Vintage Japanese Art Glass

Japanese glass produced since World War II is a far cry from the traditional glass floats used by fisherman, or even the precision kiriko cut glass produced prior to World War I. Postwar Japanese forms borrow from the geometric shapes of Scandinavian glass designers Tapio Wirkkala and Timo Sarpaneva, as well as the textured pieces of Riihimaki/Riihimaen. These Mid-Century Modern works are a counterpoint to the more organic pieces manufactured by Kamei Glass and Iwatsu Hineri, who took their inspiration from the Italian glassblowers on the island of Murano. The genesis for this output dates to the Meiji Era, which began in 1868. At the time, Japan, like the rest of the world, was under tremendous pressure to modernize in the wake of the Industrial Revolution. Glass was a part of this modernization, and some of the first products the Japanese government encouraged—and regulated—were chimneys for oil lamps and plate glass. Reducing the importation of these commodities was deemed so important that in 1877, the Ministry of Industry took over the bankrupt Kogyosha glass factory and dubbed it Shinagawa Garasu Seisaku-sho, or Shinagawa Glassworks, named for the Shinagawa section of Tokyo where the factory was located. In these early days, Japanese businessmen relied on European and English experts to help them produce glass that met international quality and, later, aesthetic standards. For example, in 1879, James Speed was brought over from England to help Shinagawa workers produce glassware. In 1882, his countryman Emanuel Hauptmann arrived in Japan to teach artisans glass-cutting techniques. Before long, Shinagawa had departments for medicine bottles, chemical pieces, lamps, and tableware, whose production pushed the development of mold-making technologies. The effort was spirited and sincere, but the factory closed in 1892. Concurrently, in 1881, Iwaki Glassworks was founded by a former Shinagawa employee named Takijiro Iwaki. His firm, the first privately held glass factory in Japan, continued the mission of Shinagawa by producing lamp chimneys and glassware, but Iwaki also introduced pressed-glass and etching techniques. One of Iwaki's most influential clients was the Naval Ministry, for whom Iwaki made colored ship lamps and a searchlight reflector. By 1894, Iwaki's company had gone all-in on plate glass. Takijiro Iwaki had journeyed to the United States to learn plate-glass-making techniques, and this tendency to travel was followed by his sons, one of whom expanded the company's emphasis on reflectors after a visit to the Corning Glass Works prior to World War I. At the beginning of the 20th century, another Tokyo glassmaker to win acclaim was Sasaki Glass Company, which specialized in both blown and pressed pieces. Meanwhile, in Osaka, artisans at the Koshida Glass Manufacturing Company were trained to increase their production by becoming ambidextrous. The Nihon Glassworks pushed plate technology by experimenting with fuel (gas versus coal) and silica source material (the use of a quartzite sand proved highly economical and effective). Early in the 20th century, Nihon became Asahi Goshi Kaisha, which, in addition to its industrial output, produced enameled glassware; a line of Agate Ware vessels, bowls, and lidded containers; cut-glass pieces; and vases with crackled and lustrous surfaces. Between World War I and World War II, the beginning of the current Showa Era, Kuronosuke Iwaki began using the French technique of pate de verre in his company's work. His firm also produced glass blocks and tiles for use in architecture. During this period, one of Iwaki's employees was an artist named Toshichi Iwata, who founded the Iwata Industrial Art Glass Company just prior to the outbreak of World War II. Iwata's vases drew from influences as diverse as ancient Egypt, ancient Japan, and Renaissance Venice. More recently, Iwata produced a line of colorful flat-glass pieces sold under the Colorart brand. Kozo Kagami also came into his own between the wars, specializing in cut and engraved crystal, as did Hirokichi Makashima, whose Fukuoka Art Glass Company was established in 1939. After the war, Fukuoka became known for its multi-layered pieces, which are often labled FTG and were eventually manufactured by Hattori-Wako. In the second half of the 20th century, Hoya became a major producer of Japanese art glass, as well as chandeliers and lenses for cameras. Masakichi Awashima of the Awashima Glass Company got his start at Kagami (1935-1946) before moving on to Hoya (1946-1950). One of Awashima's most famous patterns, shizuku, which means "dripping water," can be found on its textured tumblers—shizuku pieces appear to be wet even when they are dry.