Inspired Glass

Both of the founders wanted their names to be remembered, so the works was christened Kosta, from the initial letters–Ko and Sta–of the surnames of both the Carolinian generals. After a time the entire community was renamed after the growing glassworks.

During the first 150 years, the glassworks in Kosta produced only utility glass, including window glass for the building of Tessin’s Royal Palace, bottles and glass for the royal household, and chandeliers for churches. The first glassblowers were immigrant glass masters from Böhmen. They became the founding fathers of the glassblowing families, which passed down craft skills from generation to generation. Swedish sand was used to manufacture crystal glass, but nowadays pure silica sand is imported from Belgium, since the Swedish sand contains iron oxide that gives the glass a green tinge.

Under the management of glass masters from Kosta, a succession of glassworks sprang up in the forests of Småland in the regions around Växjö and Kalmar. Kosta therefore has good reason to call itself the parent works of the entire Swedish Kingdom of Crystal.

Until the end of the 19th century, the glass from Kosta was designed by the glassblowers themselves. At the Stockholm exhibition in 1897, the glassworks was criticized for the uniformity of its glass, which led to the idea of enlisting designers and artists in production. The first designer to be employed by Kosta was Gunnar Wennerberg. The year was 1898. Ever since then a large number of artists and designers have enriched the glassmaking tradition of the works with their artistic talents. Today Kosta Boda has a unique right to describe itself as an art industry, in which designers and craftspeople work closely together in the ongoing development of handmade utility glass and art glass. This diversity of individual artistic expression and the free and uninhibited creative process have become the distinguishing characteristics of the Kosta Boda brand.

In addition to the parent works in Kosta, Kosta Boda today includes the two “daughter works” of Boda (founded in 1864) and Åfors (founded in 1876), a partnership that was formed in 1964. Both Boda and Åfors were originally relatively simple glassworks that manufactured utility glass. Boda experienced a period of glory in the 1960s and 1970s, under the innovative and dynamic artistic leadership of Erik Höglund, a heritage carried on by Kjell Engman and Monica Backström. Åfors has been the home of the designer couple Ulrica Hydman-Vallien and Bertil Vallien, who, together with Gunnel Sahlin and Olle Brozén, brought a renaissance to the small glassworks and local community. In 1990 Kosta was acquired by its former competitor Orrefors. Orrefors/Kosta Boda was in turn acquired by the Danish company Royal Copenhagen in 1997, and the design group Royal Scandinavia was formed. The group also includes Georg Jensen, Royal Copenhagen, and Holmegaard.

Colorful, handmade art glass from the works in Kosta, Boda, and Åfors have made Kosta Boda one of Sweden’s strongest brands and one of the world’s leading glass companies. Glass from Kosta Boda is sold all over the world. Roughly 50 percent of production is sold outside Scandinavia, with some of the biggest markets in the U.S., Japan, Germany, and Australia. The origins of this glass, the living tradition of craftsmanship developed in the glassworks in Kosta, Boda, and Åfors, is a heritage that every Swede has a right to feel proud of.

Taking Care of Kosta Boda Pieces:

Handmade and hand-painted glass (especially the latter) does not do well in the dishwasher. Wash by hand in hot water–though not too hot–with a little washing-up liquid. Washing in very hot water will eventually destroy the luster of the glass. Rinse in water of about the same temperature as you washed it in. To avoid cracking the glass, make sure you do not expose it to excessive temperature differences. To avoid lines, dry with a soft cloth that won’t shed lint. The edge of the glass is its most fragile part. When you put the glass back in the cupboard, stand it on its foot and make sure the edge does not come into contact with other glasses or objects.

The Mark or Signature on Kosta Boda Pieces:

Products are marked with the words Kosta Boda, the name of the artist, and the article number (seven digits). Painted pieces are signed with a painted signature with the designer’s and the painter’s initials. Engraved pieces also have the engraver’s signature near the designer’s name.

Besides designing glass for the regular Kosta Boda collection, our artists are also free to work with art glass–limited-edition, specially signed pieces that are often much sought after by collectors. Kosta Boda art glass is divided into two categories: unique pieces and limited editions. Unique pieces are, of course, just that. No more than one piece is made of any particular item. Limited editions are manufactured in runs of between 25 and 1,000 pieces. All art glass is marked with the product number, the name of the artist, and the size of the edition so that the purchaser will know exactly how many pieces there are in that particular series. Editions comprising less than 60 pieces are individually numbered, e.g. “25/60.”

