Nr 100249214

Uchida Kunitaro – naczynie na stopce z pâte-de-verre w kolorze turkusowym i bladej zieleni, - Szkło - Uchida Kunitaro - Japonia - Shōwa period (1926-1989)
Nr 100249214

Uchida Kunitaro – naczynie na stopce z pâte-de-verre w kolorze turkusowym i bladej zieleni, - Szkło - Uchida Kunitaro - Japonia - Shōwa period (1926-1989)
– Signed work by Uchida Kunitaro, specialist in pâte-de-verre glass technique – Elegant stemmed form with wide pedestal base and translucent colour gradation – Turquoise graduating to pale celadon green with characteristic frosted surface
Summary: This pâte-de-verre vessel by Uchida Kunitaro exemplifies the artist's command of kiln-formed glass technique. The tall, stemmed form rises from a broad circular foot, creating a graceful silhouette that recalls ancient ritual vessels reinterpreted in modern glass. The colour transitions from deep turquoise at the bowl through to soft pale green at the base, achieved through careful layering of glass powder before firing. The frosted, slightly granular surface is characteristic of pâte-de-verre—a time-intensive process in which crushed glass is packed into a mould and fired until fused. Condition appears excellent with no visible damage. Approximate dimensions: 9.5 × 9.5 × 26 cm; weight 715 g.
If you'd like a little more context, read on.
Pâte-de-verre is one of the most technically demanding glass techniques, requiring precise control of temperature, material composition, and timing. Unlike blown glass, it involves packing finely ground glass into a refractory mould, then firing it slowly until the particles fuse without fully melting. The result is a matte, slightly porous surface with depth and luminosity that cannot be replicated by other methods.
Uchida Kunitaro works within this tradition, creating vessels that honour ancient forms whilst remaining distinctly contemporary. This piece references the high-footed cups and ritual vessels of early East Asian bronze and ceramic traditions, but the material—translucent glass in shifting blues and greens—anchors it firmly in modern studio practice. The colour gradient appears intentional, likely achieved through layering different coloured glass powders in the mould.
In a contemporary interior, this vessel functions equally as sculpture or display piece. The pedestal form invites placement on a low surface where it can be appreciated in the round. The turquoise tones bring quiet vibrancy to minimalist settings and complement natural materials—pale wood, stone, linen. It suits spaces with natural light, which will animate the translucency and reveal subtle shifts in hue.
The stemmed base and stable foot ensure the piece stands securely. The surface shows no chips, cracks, or clouding; the frosted texture is consistent and the colour remains vivid. Pâte-de-verre is durable but benefits from gentle handling—avoid impact and extreme temperature changes.
This work appeals to collectors of contemporary Japanese glass, admirers of ancient vessel forms, and anyone drawn to the quiet beauty of kiln-formed glass. It carries both technical rigour and aesthetic restraint—qualities that define serious studio craft.
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