Facon de Venise Wine Glass Nipt Diamond Waies 1670-1700

Description

Heading : Facon de Venise wine glass – nipt diamond waies 1670-1700
Period : Charles II / Wiliam and Mary
Origin :  England – similar styles made in the Netherlands.
Colour : Clear
Bowl : Pointred round  funnel mould-blown nwiht the upper part nipt diamond waies and twisted sinister at rim
Stem : Double blade collar with basal merese above hollow-blown quatrefoil knop over short plain section with half knop cushion.
Foot : Folded conical – radially moulded
Pontil : Snapped
Glass Type : Low lead
Size : 12.8cm height, 7.2cm diameter bowl, 6.8cm diameter foot
Condition : Excellent, no chips or cracks
Restoration : None
Weight: 59 grams

This is a classic moulded facon de Venise wineglass, a form which was adopted by Ravenscroft in his early experimental lead glass. This form of decoration was popular in 17^th century England so it is possible that it is of English origin although similar glasses were produced at that time in the Netherlands.

The low lead content which would aid an English attribution and good ring to the bowl. Whatever its origin it is a classic late 17^th century facon de Venise glass in the northern taste. See Bickerton p.52, plate 11 for a similar example attributed to the Netherlands. Also Barrington Haynes plate 56a for a similar English example. The lead content could also further extend the argument that lead glass was also made in 17th century Netherlands.

The method of manufacture merits some comment. The moulding to the bowl derives from the paraison having been blown in a twelve sided mould which produced pronounced vertical ribbing to the whole bowl. At the chair, the glassmaker pinched the vertical ribs together using the pucellas to create the diamond moulding to the centre part of the stem – hence the term used by Ravenscroft for this process – ‘nipt diamond waies’.

The effect is to increase the refractive properties of the glass which would have been especially effective in adding to its lustre in candlelight. This technique is quite distinct from the beech nut and honeycomb moulding used in the 18^th century when the moulding is derived directly from the mould and its intensity and effect depends on the degree to which the paraison is further expanded by blowing rather than from the application of the pucellas.

The central quatrefoil knop is produced by chairwork with the pucellas on a free-blown knop in contrast to the typical Venetian lion mask stems of the period which are mould-blown.

The other noteworthy feature is the radial moulding to the foot. This is very delicately worked but is also dodecagonal. It would have been produced using the same mould as was used to make the bowl. This contributes to the sense of unity of the finished glass.

See Corning Museum Accesion number 79.3.538