are known.                                   The exceptional shape of this lamp is exceedingly rare or even unique. Another possibility is that this squeezed bowl was used as an unguentarium and imitates a basket.

Provenance: Formerly part of a Rhineland private collection, inherited from the father’s collection and acquired during the 60s-80s through the German and                                                        Belgium art market.

Reference: Römisches und Fränkisches Glas in Köln, O. Doppelfeld no. 88, Gläser der Antike, Sammlung Oppenländer, A. von Saldern e.a. nos. 571, 572. No direct parallel in construction and as an oil lamp can be cited. Ancient Glass in the Israel Museum, The Eliahu Dobkin Collection and Other Gifts nr. 384  Ancient and Islamic Glass in the Carnegie Museum of Natural History, A. Oliver Jr. no. 233, Glass from the Ancient World, the Ray Winfield Smith Collection no. 238, for a number of references in case of the shape of a basket.


Posted in Uncategorized by Allaire Collection of Glass on August 3, 2019



The Augustinus Collection of Ancient Glass

 Date: 3rd.- 4th. century AD Isings: form: 94 – without the handles  –   Kisa: Formentafel F, no:348

Size:↑ 9.5 cm | Ø body: 9.5 cm | Ø Mouth : 7/8 cm | Ø Base ring: 3.4 cm| Weight: 138 g  |

Technique: Globular body of translucent white glass blown into a mold, turned to the left; rim folded out, up and in, rounded; dark green-blue handles brought up from the shoulder of the body to the mouth from opposite sides; excess glass flattened to the level of the rim; a green-blue glass ring is attached underneath the mouth and a small ring in the same dark colour is placed underneath the body as a base ring.

Description:  Squat globular body with diagonal pattern of white-bluish translucent glass with dark green-blue handles on a small blue base-ring;  in addition a ring of blue glass is placed underneath the outsplayed mouth, visible from above through the transparancy of the glass.

Condition: Intact and complete, with some adhering sand and/or the remnants of ashes.

Remarks:  Most likely the amphoriskos was used as an incinerary jar to hold the remnants of a child or baby; it is likely that a lid did belong to the jar, but is not delivered.*  According to C. Isings: 1. ”Bulbous Jars with an outsplayed rim belong to the ordinary household ware, made of bluish-green glass. The Jars of this type known – i.e. without the handles – were all used as burial urns. It is unknown whether they were actually made as urns or not ” 2. “ The same type of jar in smaller dimensions (not higher than 10cm) was in use as an unguent pot”.

*Suggestion by David Giles, London, 2019.

Provenance: From a private dutch collection, previously unpublished; likely from Gallo-Roman territory, north eastern France or Rhine area.

Reference: La Baume: ‘Glass der antiken Welt I’, D61, Tafel 30,2; Roemisch- Germanisches Museum  Koeln, Band III, Sammlung Karl Loeffler165, Tafel 22,2;  Spartz, Antike Glaeser, Nr, 40, Tafel 9;  Zahn, Zammlung Baurat Schiller nr, 212, Tafel 10.

Click on these additional images of this jar to enlarge.

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