Glass Figurines (1975) - Part two.

(Part Two) The text is unchanged and annotations will be added in a different colour and between {annotation} to help bring it up to date. If anyone can expand on any item, please post in the Zoo Café. Thank you.

Figurines in Crystal by Mary Van Pelt
Page 21
©2008 Glass-Study.com
Foreign sources state these were probably produced by Sudet in Gablong/Bohemia prior 1935.
Left: 8½" high, right is 7½" high. Both soft satin.
 
 
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Vases with animals in motion, clear and colored frost. By Libochovice, circa 1937-39. In all sizes.
 
 
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Pekingese Dog paperweight. Novy Svet, Czech. Circa 1855.
Figurines in Crystal by Mary Van Pelt
Page 22
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Scotty perfume, frosted with eyes and collar painted. 2½" tall, 3¼" from nose to tail. By Muller & Co., Germany. Circa 1935-40.
 
 
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Solid crystal frog with baby on back. 1¾" high, 3" long. Circa early 30's. Some of these will be marked “Japan” and others will not.
 
 
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Little Chick perfume by Muller & Co. Germany, circa 1935-40. 2½" high, 2½" from breast to tail. These have also been blown up to show greater detail.
Figurines in Crystal by Mary Van Pelt
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Little Dog perfume, looking at a flea on his hip. Muller & Co., Germany. Circa 1935-40. 3" long and 1¼" high. Eyes are black.
 
 
MvP75_p23b500.jpgLittle Man in tophat perfume. By William Toogood, England. Circa late 1800's. Hat screws on for stopper. Frosted with coat, tie and tip of shoes painted black. 3½" tall.
 
 
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Lovely frosted Goldfish by the Nozaki Bros. & Co., Ltd. of Japan. Circa 1938. 3½" long, 2" high. Inside the frosted body are light tints of rose or avacado green. Pictures on this page also have been enlarged for detail.
Figurines in Crystal by Mary Van Pelt
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The three covered dishes on this page were produced by the Henner Glassworks of Germany. Circa 1920. Many other companies have produced figural covered dishes, and re-produced from old molds.
 
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Figurines in Crystal by Mary Van Pelt
Page 25
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Dove Vase by Canton Glass Co. In 1942, a trade advertisement offered this as an authentic reproduction from the 100 year old Canton molds.
 
 
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Calling Card compote, also by Canton Glass Co. This was another reproduction offered in 1942.
 
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Couger Compote by Canton Glass Co.
Figurines in Crystal by Mary Van Pelt
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©2008 Glass-Study.com Produced by Val Saint Lambert used either as paperweights or decor. Circa 1880. Colors are not known, the Gazelle was made in lovely light mint green milk glass. Gazelle is 3¾" high, base 6¼" x 1½".
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Figurines in Crystal by Mary Van Pelt
Page 27
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Dolphin crystal lamp base by the Ideal Cut Glass Co. Circa 1926.
{2008: Ideal Cut Glass Co. Corning NY. 1904-34. From 1904 Syracuse NY. Ref: Haanstra}
 
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Turtle with Snail on back by Vallerystahl. Used either as paperweight or decor. Crystal and hand decorated. Circa 1894.
{Actually a turtle! Company is more usually referred to as Portieux, full name was Société Anonyme Des Verriers Réunies de Vallerysthal (Moselle) et Portieux. Appears also in the 1933 catalogue as Tortue 6711. Colour image will be added later.}
 
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Elephant and Boy, either as paperweight or decor. Hand decorated. Produced by Vallerystahl, circa 1894.
{Again Portieux, full name was Société Anonyme Des Verriers Réunies de Vallerysthal (Moselle) et Portieux. Appears also in the 1933 catalogue as Elephant 6710. Colour images of two decorations will be added later.} 
Figurines in Crystal by Mary Van Pelt
Page 28
©2008 Glass-Study.com
Rooster by Viking Glass Company, shown in a 1964 catalog. This one is amber, probably made in other colors. 9¾" high, base is 3½" x 2¼".
{2008. Shown in Debbie & Randie Coe p170. c1962-74. Lists green, red, orange and dark blue.}
 
