Topaz studio 2 stained glass filter1/9/2024 ![]() Because Baccarat had no records of the millefiori technique, it took several years of research and experimentation before its craftsmen finally succeeded in producing some millefiori pieces in 1957. The first contemporary weight made by the factory was not, interestingly enough, a millefiori design. The dis-ĥ.2 Antique Baccarat close packed tuillefiori (1848)Ĭovery of the “Church Weight,” as it has come to be called, helped rekindle interest in paperweight making at Baccarat. The piece was made by Baccarat’s master craftsman at that time, Martin Kayser. The weight, which included an 1853 date cane, contained 233 millefiori canes. In October 1951, a magnificent millefiori paperweight was found in the cornerstone of the old parish church at Baccarat, which had been severely damaged during World War II. In this section we begin with the major factories, followed by the individual artists who use this technique. Objects of beauty and mystery emerge from their skilled hands. Still the essentials remain unchanged: the artist, the glass, and the fire. New areas emerge as these factories and artists reach the edges of creativity and then expand beyond them. In cold work, cold glass is manipulated through mechanical means, especially cutting, sandblasting, and polishing. These slugs are melted down and manipulated into shape over a small gas burner or torch. Most studio artists use lampworking techniques to work with solid glass slugs that are purchased commercially. A factor}’ has the ability to produce more weights of one particular kind, and a factorv usually, although not always, utilizes a team approach to paperweight production. Factories use furnaces or large vats to make their own glass, a pontil rod is used to collect the gather, and the molten glass is formed and shaped. The major technical difference in these three situations is the origin of the glass. Which correlate to the three main ways in which paperweights are made. This chapter is divided into three sections: Furnace Work Lampwork Cold Work Cris- tal d’Albret, Perthshire, Whitefriars, and othersīegan utilizing traditional techniques and classical motifs as well as exploring new possibilities in design and technology. As soon as modern paperweights became commercially successful, more glass factories joined Baccarat and Saint Louis in producing them. Once they succeeded, the grow ing interest in contemporary weights led to further experimentation and production. Paperweights had not been produced in significant numbers for more than eight}’ years, and glass artisans at the two factories were faced with the task of rediscovering the almost lost techniques. During the early 1950s, Jokelson approached two of the famous glass factories of the classic period-Baccarat and Saint Louis-and urged them to revive the art of paperweight making. One of the driving forces behind production of contemporary paperweights was Paul Jokelson, an importer and avid paperweight enthusiast. The growing interest in antique weights, the rising value of such pieces in the marketplace, and the limited quantities available helped set the stage for the revival of paperweight making as an art form in the 1950s. But it was not until after the Second World War that the paperweight renaissance truly began. Thf.rk wkrk a kkw ISOI VI Kl) l\S IWCI’SOI paperweight production during the 1920s and 1930s in both Europe and America.
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