{"id":8660,"date":"2024-10-08T11:59:10","date_gmt":"2024-10-08T11:59:10","guid":{"rendered":"https:\/\/pelestest.thepoint-agency.com\/colectia-de-sticlarie\/"},"modified":"2024-10-08T11:59:10","modified_gmt":"2024-10-08T11:59:10","slug":"colectia-de-sticlarie","status":"publish","type":"post","link":"https:\/\/thewebdevpoint.com\/en\/colectii\/colectia-de-sticlarie\/8660\/","title":{"rendered":"Glassware collection"},"content":{"rendered":"

The glass collection of the Pele\u015f National Museum, comprising over 1500 pieces, was established in two large stages, closely related to the history of the castle to which it was intended. A first and decisive stage is represented by the acquisitions and orders of the Royal Family, between 1866 \u2013 1941, and a second by the acquisitions of the Pele\u015f Museum, made in the period 1969 \u2013 1974.<\/p>\n

\n

\"Lampa<\/p>\n

"Wisteria" lamp
\nLC Tiffany, New York, USA 1925
\nBronze, casting, chiseling, patination;
\nlead, lamination; glass, stained glass type<\/p>\n<\/div>\n

The initiative to establish such a collection belonged to King Carol I, his descendants, among whom Queen Maria will stand out, continuing to enrich the already existing valuable fund.<\/p>\n

The collection includes pieces of German, Italian, Austrian, French provenance as well as Bohemian or English crystal vessels, made in the second part of the 19th century and the beginning of the 20th century.<\/p>\n

Through the types of orders and acquisitions of new pieces inspired by period models, King Carol I belongs to the area of historic art patrons. Thus, the German sequence illustrates decorative models of the 16th and 17th centuries, belonging to the Renaissance and Baroque: a symbolic iconography, imperial effigies, prince electors, knights, coats of arms of German noble families.<\/p>\n

An important place in the collection, not primarily due to the large number of pieces, was held by the products of Murano manufactures, purchased between 1900 and 1920 from "The Venice and Murano Company", led by Giulio and Amalia Salviati. These workshops produced pieces with a historical character, inspired by originals from the 16th and 17th centuries and which demonstrate the talent and mastery of the glassmakers, skills perpetuated throughout the generations, until today. The identity of the pieces is given by the exceptional chromatic qualities of the transparent or iridescent glass, by the grace of the forms, by their fragile elegance, a chapter in which the craftsmanship of Murano glassmakers remains unsurpassed. The decorative repertoire of these art objects born in the Venetian lagoon consists of caravels, sea animals, dragons, swans, snakes, mascarons, floral garlands, etc. The collection was also enriched with products executed in "modern style": vessels with rich iridescence, in the colors of the Cantarida beetle, "millefiori" beads and others.<\/p>\n

In addition to the pieces of representation, the Royal Family also owned a number of pieces of everyday use: table services in French crystal (Baccarat, Saint Louis) finely engraved with vegetable motifs; liquor service or bohemian crystal flower garnish, decorated with hunting scenes or engraved and gilded floral motifs; English crystal drinking service (Webb) cut to a diamond point and set with royal cypher surmounted by dark crown.<\/p>\n

\n

\"Cupa\"<\/p>\n

Murano Workshop Cup
\n4\/4 of the 19th century
\nColored, blown glass
\nand freely shaped<\/p>\n<\/div>\n

Another area of reference towards which the Royal Family is oriented in its orders is that of Art 1900. The Viennese Lobmeyr workshops, supplier to the Imperial Court, receive from the Romanian Royal House an order for a crystal service including glasses, bowls, saucers, decorated with rural scenes painted with colloidal gold, as an invoice from 1908 attests. The same area is also circumscribed to the toilet service made of double-layer crystal (white - ruby), decorated by Josef Hoffmann, as well as the glass vessels with beautiful iridescence with plastic effects, made in the Loetz' Witwe workshops.<\/p>\n

Thanks to Princess Maria, who became Queen in 1914, the royal glassware ensemble is enriched with remarkable pieces, expressions of the Art Nouveau style. Maria's approach to the phenomenon of 1900 art was achieved through the perspective of her own perception - as an artist and collector. She acquires works by Emile Gall\u00e9 (the exceptional Paradise Muse, Claire de lune and others), Ren\u00e9 Lalique (Tortues, Chamarande, C\u00f4tes plates and others), Auguste and Jean-Antonin Daum (chandelier, cameo vases), Christian Desir\u00e9, Jean Hall, G. Argy-Rousseau, Almaric Walter, Louis Comfort Tiffany (favrile glass drinking service, desk lamp, etc.<\/p>\n

The princess of British origin, a follower of the revival of artisanal traditions promoted by the Arts and Crafts workshops in England, herself created works in the Art Nouveau spirit. Among Queen Maria's other achievements is a set of six glasses executed in an Austrian workshop and painted by her with floral motifs, kept in the glass collection of the Pele\u015f National Museum.<\/p>\n

The actions of the Royal Family of acquisitions and orders abroad took place in parallel with a well-determined policy of encouraging the national glassware industry. In this sense, the factories from Azuga and Media\u015f should be mentioned, from which parts were ordered: either traditional services, personalized with the royal cipher, or modern, in Art Deco style. This is the case of the smoked glass service exhibited in the Pelisor castle, which was made by the Azuga Workshops during the period when they had as artistic director Emerico Montesy, a disciple of the Daum brothers and Emile Gall\u00e9, who had studied the art of glassmaking in Nancy.<\/p>\n

In the period 1969 \u2013 1974, the Pele\u015f Museum followed a policy supported by acquisitions from private individuals (from Bucharest, Brasov, R\u00e2\u015fnov), aiming to complete the existing fund with objects made of Bohemian crystal, but especially with Gall\u00e9, Daum, Lalique.<\/p>\n

The interiors of the Pele\u015f and Peli\u015for museums exhibit some of the most valuable pieces of the collection and offer the visiting public an encounter with the delicate and fragile world of art glass.<\/p>","protected":false},"excerpt":{"rendered":"

The glass collection of the Pele\u015f National Museum, comprising over 1500 pieces, was formed in two major stages, closely linked to the history of the castle for which it was intended. A first and decisive stage is represented by the acquisitions and orders of the Royal Family, between 1866 and 1941, and a second by the acquisitions of the Pele\u015f Museum, made during the [\u2026]<\/p>","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[256],"tags":[38],"class_list":["post-8660","post","type-post","status-publish","format-standard","hentry","category-colectii","tag-colectia-de-sticlarie"],"acf":[],"yoast_head":"\nColec\u021bia de sticl\u0103rie · Peles Test<\/title>\n<meta name=\"robots\" content=\"noindex, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<script type=\"application\/ld+json\" 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