 
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This beautiful Fawn was produced by Tiffin Glass in 1970. It was part of their Canterbury line. Produced in citron (yellow green) and clear crystal. It stands 10½" tall and the stopper is ¾" in diam. A rubber gasket encloses the stopper to assure a snug fit and to protect from chipping.
{2008: Debbie & Randy Coe p166. Shown on candle bowl, 1940s-50s no mention of later model as above.}
 
 
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Bowl pictured is the flower floater as companion piece to the Fawn. The Fawn can be used in other flower frogs and a larger candle can be inserted in the larger opening of the bowl.
{2008: Debbie & Randy Coe p166. different candle bow.}
 
Figurines in Crystal by Mary Van Pelt
Page 29
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Duncan-Miller Duck Ashtray. It was believed all Duncan molds of the figurines were lost with the exception of the Donkey and Cart, which Fenton Art Glass has. An older ad shows the reproduction of the Duncan-Miller Duck to have been made by U.S. Glass.
 
 
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U.S. Glass Co., circa 1961. Significant difference is in the shape of bill and rounder head on this one. Too, when compared together, the U.S. Glass reproduction shows the shoulders to be wider than those produced by Duncan.
 
 
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Miniature Cow. L. E. Smith Glass Co. Circa early 20's. 2½" long, 1 7/8" high.
Figurines in Crystal by Mary Van Pelt
Page 30
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Swan Toothpick Holder. Val Saint Lambert Circa 1913.
 
 
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Fish Paperweight. Val Saint Lambert Circa 1880.
 
 
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Fish Aquarium in green glass. Circa 1929-1931. Imported from England. It is 10½" high. The length of the top section is 15". Length of bottom section is 7½". Opening is 5" and fish could use both top and lower sections.
Figurines in Crystal by Mary Van Pelt
Page 31
©2008 Glass-Study.com
Fish Ashtray. South Jersey glass. Hand blown, circa 1946. Green, blue and amethyst.
 
 
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Owl Ashtray. South Jersey glass. Hand blown, circa 1946. Green, blue and amethyst.
 
 
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Hands Ashtray. South Jersey glass. Hand blown, circa 1946, Green, blue and amethyst.
Figurines in Crystal by Mary Van Pelt
Page 32
©2008 Glass-Study.com
Vase from Jablonec, circa 1949. Bowl is of soft satin with heads engraved in high relief.
 
 
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I attribute this lovely flower frog to the Pairpoint Corp., Mass. In 1940 they produced goblets showing this identical design on the sides of each glass. I feel this piece was made to match the glasses for a complete table setting. Deep blue satin. 7¾" high and has a 5¼" base diam.
 
 
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Frosted, hand decorated Bunny, used as cotton holder. Circa early 20's. There is an opening where his tail should be, and through which the cotton was pulled from. An opening is in the base where the cotton could be inserted, and a little puff would be pulled out of the tail and left, making it look like a natural little tail.
Figurines in Crystal by Mary Van Pelt
Page 33
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Duck flower bowl. Designed by Pavel of Czech. Circa 1936. Hand blown, 15" long and 10" high.
 
 
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Powder Box from the George Button Corp., New York. Two toned pink or blue. Had other accessories to match. Circa 1928.
 
 
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12 oz Dog bottle. Circa 1921. Hand decorated at the Charles Hall Inc., Studios at Springfield, Mass. The top of head is threaded so the cap can be screwed on, while those produced by New Martinsville and Cambridge were made so that the shot glasses, when turned upside down, covered the opening and gave the appearance of a hat.
Figurines in Crystal by Mary Van Pelt
Page 34
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Candy jar of crackled glass. The Alligator, circa 1928. It was called “quaint art” by the ads of the era, claiming to have been copied from the collections of the marts of the old world.
 
 
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Candy jar, also crackle glass. The Dragon, circa 1928. Also copied from the marts of the old world.
 
