CZECHOSLOVAKIA
Moser
L. KOLOMAN MOSER, founder of the Czechoslovakian glassworks of that name, located his factory in Karlsbad, now known as Karlovy-Vary. Still operating, under government control, this industrious firm is currently producing a very fine quality of two-color engraved glassware, specializing in utilitarian shapes for export. During the period we are covering, the cameo work, Plates 13, 14 and 15, was, at its best, quite ordinary. On the other hand, they did produce a rather large group of highly enamelled pieces with additional glass appliqué insect decorations, Plates 17 and 18. Possibly the only comment necessary on this particular type of decoration is that a little goes a long way, and that more than a few fine pieces in this category would create a busyness normally not associated with the Art Nouveau field. Moser, in any event, did produce some exquisite art-enamelled wares, such as in Plate 16, possibly a local village scene of quiet beauty.
ENGLAND
CERTAIN VALUES ARE IMPORTANT to the identification of art glass. Engraved and impressed signatures, rather than easily transferred or washed off paper labels, appear on occasion. Original documents of registration with the London Patent Office are still available, upon application with suitable fee. Private collections in the original glass creator's families and the collections of the factories themselves are of considerable importance, the major ones still being in active operation today. These would be Thomas Webb and Sons, and Stevens and Williams, both at their original sites in the Stourbridge area. Bearing in mind that this great art glass work continued into the twentieth century, many of the most important artists living themselves through the first quarter of that period, we may still find today men who were personally acquainted with these artists during the latter part of their lives. We personally met several men in charge of the work at the above plants who in their early formative years had studied with these same famous art glass men. Hence on the basis of such an accumulation of evidence and personal knowledge in our interviews and photography, a remarkable consistency appeared in the answers we received to our many questions of origin and techniques. With no one did there ever appear any desire to appropriate, in retrospect, any credit for work done' elsewhere. On the contrary there was never any hesitancy to definitely point out the origin of the correct factories and artists.
In the Stourbridge area, several hours drive by automobile on the throughway from London, there are four important and worthwhile sources to visit. Should you be interested in such a trip it cannot be too highly stressed that you make sure that the places are open, as it requires a personal guide in each museum. There is no lack of cooperation, but rather the lack of readily available personal help. Lights have to be turned on, and most important, the visitor is never left alone, other than for casual inspection. Local accommodations in the Stourbridge area, contrary to that found elsewheres in England, are quite minimal, so a car is necessary.
Of least importance is the collection at the factory of Thomas Webb and Sons, as well as the collection of Webb and Corbett across the street, which has no colored glass in their group. Brierley Hill Library and Stevens and Williams Ltd. being only two blocks apart should be visited together, and are of equal interest. There is practically no duplication in these two important places, and neither one should be overlooked. Unquestionably the most important museum collection in the entire Stourbridge area is in the Stourbridge Council House, situated in a park, and very easily found. In this municipally owned collection a few hundred pieces of glass are on permanent exhibit. John Northwood II, who retired from Stevens and Williams in 1947, several years later transferred the major part of his glass collection to the Council House. This Northwood bequest joined that of the Richardson family, with all pieces being carefully catalogued and documented. There are of course, many other fine examples from other sources, every one being identified beyond question. When first seen, many surprises are in store, for this whole group goes back to the 1850's, and what might originally have been attributed to not only a later, and almost present period of manufacture, is frequently the earliest work. The few pieces on public display in the museums in London, in toto, would not fill even one case in this Council House. This is not to suggest that the major museums in London do not have the pieces numerically, but, in matter of fact, they are tucked away in the museum reserves, and not available to the general public. Strangely enough only mediocre examples were on display in the hub of the English empire, with far greater and important work in storage. To any glass collector the Stourbridge visit is most worthwhile.
While in our preceding book Art Glass Nouveau we had a small section on English Art Glass, we decided it to be an important contribution to cover the examples in the Stourbridge museum collections as it is realistically highly unlikely that too many American collectors will have the opportunity to make this trip.
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Cameo
English cameo carving, covering a period of the last quarter of the 19th century and running through the 1920's, spans a relatively short period in the history of art. During this brief period, however, cameo glass work developed and reached a peak never achieved prior to this era. There is little reason to believe that the future will ever afford sufficient opportunity for artist workmen to acquire the training necessary for the requisite proficiency demanded by this art. As will be seen in the colored photographs to follow, there is no substitute for artistic ability in the design of the human figure. There is also no substitute for the necessary ability of this same artist as an accomplished glass blower, and finally, we must continue to have this same man capable of carving the scenes he desires. It should be pointed out that many of the cameos required several years of devotion. Plate 47 is an unfortunate example. This plaque "Aphrodite," some 15" in diameter was certainly a labor of love for four years. At this point due to an unfortunate accident, the piece was broken. Quite obviously the artist John Northwood II was not financially embarrassed, but when the realization comes that these particular works of glass were not produced for monetary gain, it is then recognized that the artist-workman must not be dependent upon his craftmanship alone. This piece has been retained by the Stevens and Williams Ltd. in their private glass museum, which is not large, but impressive.
Cameo glass work is the result of two or more layers of glass having been laminated together. By means of acid and hand-tool carving, the final pattern on the outer surface is left in high relief by removing the surrounding area. When the different layers of glass are of contrasting colors, we have a generally roughed-in design. Plate 60 is a fine example of the roughed-in sketching and the subsequent protection of the surface which will be left uncut. The brownish-black painted sketch consists of bituminous or other acid-resisting substance. This handled vase is ready for dipping in the acid bath, during which operation the white part of the vase will gradually be eaten away by the corrosive action of the acid. The high relief of the pattern is dependent on the length of time the piece is left in the acid bath. This background surface is also known as the "ground." When a piece consists of more than two layers, one layer of background or "ground" glass will then be removed. A new perspective with depth, created by shadowed layers of glass, is developed by partially removing with hand and wheel tools, in an engraving manner, sections of the design itself.
Plate 52, "The American Girl" by George Woodall, expresses this new concept most forcefully. The portrait was originally a solid white, after the surrounding acid cut-back process. By means of grinding tools, Woodall then proceeded to cut into the white section until the dark background began to show through. Shadows were thus created until life likeness appeared. In other words, what Woodall did was to paint a picture by removal of glass, rather than with an addition of oil or water color and brush. Quite obviously these workmen must have been accomplished painters in their own right.
The Stourbridge area of England has possibly a minimum diameter of five miles. During the first part of the 17th century Huguenot glass-workers from France fled to England and settled in the Stourbridge
