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Table of contents
In 1878 a glassworks of a new type - a factory - was established in Hungary: Bernat Neumann's glass factory at Ajka. Up until then glassworks in Hungary had been of two kinds. The first kind was glassworks situated in forested areas and using the cheap fuel afforded by the forests. These supplied the needs of the local landowner and his family, and later on produced for the market, as represented by the mining towns engaged in the production of gold and silver. The second kind was the early monastic glassworks, which functioned as "centers of the arts". By contrast, the glassworks at Ajka was founded and built as a factory, on a permanent site separate from the forest.
In the 1860s many of Hungary's forest glassworks ceased operations. The main reasons for this were problems associated with rudimentary equipment difficulties of transportation, and delivery, and lack of competitiveness with the technologically superior glass industry in Austria and Bohemia. It was for these reasons that the glassworks at Úrkút, which were for a long while regarded as the legal predecessor of the Ajka Factory, closed down in 1876.
According to a report drawn up by the Sopron Chamber of Commerce in 1879, "Production (at Ajka) is restricted to hollow glassware, everyday glassware and ground glass items, so-called lamp chimneys and so on. Production is worth 20,000-25,000 forints annually. It is sold in places which are relatively close by - for example, Szekesfehervar, Veszprem, Nagykanizsa, Szombathely, Gyor and Budapest" In that same year the factory took part in an exhibition held at Szekesfehervar, where it won a bronze medal.
It was thanks to the founder Bernat Neumann that by the mid-1880s the factory had emerged from the ranks of forest glassworks employing more or less mediaeval methods, and had risen to the level of the average glass factory of the day.
At this time the factory's more important products were lamp chimneys and different kinds of pharmacy jar, and "Items for lighting - on the production of which it places great emphasis - enjoy a lively demand not only in Budapest but beyond the country's borders also, and have established themselves especially in Odessa and in other commercial centers around the Black Sea. The same may be said of medical equipment too, for which its main customer is Russia, for whose hospitals significant consignments have left the factory".
According to the catalogue of the National General Exhibition held in Budapest in 1885 (which represented a comprehensive survey of Hungarian industry of the day).
Bernat Neumann's Ajka glass factory, founded in 1878, then employed forty workers and a steam engine: its honors thus far amounted to the bronze medal won at Szekesfehervar in 1879. At the 1885 exhibition the factory displayed "everyday and cut glassware", for which it won a gold medal. It was at around this time that the production of pressed glass utility items was introduced at Ajka, mainly that of smaller-sized schnapps glasses.
Judging from a wineglass from the Neumann period and from items in the collections of Budapest's Museum of Applied Arts, the factory in the 1880s also made high quality enameled, cut and chased, gilded and iridescent glassware, as well as red glassware and table glass. From the technical point of view these pedestalled glasses, wineglasses, bottles and table sets were on the highest level of the glassware of the period, exhibiting the influence of the Historicist, Neorenaissance and oriental styles.
We can be certain that it was these articles the Chamber of Commerce report was referring to when it stated: "Production, which at the time of our last report was confined purely to lamp-chimneys and ground and coloured glass of the everyday sort, has { ... } over the years included the manufacture of hollow and coloured glass, as well as lighting articles, medical equipment and scent-bottles, and in this field too { ... } noteworthy progress has been made. Its liqueur bottles and pressed bottles were shown at the 1885 National General Exhibition in Budapest on account of their tasteful shapes, where the factory was awarded a grand prix de I'exposition for 'good competitiveness and progress."
As regards style, some of the pieces - the table glass especially displayed Neorenaissance features, as in the case of the iridescent, gilded wineglass sets, and some exhibited Classicist features, as in the case of the sets of cut glasses, while in some works Neorenaissance and Oriental motifs were combined, showing the influence of the Bohemian glass of the time.
In 1891 the Ajka factory passed into ownership of the firm Janos Kossuch and Sons, which in 1891-92 rebuilt it and installed regenerator furnaces. Janos Kossuch (1836-1936), the founder of the firm and one of Hungarian industry's "self-made man", operated and directed a number of glass factories. The first was the Ó-antalvölgy glassworks, which dated from 1837. Later he took control of the Katalin Glassworks at Cinóbánya (Szinóbánya), which dated from 1848-49 (this had been built by his brothers-in-law), as well as the glassworks at Latka and Hámor.