 
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Cat, from the area of Weil, Czech. Sold under the name of Baroloc, which is the trade name products of Jablonec are sold under. Circa 40's. 4" tall.
Figurines in Crystal by Mary Van Pelt
Page 35
©2008 Glass-Study.com
Dolphin compote or candy dish, Wheeling Decorating Company, circa 1924.
 
 
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Little Chick Easter novelty. Gillender & Sons, circa 1904.
 
 
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Little Chick emerging from shell. Hand decorated, used to decorate the middle of table decorations or sitting in the middle of the Easter Basket. Circa 1904.
Figurines in Crystal by Mary Van Pelt
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Re-searching any given subject uncovers many strange and interesting avenues to explore. One such example is a brief story covering a custom and symbolic way of life of the Negro of the South, many years ago. While many collectors are constantly seeking chickens in any medium for their collections, it is very interesting to learn many many years ago, the Southern Negro also searched and saved their money in order to buy the most elaborate and fancy chicken pieces, whether they be covered dishes, plates or plain little figurines. And while collectors used them to decorate their homes, the Negros stored them away to be placed upon their own graves, or graves of loved ones. Whether this desire was their inherited and deeply rooted instinct of ancient tribal custom is not known. While various articles of glass were used to embellish a grave of the departed, chickens seemed to reign in popularity. A cemetary in Camden, South Carolina was found to be quite literally covered with such glass. This custom shocked the white population, who probably considered it a heathen custom. The dedicated collectors of that time period felt indignation over such casual use of their collectible and cherished glass. Photographs taken of a Negro burying ground in Camden show quite clearly the top of a Rooster covered dish lying in quite dignity atop the deceased. To the Negro, the chicken represented Eternal Bliss. Today, the Negro burial grounds of the South, could unearth many pieces of the glass we all seek so avidly today.

Gillender & Sons. Circa 1904.
{2008: All three images were badly masked, the actual plates would have more regularly waved edges.}
 
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Figurines in Crystal by Mary Van Pelt
Page 37
©2008 Glass-Study.com
Decorated Egg, could be given by a small child to mother or grandmother as Easter gift. Used later as a darning egg. Gillender & Sons, circa 1904.
“He's All Right” plate, just right for father’s study or den, Gillender & Sons, circa 1904.
 
 
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Another hand decorated egg by Gillender and Sons. Circa 1904.
 
 
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Another hand decorated egg by Gillender and Sons. Circa 1904.
 
It is not known if Gillenders ever produced the actual egg or merely decorated them. The Eagle Glass Co., of Wellsburg, W. Va., was the only company I could find who produced the actual opal eggs, selling them by the gross. Many companies probably bought the eggs and then decorated them for market. Circa of production of these opal eggs by Eagle Glass Co., 1903.
Figurines in Crystal by Mary Van Pelt
Page 38
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The “Hi-Hat” Cocktail novelty glass. Patented by Charles Fordyce, circa 1942. Offered in crystal, ruby and crystal, stiegel green and crystal. Bowl is handblown, the stem is molded. 4 and 6 oz. sizes.
 
 
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Glass Nappy, patented by A. J. Dreitzer in February, 1942. It was produced by Pitman-Dreitzer, New York.
 
Figurines in Crystal by Mary Van Pelt
Page 39
©2008 Glass-Study.com
Ring Trees by Fenton. The Turtle was a reproduction in 1966 of a very old mold, whose identity was lost with time. Fenton made new molds, with such slight differences, one must have the old and the new to tell the difference. The Owl ring tree was made in January, 1967. It was a completely new design and has been seen on the market being offered as “very old” so beware! Both items have been discontinued. The Owl is 4½" tall, base is 3" in diam. Turtle is 4" tall, base 3" in diam., and 3 4/5" long.
 
 
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This design, made by Morgontown, came in a 9 piece set. Eight cocktail glasses made of heavy lead crystal. Shaker consisted of identical Rooster as finial on top. Game in clear crystal, ruby and other colors. Patented in May, 1941 and designed by Harry Marks. The set was handled by Marks and Rosenfield Inc., of New York.
 
 
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This Turtle was called the “Myran” Turtle, and was designed to hold flowers. This was advertised in 1926 as an antique reproduction of the Turtle. Made in crystal, amber and green. It was controlled by Mary Ryan of New York. Line was drawn to show natural curve of the opening of the piece.
Figurines in Crystal by Mary Van Pelt
Page 40
©2008 Glass-Study.com
This Duck was produced by Jablonec, Czech. Prior 1950 was in crystal only, after 1950 it was satinized. Can still be purchased today from gift shops, with KUSAK label.
 
 
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Pegasus Ashtray, probably by Jablonec. Circa 1956. Trade name was given as JADE, Older trade journal shows this to have been sold from Glassexport, of Prague.
 
 
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Also included in the line of JADE, is this life-like Turtle. Circa 1956. Picture has been blown up for detail. Length is about 7".
Figurines in Crystal by Mary Van Pelt
Page 41
©2008 Glass-Study.com
Oval sculptured “Satan” of French origin, Circa 20's, 3¼" in width, 4¼" in height. Used as a panel for either a four or six sided lamp. There are four small holes, two on the lower part, two on the upper part of the rim to enable it to be mounted into the ribs of the panels. There were other sculptured designs, one being similar to the seated Britannia. U.S. Glass also produced four sided lamps, and their panels were of nymphs, also in the 20's.
 
 
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“Dove of Peace” flower frog. Also of French origin, circa 30's. 7½" high, 3¼" base diam.
 
 
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“Tinkerbell”, also of French origin. Circa mid 20's. Soft frost mounted on black glass base. 9½" high with square base of 3".
 
Figurines in Crystal by Mary Van Pelt
Page 42
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Cigarette holder of a novelty smoker set. There are four ashtrays, shaped like little pigs to complete the set. The ashtrays are 4 7/8" long and 2¾" wide. Patented as the “Bobby Q Crystal” line in 1950. (Westmoreland produced a five piece smoker set of ebony glass in 1949. shaped like Turtles.)
 
 
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“Bobby Q Crystal” Snack set. Tray is 10¼" x 6¼". Cups hold 6 oz. Circa 1950. (Fostoria produced their canape and cocktail set in the shape of a fish in 1933. It had a shallow recess for the glass, and the rim of the plate was raised to hold snacks or canapes.)
 
 
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“Bobby Q Crystal” Utility tray set. Consisted of three different sizes, all in the shape of pigs. Circa 1950.
Figurines in Crystal by Mary Van Pelt
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In the early part of the 1900's, Bohemian glass industries had a world impact and influence on world trade, despite the small size of this little country. The mere simplicity, intricacy and skill of their glassworks proved beyond any doubt they had given birth to designs, serving as a groundwork for others to look at very carefully and ponder. It has been stated the evolution of figurines had their roots in Bohemia. Japan, Italy and Germany were fierce competitors, for these three countries also had attained a high level of perfection in the realm of figurines. The great variety of subjects and motifs which Bohemia glassmakers created was the one level of attainment which set them apart and in front of all other competition. The glass ashtrays with figurines were done by hand, which were made without the use of molds and by the uniqueness of the artists' mind. Their great imagination and inventive spirits allowed them in a few short years to manufacture thousands of figurines and motifs, each seemingly more charming than the last. Their designs vied with competing countries for they borrowed from every phase of life and nature for their creations. Animals, chimney sweeps, fisherman, Negro, kite flyer, all types of sports and always depicting their figures in smooth fluid motion. They used dancers and even drunkards, all phases of manual labor, such as glass blowers. They felt these creations and diversified scenes from nature and life were needed in order to show the dexterity of the glass workers. It also created a demand by buyers and attracted attention to the style and zeal of the artist. They proved to have an inexhaustible source of imagination and a delicate artistic touch which was so necessary in contributing to the success of their figurines. The masterpieces of the engravers were proven by combining human and animal form to the bottom of lovely crystal ashtrays. Of a man and jumping horse in the action of going over the hurdle, riding to the hunt, two cupids with tiny wings playing. A dog on guard or at full attention. These trays were formed in hexagon, oblong, square and oval shapes, with the engravers making full use of the complete bottom for his art. These were highly successful because they were attuned to the taste of the times. They had managed to present articles unrelated and not representing what the competition was producing and designing. When the market had absorbed that which had been so successful, new ideas and designs were needed, and so the glassmakers began to turn to other countries for new ideas and designs. They used their talent to use historical events, national monuments, political meetings, customs and theaters. For the British market, they manufactured figurines in the middle age costumes, the Royal Guard, parades of coronations. Next they added souvenir items, such as aerial navigation. They were masters at creating an amazing object of art from the most simple event of everyday life. For the Czech engraved, crystal boxes were objects which allowed his imagination and talent to run rampant, and to display magnificent etchings from his mind into a treasured piece of glass.