Kosta Boda Catwalk Sculpture, Man in Trenchcoat

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Posts Tagged “Sculpture” « Previous Entries Next Entries » Aug 25 2010 Orrefors Relations 3-3/4-Inch Crystal Sculpture, Lovers Posted by Blogmaster in Crystal Artwork, tags: 33/4Inch, Crystal, Lovers, Orrefors, Relations, Sculpture Lovely sculpture of lovers’ faces; measures 3-3/4 inches Created by artist Malin Lindahl and made by hand in Sweden Crafted from pure crystal with beautiful clarity and expression Design includes fluid lines and rounded silhouette Wash by hand for best care; other Relations sculpture available Product Description Sculptures with meaning and passion. Give your friend a helping hand or your loved one a message formed in purest crystal. Orrefors Relations 3-3/4-Inch Crystal Sculpture, Lovers Bookmark It Hide Sites No Comments »   How To Make Candy Bouquets Step-by-step guides with color pictures that will show you how to make your own beautiful bouquets Everything you need to know to create beautiful candy bouquets, like a Pro, for any occasion that will make amazing gifts for your friends, family, or colleagues.   Aug 21 2010 Kosta Boda Catwalk Sculpture, Man in Trenchcoat Posted by Blogmaster in Crystal Artwork, tags: Boda, Catwalk, Kosta, Sculpture, Trenchcoat Kosta Boda Catwalk Man in Trenchcoat sculpture; 7-7/8-inch height Handmade by skilled glassworkers in Sweden Designed in 2005 by Swedish artist Kjell Engmann Collection also includes the Poncho and Madame sculptures Highly collectible works of art; gift-boxed Product Description It began with Well, a series of sculptures, or conversation pieces, designed by Kjell Engman to stimulate conversation among dinner guests who had not previously met. Engman’s original inspiration for the first Well collection came from the animal kingdom, but now, with his growing interest in fashion, its history and the role of fashion in modern living, three new figures make their appearance, each an exponent of the world of fashion. The trio comprises a cool figure in a trench coat, a woman in a beautiful blue dress, and last but not least a mysterious man in a green poncho ¿ each of them worthy of more than a passing remark by the assembled guests.Amazon.com Review About his Catwalk figurines, Swedish designer Kjell Engman encourages you, and your guests, to weave your own narratives. A good conversation starter, this thin, stiff man in the orange trenchcoat and black hat could be waiting nervously for someone or sauntering down the street. Just the merest silhouette by the artist conveys a great deal of mystery. Skilled glassworkers in Sweden make the 7-7/8-inch piece out of textured glass, creating a graceful form with blunt planes as well as curves. Group Man in Trenchcoat with one or both of his companions, Madame and Poncho, on your end table or collectibles shelf, and see what evolves. Each figurine comes gift-ready in a handsome Kosta Boda box. –Ann Bieri From the Manufacturer About the Designer: Kosta Boda since 1978 and has a studio at Boda glassworks. A tirelessly productive visual artist with unbounded imagination and a passion for narrative, Engman finds free expression through both utility glass and art glass. He gets his inspiration from the most diverse sources, not least from the animal kingdom and the world of music and entertainment. He often works on large installations in which he also combines elements of sound and light. Frequently commissioned for public works both in Sweden and abroad, he is personally responsible for one fifth of Kosta Boda’s catalog range. About the Kosta Boda: With characteristic craftsmanship and good design, Kosta Boda has become one of the leading glasshouses in the world. The company’s three glassworks in the villages of Kosta, Boda, and Åfors each have exciting individual stories of their own yet stand together under the common brand name Kosta Boda. The corps of designers currently on retainer at Kosta Boda works with both utilitarian and art glass. Glass results from a great many meetings between people–artists, craftspeople, and lovers of glass. The artists of Kosta Boda have a decisive role to play in all the creative stages of the process. The cooperation between the designers and the skilled craftspeople is very close; indeed, it is essential if the designers are to transfer their intentions to the glass. The History of Kosta Boda: Kosta, the parent glassworks of Kosta Boda and the oldest glassworks in Sweden still in operation, has a fascinating history that forms a valuable part of Swedish cultural heritage. The glassworks was founded in 1742 by the governors of the counties of Kronoberg and Kalmar, Anders Koskull and Georg Bogislaus Stael von Holstein, both former generals in the army of Karl XII and distinguished veterans of the battle of Narva, among others. The two county governors founded the glassworks upon the instructions of Fredrik I and modeled it on Continental glassworks. The works was situated deep in the spruce forests of Småland, on a site midway between the two country towns, and near a village that was then known as Dåfvedshult. The main reason for choosing this location was the unlimited availability of wood. Enormous quantities of wood were naturally required to keep the glassmaking furnaces burning day and night.

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