Persian & Indian, Art Nouveau, Continental
The Persian and Indian glass of the National Museum of Ireland was mostly purchased during the late 19th Century, within a few years of the Museum opening. The majority of this collection was contemporary at that time, and an example of the wide-ranging collections’ policy adopted by the young institution. The most important Persian glass objects on show are tall-necked scent sprinklers and wine bottles. Some were blown into moulds, which lead to the manipulation of their neck ends. These were either given a flat spreading lip or bent over. In some instances bouquets of flowers have been built up on the bottom of the interior.
The Indian glass collection bears distinctive opaque colouring with characteristic broad spreading lips drawn down on each side of a vase. Glass in India has traditionally been associated with the north of the country, centred on Delhi.
The collection of Art Nouveau glass is quite geographically varied, and of both European and American representation. Art Nouveau as a style of decoration was current during the 1890s and early 1900s. It was particularly adapted to glass by Emile Gallé and Louis Tiffany (both represented) by using such relief and enamel ornamentation as floral patterns with elaborate tendrils. Other important Art Nouveau adherents on show include François-Eugène Rousseau, Ernest-Baptiste Léveillé, Loetz, Wennerberg and Lobmeyr.
Continental European glass in the collection ranges in date from the late 17th to 19th Centuries and encompasses namely four countries: France, Germany, Spain and The Netherlands. Of these, German glass is renowned for its high quality engraving and enamelling, the most aesthetic of which represented here dates to the 18th Century.
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