The following short history on some of the glassworks in Czech., have been acquired from older Czech., Glass Review trade journals, portions from the actual glassworks where they could provide it. References are from the trade journals of the 30's, 40's and 50's.

JABLONEC. Jablonec is situated in the Northern part of Bohemia. The success and appeal for the glass of this area is due to the beauty and artistic imagination of the artists. In 1956, a market report on glass in the Czech. Review stated, “you may believe when it is confirmed, no other glass supplier in the world has a similar extensive assortment.” The Pegasus Ashtray and Turtle was from this area, with the trade name of JADE, and soared to popularity beyond their dreams. Jablonec is especially noted for their religious figurines of the Madonna together with the head of Jesus and Mary. The Jablonec line is sold in the United States under the name of BAROLOC. (Ref: Czech. Glass Review of 1948)

VAL SAINT LAMBERT. In 1195, a group of disciples of Saint Bernard settled in a small valley 12 kilometers from Liege. The site was known then as the “Field of the Moors” or “Plain of the Moors.” The Bishop of Liege in 1202, granted the Monks 460 acres of fields and woods. It was here they built a Cistercian Abbey, giving it the name of Val Saint Lambert, in memory of the founders of Liege. There followed six centuries of prosperity, pillaging and destruction at the Abbey. In the 18th century it was confiscated as National property with the annexation of Austrian Low-Countries to France, which in turn brought about rebuilding in the style of Louis XIV by the well-known architect, Etienne Fayn. At this time, the last monks dispersed and today the wonderful old buildings are still occupied by the Cristalleries. The former Abbey was purchased by two French master glassmakers in 1825. They were Messrs. Kemlin and Lelievre who had worked at the glassworks Voneche, directed by Monsier D'Artiques. Voneche had been set up in 1776 by a group of Belgian glassmakers with Monsier D'Artiques as director, and progressed well under his direction and the efforts of Kemlin and Lelievre. It was located in a village in the wooded area of Namur Ardennes. The treaty of Vienna in 1815 reunited the Belgian provinces with the Low-Countries and because Voneche was separated from its traditional market, could not survive. Thus, in 1822, D'Artiques, also a former director of the Cristallerie Saint-Louis, bought the Verrerie Sainte-Ann in Lorraine which became the Cristalleries de Baccarat.

In 1825, Messrs. Kemlin and Lelievre acquired the abandoned Abby of Val Saint Lambert believing they could draw on the plentiful supply of skilled glassmakers in the Liege area, having already explored the coal supplies in the area, proved their confidence in themselves as Val Saint Lambert prospered under their direction. In 1869, Val Saint Lambert merged with the Cristallerie de Zande, which had been making crystal since 1760.

Val Saint Lambert maintains training programs for glassmaking, designing, cutting and engraving. The elderly craftsmen of the factory are in charge of the training programs, an average of 10 years training is deemed necessary to acquire the high standard of skill in the art, and the average age of the glassmaker is 27.

