#ArtDeco glass vases by René Lalique (French, 1860-1945):

Senart Red Vase, 1934
Barromee (Peacock) Vase, 1928

On display at Washington County Museum of Fine Arts

For #WorldLizardDay 🦎: Paperweight with Lizard (x2) Attributed to Compagnie des Cristalleries de Saint Louis, c.1845-55 #1 Lead glass; blown-molded, gilt; H 6.3 cm, Diam 9 cm #2 Lead glass; blown-molded, cut, gilt; H 6.5 cm, Diam 8.5 cm Corning Museum of Glass 58.3.210,11: https://glasscollection.cmog.org/objects/3961/paperweight https://glasscollection.cmog.org/objects/16805/paperweight

For #MosaicMonday during #DragonflyWeek:

Dragonfly tea stand, c. 1901

Glass mosaic, diameter 7 1/4 in. Designed by Clara Driscoll (USA, 1861–1944) for Louis Comfort Tiffany (USA, 1848-1933). The Charles Hosmer Morse Museum of American Art

#WorldFireflyDay:

EMILE GALLÉ (French, 1846-1904) “Fireflies” flacon & stopper, c.1900 decorated glass, H 11 3/8 in. (29 cm) engraved inscription: “Nocti lucae Quasi lucernae lucentes in obscuro Ionec stella matutina Exoriatur in cordibus vostris Petr. II. 19” [Fireflies Like lanterns shining in the darkness Until the morning star touches your hearts]

via Christie’s

For #WorldArtNouveauDay on #MosaicMonday:

1. Louis Comfort Tiffany (American, 1848-1933)

“#Parakeets & #Goldfish Bowl” Window, c.1893

Leaded stained & opalescent glass; bronze chain

Framed (with molding): 79 3/4 x 44 x 2 1/4 in.

2. John La Farge (American, 1835-1910)

“Butterflies & Foliage” Window, 1889 Leaded stained & opalescent glass

Overall (with original wood frame): (71 1/2 x 32 3/8 x 1 3/4 in.)

Framed (w/metal outer frame): (73 x 33 1/4 x 6 1/2 in.)

On display at Museum of Fine Arts, Boston

EXHIBITION:

Fantastic Creatures of the Venetian Lagoon: Glass 1875-1915

Chrysler Museum of Art

February 23, 2024 — August 18, 2024

“At the turn of the twentieth century, Venetian glassmakers adorned blown glass vessels with fabulous beasts sculpted from hot glass and dusted with gold, dazzling the senses. Dragons, dolphins, seahorses, pegasi, swans, and serpents creep around vase necks, twine up goblet stems, and perch atop bowl rims.”

t’s #NationalShrimpDay so it’s the perfect excuse to share this 😛

Woman With Shrimp, c.1930s

Ercole Barovier (Italian, 1889-1974) for Barovier & Toso (Italian)

Blown & solid-worked glass

13.5x4.75x7.5 in. (34.3x12.1x19.1 cm)

The Chrysler Museum of Art 97.42.9

Topping off #InternationalChameleonDay with this collection of pâte de verre glass chameleons by Amalric Walter (French, 1870-1959) & Henri Bergé (French, 1870-1937), all c.1920:

1. paperweight H8.5cm

2. tray (vide-poche) H8.5 x L15 x P11.2 cm

3. tray (vide-poche) L25.5cm

4. pendant 60x60mm

"This French pate-de-verre (glass paste) pendant is a rare survivor of 'artistic' jewellery of the 1920s. It was made by Amalric Walter to designs of his friend Henri Berge at their glass studio in Nancy, Lorraine, which produced decorative glass objects for discerning clients between 1919 and 1935. Walter and Berge excelled at using the complex technique of pate-de-verre casting, which they perfected while working at the Daum glassworks before the first World War. They pressed layers of coloured glass granules into wax moulds before firing them the kiln. The technique offered endless colour combinations and Walter experimented with the chemicals used to colour the glass, even using uranium to achieve the bright yellow seen in this pendant. Their products varied in price and complexity and while they were often replicated in series, each piece was hand finished and unique with subtle design and surface variations. A distinctive characteristic was the use of naturalistic motifs which were becoming simpler as the modern Art Deco style began replacing Art Nouveau in the 1920s. Issued alongside chameleon paperweights and bowls, this pendant is an example of this stylistic transition. When sold new, it was probably suspended on long silk cords to complement fashionable Jazz-era dresses. Some of these pendants however, might have never been worn as they were also admired as art pieces and displayed in the home."

[info via Powerhouse Collection]

For #SaveTheRhinoDay 🦏:

René Lalique (French, 1860-1945)

1. Rhinocéros paperweight, Model 1195, 1931 frosted glass, L 11.5 x H 8.5 cm

2. Original plaster model, 1931 H 8.3 x W 11.5 x D 2.5 cm

For ##NationalPeacockDay + #MosaicMonday:

Louis Comfort Tiffany (American, 1848-1933)

Peacock Mosaic from the entrance hall of the Henry O. Havemeyer house, NY, 1890-1

favrile glass, pottery, plaster

52 x 64 x 4 in (132.08 x 162.56 x 10.16 cm)

Now in the UMMA collection.

#UnsolicitedDuckPicDay:

Covered Figural Dishes (#Ducks)

Maker: Atterbury & Co., Pittsburgh, PA (c.1867–1893)

#1 c.1888-93, pressed clear amethyst, black & green opaque glass, 5 x 10 1/2 in. (12.7 x 26.7 cm)

46.140.282a, b

#2 c.1887–90, pressed amethyst & opaque turquoise glass, 5 x 10 7/8 in. (12.7 x 27.6 cm)

46.140.281a, b

(from The Met collection)

For #InternationalTigerDay 🐅 on #Caturday:

Sculpture of a Tiger

Manufacturer: Mazzega or Ermanno Nason Vetri d'Arte (Italian)

1952-1962

L: 20 in. (50.8 cm)

Colorless and opaque black glass; applied, hot-worked; with gold foil.

The Toledo Museum of Art 2006.176

1. Dedham Pottery (Dedham, MA, 1896-1943)

Moth Plate, 1931

Glazed earthenware

2. René Lalique (French, 1860-1945)

Papillons Vaporizer, early 20th c.

Pressed glass & brass

Both on display at Washington County Museum of Fine Arts (Hagerstown, MD, USA)

For #EarthDay, here’s a lovely contemporary art #glass piece with a rainforest ecology theme:

Ruth Brockmann (American, 1955-2013) Intertwined, 2004 slumped and sand-cast glass Palmer Art Museum

For #FroggyFriday:

Frog trio in amber colored glass by René Lalique (French, 1860-1945), d. 1 3/4 in. (4.4 cm); likely originally a button or stickpin, a guilded brass mount was later added to make it a brooch. Walters Art Museum

Lalique was one of the finest jewelers of the Art Nouveau period, but his movement into mainly glassworks was concurrent with the rise of Art Deco; this piece from 1911 is a good example of this transitional period in design.

Here is an even earlier example:

Frog necklace by Lalique, c. 1902-3, 18k gold, diamond, enamel, and glass. Private collection.

Although this fabulous frog necklace is still from within the Art Nouveau period, these chunky square frogs seem like precursors to the later Art Deco aesthetic, as well as Lalique's own shift from jewelry to art glass. As noted in the 2008 exhibition catalog for Artistic Luxury: Fabergé, Tiffany, Lalique, "Lalique's final designs in jewelry incorporated glass as the major element in repeating patterns of abstracted forms such as frogs" (p. 46; Lalique's frog necklace is cat.152, photo on p. 49).

BTW, that whole catalog is full of photos of amazing pieces, with lots of animal motifs! #BookRecommendation: