Laszlo & Laszlo

This is probably the most attractive Fishgraal ever made. The shape, size, and mass, along with the wonderful way the fish swim, make this vase stand out not only among its relatives but also among its contemporaries. The Fishgraal was eventually to freeze into the shapes of “drop” and “ball,” but this was made "long before that"; in the late 1930s, each Thick Graal was a unique piece of art, and much as 1939 was "the year of the Ariel," 1937 was "the year of the thick Graal." Thick Graals from this time should thus be seen as exactly that - Thick Graals - and not Fishgraals, which carry negative connotations of technical over perfection and mass-production. This piece shows fish that really do swim. More

This huge "double" Ravenna speaks for itself, and you are probably tired of listening to someone who is not even an art major describe their work (sorry, artifacts). I have been extremely lucky to acquire these four great Ravennas, and trying to go "one better" and show even more exuberance about this piece would simply be beyond my vocabulary and reflect on me as an even greater admirer of Swedish art glass than I would like to appear. When it came to object numbers like 999, etc., Orrefors often took an old "ämne"/"cartridge," and this could well be an example of this practice. More

Hald has designed so many Fishgraals that when someone sees a Graal piece signed “Hald” with seaweed “in it,” one automatically assumes it’s a Fishgraal. However, this piece is not a Fishgraal; it is a Thick Graal, and while it may be considered a predecessor to the Fishgraal, let's take a closer look. [1] It dates back to the first year of thick Graal making [1937] and is technically excellent. [2] The glass is frosted [it has been dipped in acid], which is very unusual. [3] Graal colours varied widely, true, but orange and lilac/blue... unheard of! [4] The shape of the vase is, if not unique, quite unusual. [5] Hald wasn’t often inclined to put air in his Graals; this is a rare exception, and it could well have been signed "Ariel." More

This boat shape was typical among the earliest Ravennas, and it is perhaps in these early designs—often featuring semi-figurative motifs, a clear base, a matching rim, and a double layer of glass plates—that Ravenna reaches its highest level. When I discuss the best Ravennas in my book, which combine technique and artistry to achieve world-class status, this is the type of object I am referring to. In later Ravennas, the colour powder was often overlooked or considered an unnecessary nuisance. However, in the early Ravennas, the colour powder was a crucial ingredient, and this very early Ravenna illustrates this point well. Having the rim in a different colour from the background, especially when it matched the motif, was common for the early Ravennas. We all know that Sven Palmqvist was a great technician—allegedly the inventor of Ravenna, Kraka, Fuga, Selena, and others—but few, if any, realized that, as this piece demonstrates, he was contemplating the invention of the internet. More

This boat shape was typical among the earliest Ravennas, and it may be in these early boat shapes—often featuring semi-figurative motifs, a clear base, a matching rim, and a double layer of glass plates—that the Ravenna reaches its pinnacle. When I discuss the best Ravennas in my book, combining technique and artistry to achieve world-class standards, this is the type of object I am referring to. In later Ravennas, the colour powder was often overlooked or considered an unnecessary nuisance. In the early Ravennas, however, the colour powder was an essential ingredient, and this very early Ravenna illustrates this point well. It was not unusual for the early Ravennas to have a rim in a different colour than the background, particularly if it matched the motif. More

When two colours were combined in an Ariel piece, they were usually in contrast; I have never seen two colours harmonize so beautifully, blending into one another like this. “The Blue & Red Rider” is - in my opinion, taken all in all - the most attractive Ariel I have ever seen (beware, the photos do not do the piece justice). This is likely also true for Gustaf Berqvist, as he was the one to select it, and I bought it from his grandsonThese photos do not bring out the beauty of the vase. I have not seen an Ariel that can compete with this. More

Read the books written about Orref, which is arguably the best piece of Swedish glass ever to have reached the market. The dish is of a later date and does not match that quality (actually, I threw away the dish). More

The first properly signed Thick Graal, Orrefors, is not believed to have been produced until 1937. Before that—before Thin Graal was transformed into Thick Graal—some experimentation had taken place. Such transitional pieces were not signed “Graal.” This is one such piece. More

This portrait of an unknown man was created from a drawing by Simon Gate. Both Simon Gate and Edward Hald are known to have made such portraits, though their numbers are extremely limited (try to enter Orrefors, Gate, engraved, portrait on Google). Their primary purpose was as exclusive gifts, given as presents by Orrefors, the Swedish government, or the artists themselves. An engraving like this offers the engraver an excellent opportunity, quite possibly the best, to showcase his skill. Gösta Elgström—Simon Gate's favourite engraver—upon seeing this portrait, claimed responsibility for the engraving; a portrait like this tests the engraver's skill like nothing else, be it a “Heaven and Hell,” “The Paris Goblet,” or “The Bacchus Bowl,” said Gösta Elgström to me. However, although Gösta Elgström recalled having made the engraving, he did not remember who the depicted man was. When this piece was exhibited at Orrefors' showrooms in Malmö, considerable effort was made to identify this man, and although none succeeded, there were several suggestions, ranging from a Norwegian king to a taxi driver with whom Gate ran up a big tab. More

This “Aqva Graal” in the shape of a pear is one of the few relatively pleasant-looking objects made using a technique that combines elements of Thick Graal, Ariel, and Ravenna. The pear shape was occasionally used in the creation of “Slipgraals,” and the Aqva-Graal's closest living relative is indeed said to be the “Slipgraal.” However, this piece features a pattern reminiscent of a Ravenna, the thickness characteristic of a Thick Graal, the air bubbles typical of an Ariel, the shape of an unusual Slipgraal, and the appearance of a thick Graal: a strange piece. More