By 1891 Kossuch's was a firm with wide experience at home and abroad. It exhibited at the world exhibitions held in London in 1862, in Vienna in 1873, in Paris in 1878 and 1890, and in St. Louis (USA) in 1904. It won a silver medal in Paris in 1878 and a gold medal in St. Louis in 1904. Its success at exhibition held in Hungary included gold medals at the 1876 Szeged, the 1879 Szekesfehervar, the 1896 Millenial and the 1904 Veszprem exhibitions.
According to the official report of the 1878 world exhibition, "Janos Kossuch (Budapest), who has exhibited different kinds of bottles, glasses and glass barrels. The articles exhibited by him very much typify Hungarian industry. Taken as a whole these articles, if not entirely on the level of the age, deserve our recognition for venturing to enter the market and for exhibiting some articles which can compete with foreign ones, and rightly because it shows that the competitiveness of the Hungarian glass industry did not end with the death of Zahn, but that there is still a glass manufacturer in Hungary who, following in Zahn's footsteps, is causing the industry to flourish in Hungary and who is attempting to raise it to the foreign level. "Kossuch has the "Katalin Valley" glassworks near Szinóbanya, This is equipped with 4 wood-fired kilns. The grinding unit is driven by a 22 hp. water-wheel. It has in addition a glass-grinding mill with a 20 hp. steam engine, a 12 horsepower steam engine and an 8 hp, water-engine, It produces on average glassware worth 250,000-300,000 forints annually. Finally, there is a chasing workshop, for the engraving and chasing of the glassware. With the exception of the chemicals and some of the sodium carbonate, the raw materials used come from within Hungary.
Markets outside Hungary: Serbia, Moldavia, Walachia, Galicia, Russia and Turkey. Awarded a silver medal by the jury"
As we already partly mentioned in connection with the Neumann period, the national exhibition of 1885 presented a faithful picture of the Hungarian glass industry as a whole. An appraisal of the glassware was given by József Bárdos, guild chief at the Kossuch firm: "Since the Paris World Exhibition Hungarian glass art has made great progress in the production of crystal, And not only the Schreiber firm, (, , .) but also ( ... ) the Ajka and Gyertyanvölgy glassworks and factories ( ... ), all of which received a grand prix de l’exposition for their products and competitiveness”.
The glassware at the Millenial Exhibition of 1896 represented a complete triumph for the National Hungarian style, in the spirit of "technical professionalism". Sixteen glass factories and workshops exhibited their products at the event. In quality and quantity material from the Kossuch firm featured strongly, with its glassware renewing Venetian (Murano) Renaissance traditions, and especially the filigree technique. According to Vince Wartha's expert assessment, "The Janos Kossuch firm has exhibited very fine glassware in excellent taste. Its glassware sets won great approval, and principally with its goblet-like glasses the Kossuch factory may be mentioned as being in first place. In certain instances their technique recalls Venetian filigree work. Their red glass is impeccable and the cut and engraved articles may be said to be first rate. The large-scale exportation of the products it the best proof of their excellence." One of the "goblet-like glasses" mentioned by Wartha is to be found in the collection of the Ferenc Nadasdy Museum at Sárvár. It is made from smoke colored glass with glass wire twisted while still hot. It is embellished with a rosette and a coat of arms painted in colored enamel, and bears the inscription "Tettel" ("Through Deeds"). It was designed by Zoltan Eleod.
Glass copy of the Hungarian crown, c. 1896It is conspicuous that neither in the account of Vince Wartha - who gave a detailed appraisal of the font (also a one-off piece) made in the Zay-Ugrócz factory by István Sovánka, nor in any other contemporary account is there any reference to a virtuoso piece likely to have been made around 1896: an almost completely faithful copy of Hungary's Holy Crown.
By means of cutting and cut-glass inlays it imitates the line of pearls and the precious stone embellishments of the so-called corona graeca, or Byzantine crown, and by means of etched depictions reproduces the various cloisonne enamel and a jour enamel pictures.