{2008: Val Saint Lambert are of course in Belgium and not Bohemia!}

ZELEZNEY BROD. The start of the last century saw an upward surge of the glass industry with the many, many small glassmakers making a large impact in the art of glassmaking. Nearby Jablonec, was a ready and willing market for the many independent and talented glassmakers. Their articles which they presented to Jablonec, was shipped all over the world under the name of Jablonec. Because the many small glassmakers of the area went unrecognized for their creations and wares, Zelezney Brod remained almost unknown. The businessmen of Jablonec were German, while the Zelezney Brod residents were Czech. It was to be much later before their region became known and establishing a glassworks of its very own. Not until after World War I in 1920, did Zelezney Brod glass come into its own. A school for glassmaking was founded in 1920 which further rooted their place in the industry. The specialty of Zelezney Brod began with figurines. Professor Jaroslav Brychta was not only the director of Zelezney Brod, but was an outstanding sculptor. He began manufacturing simple figurines in drawn or stretched glass, to turn later to other techniques and succeeding in creating perfect figures in magnificent colors, always expressing these figurines in movement. His style was much in demand prior to World War II. When the second war was over, the little companies decided to join together because money was in short supply and they found they could work and succeed together as a unit better than individually. Thus, in 1948, a great national regional company was formed and named, “Glass of Zelezney Brod National Enterprises.” (Ref: Trade Review of Czech.)

LIBOCHOVICE. This company was formed around 1911 in the Northern part of Bohemia and was known as the “Crystal Glass and Syphon Bottle Factory, Feigl & Moravek, Ltd.” After World War II and the occupation in 1946, their liberation allowed this glassworks to reestablish itself. They began to specialize in pressed glass and figurines of classical forms. It was for the classical form and style they became well-known for. The clarity and beauty of the pieces defied all competition in the European market. Their forms and techniques were so varied, complete listing would be impossible. In 1946 they were nationalized and included in the United Czech. Glassworks. Today, Libochovice is a part of the Sklo-union National Enterprises, their mainware being household and decorative pieces. This company, without a doubt, has contributed some of the most beautiful figurines ever presented to the world. The molds of the Libochovice figurines shown in this book were produced from 1937-1939, again from 1945-1947. The molds became worn-out and were discarded. Sincere and grateful appreciation to Ing. Medek of Libochovice for permission to use this material and for the old catalogs furnished for this purpose.

OTOVICE. When the control of Europe was still under the yoke of the Habsbourgs, and the time of the Industrial Revolution, the glassworks of Otovice was begun in an area called, “The Land of Gold.” The Industrial Revolution applied to the profound economic industrial systems. The brief history of this fine old glassworks began in 1802 when a gentleman by the name of Dobson erected three buildings; one used as the glassworks, the second housed the workers and the third was an Inn. Because they were located atop a hill, it proved to be unsatisfactory and in 1820, was relocated near the Carleon mines in Otovice. The glassworks at this period of time made highly acclaimed clear glass and highly sought-after colored items. Today, some of the rare specimens of this period are in existence in some of the foreign museums. During this period, the glassworks changed hands, to become the property of a Dr. Moser, and later passed on to Ignace Keil of Prague. It then turned to the manufacture of beer bottles and largely pharmaceutical supplies. World War II and the occupation of Czech, interrupted the favorable success and production, but with liberation, the National Enterprise of Czech. Glass Works reunited, glass houses were reestablished and once more took up the old tradition of their predecessors with productions and know-how over 100 years old.

HERMANOVA HUT. At the time of World War II, Hermanova Hut had greatly improved the manner of manufacture due to the magnificant color, artistic execution, cutting and engraving of their wares. At this time they turned to exporting and the world began to enjoy their products in pressed glass, clear, colored and multi-toned. Hermanova Hut is recognized by the specialists of the glass industry for its multi-colored pieces. A brief note in one of the Czech. Review trade journals, stated it is sold under the name of “Stolzle.” (There is a German Glassworks also named Stolzle, but they do not manufacture or produce figurines.)

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