Especially successful is the central, top arched decoration, originally a cloisonne enamel of the Pantocrator (Christ, ruler of the world). In accordance with the original depiction on the crown, Christ is shown with his left hand holding a book and with his right hand raised in benediction. On either side of his throne is a cypress tree. above them, in medallions, are the Greek letters of Christ. The copies of the rectangular enamel pictures on the hoop also follow the original. They show Christ's heavenly entourage, his court: the Archangel Michael and the Archangel Gabriel.
The leaders of the heavenly host; SS. Demetrius and George, two victory. assisting soldier-saints favoured and respected by Eastern Christianity: and SS. Cosmas and Damian, two saints of healing.
The pictures at the back of the band of the glass crown (depicting the byzantine emperor Michael Ducas) are placed a little out of position, to the left of the top decoration. On the right of Michael Ducas is shown the co-emperor Constantine. in a rectangular field on the band.
On the left of the emperor, in a similar field, a depiction of King Geza I of Hungary can be seen, in accordance with the original around his head is a gold diadem with precious stones: in his right hand is a sceptre bearing a cross and in his left hand there is a sword. The inscription reads: "Geobitzas pistos krales Turkias" (Geza, farthful (loyal) king of Turkia). (Turkia means Hungary here.)
The slipping of the depictions on the band of the glass crown does not cause problems for the faithful adoption of the iconographic programme. On the front part can be seen Christ as the ruler of the world, with his heavenly subjects: at the back is the head of the earthly hierarchy, the Byzantine emperor, with his court and subjects, embodying rule over the heavenly and earthly world.
The precious-stone copies on the glass crown are exact, with the exception of an unbevelled cut sapphire.
The equivalent of the rectangular plate in the middle of the corona latina depicts Christ Enthroned, with a nimbus displaying a cross. His right hand is raised in benediction, and his left hand holds a book. Beside his throne are two cypresses; above these, in circular medallions, are depictions of the Sun and Moon.
Of the depictions of the Apostles on the glass crown, the figures of Thomas and Bartholomew are missing. The rest accord with those featuring on the original crown, as does the cross on the top of the crown.
On the Ajka crown the leather fields, between the bands of the Latin part of the original crown were worked over using etching, which produced a leather-like surface, and the surface of the bottom of the object is similar.
Bearing in mind the abovementioned differences, the exactness of the Ajka crown and its copy-like character refer to an exact - although in places deficient - knowledge of the drawings and engravings depicting the original, and during the course of its production it is very likely that use was made of the findings reached in the scientific examination of the Holy Crown conducted by a committee of the Hungarian Academy of Sciences headed by Arnold Ipolyi.
The colourless, transparent crystal-glass, which was blown into shape, was embellished with the already-mentioned, highly labour-intensive depictions, and the unusually high technical standard, along with the variety of the operations involved, indicates that this was a piece made for an exhibition.
Similarly preserved in the collections of the Museum of Applied Arts is a functional small-sized, pressed and etched glass crown, a souvenir paperweight. It recalls only the shape of the original holy Crown, and the outlines of certain plates on it, leaving out the depictions altogether. The object is hollow inside; originally it contained soil taken from the Coronation Mound. It is a typical example of a glass memento made in large number using a mass-production technique: pressing.
In the 1890s the Kossuch firm became world famous, principally thanks to the products of the Katalin works and the Ajka factory.
The glass at the 1900 Pan World Exhibition showed the continuing survival in glass art of Historicist shapes and motifs. According to a curt summing up: "Our glass industry is advantageously represented by three large factories: Janos Kossuch, J, Schreiber and Cousins (Zay-Igrócz), and the First Hungarian Glass Factory, Co. Ltd."
By the 1890s and the turn of the 20th century the Ajka Glass Factory deployed an almost complete technical and artistic arsenal: it was equally capable of producing to the highest quality glass that was chiselled chased, painted with polychrome enamel, gilded or iridescent. Accordingly at this time production was in two directions: it exploited the possibilities' for the working of hot furnace-ready glass - as it shown by, among other things, a bottle standing on a leaf - shaped base in the Ferenc Nadasdy Museum at Sarvar -. and for the working of cold glass.
In the spirit of these two basic tendencies a broad range of additional artistic and technical procedures was assembled in the 1920's and 1930's portrait engraving. Zwischengoldglas (a laminated glass technique with gold between the layers) and sandblasting.
Ornamental glass, Rezso Garamvölgyi, around 1930, Two layered glass with cut and enameled decorationAccording to Lajos Sághelyi, an expert on the glass industry at this time, "The performance of the Ajka factory is first rate mainly account of its glass smelting. The quality of the glass and the fine finish of the goods produced are on such a high level that it can compete with any foreign product on the world market. Today 550 workers are employed at the factory. With this products and systematic work the firm has reached the point where the importation of glassware will be unnecessary after the war. In quality and quantity alike its products are wholly exceptional: the output of its workers surpasses even the quality production of small-scale industry, especially in finely cut and chased glassware sets. Applied artists employed as designer are able to steer the taste of the public."
Taking the production of the Ajka factory as an example, Bela Geszler, a local representative of the Kossuch firm, put the following on record in the No.5, 1932 of the Glassworkers' Journal: "Let us take glass manufacturing as an example, Here all the conditions exist not only for us to push out the foreign competition, but even to compete with the foreigners in their own countries. Today the technical expertise of our manufacturers is on such a high level, mainly in the area of glass smelting, that ft is unsurpassed even in those neighbouring states, which play leading roles on the world market. The work of our labourers, glass blowers, cutters and engravers is similarly first rate. And as regards our designers, Hungary is truly the most favoured region on earth. Here many of the best merely scratch a living. Yet, if only they could achieve the necessary success, they could win for themselves fame even on the world market."
The foundation, then, was represented by the factory's solid technological and technical base, which, together with the expertise of designers and applied artists, represented capital on a high level even by international comparison, the 1932 Spring Fair served as a good forum at which to display and demonstrate the skills of the Ajka workers, as well as artistic standard of its products. "The Janos Kossuch firm's Ajka factory, for which I work as a sales representative, is, this year too, working flat out for the Spring Fair, tirelessly and sparing no sacrifice. ( ... ) Represented in our exhibition will be azurite and topaz glass, in inexpensive and simple versions as well as in finer and more artistic ones. Ornamental pieces, crystal, deep-cut and painted objects will be displayed. We have devoted special attention to the applied arts aspects of the articles exhibited. with a series of our richly varied iris and chased pieces."
With a pattern which is already Geometrical, a ruby-red laminated pedestalled glass in the collection of the Ferenc Nadasdy museum preserves the traditions of 19th-century commemorative glasses, The shape is 19th century, while the ornamentation displays Hungarian Geometrical and Art Deco features, tinged with a certain conservatism and making maximum use of the possibilities afforded by the technology.
Of the works in the Museum of Applied Arts collection which date from the 1920s and 1930s, outstanding from the technical and artistic point of view is János Tatár's chased and beveled ornamented tray with its heroic portraits in profile of Francis Joseph I (emperor of Austria, king of Hungary and king of Bohemia, 1848-1916) and William II (German emperor and king of Prussia, 1888-1918). With its revival of Classicist, Empire and Biedermeier features, this is a work of outstanding artistic value, as well as being a rare example of portrait engraving in Hungary. In the 1930s Tatár received high-level commissions at Ajka, for the 10th anniversary of Miklós Horthy's appointment as regent and also for chased depictions on ornamented goblets made for the Italian royal family.
In addition to bombastic works combining cutting and layered glass and satisfying the needs of display on a high level. The factory's range of production was a broad one. Various kinds of coloured glass were manufactured - for example, azurite and topaz glass - and also lead-glass, not only cut, but also with painted ornamentation.
"Besides applied arts considerations, the management of the factory is devoting special attention to Hungarian-type forms, and to sets in select taste. The series of designs is the most varied possible." In this respect the liqueur and long-necked glassware (Edward, Prince of Wales purchased a set of latter during his 1935 visit to Budapest) stand out by virtue of their variety of forms and functional simplicity.
At one time Budapest's Pannonia Hotel was equipped with such bottles, supplied with a "I-I" mark. One of these passed into a private collection as a present from the owner of the hotel and was later acquired by the collection belonging to the museum at Sarvar.
In parallel with "Neoclacissism", national traditions perpetuating the stylistic tendencies of the Millennium prevailed, in many instances in an almost unchanged form: slightly altered in its proportions, the longnecked schnapps set with its coloured enamel painting, Hungarian folk motifs and crowned Hungarian coat of arms survived, together with the above-mentioned modernized version.
The "Art in Industry" scenes of exhibitions well demonstrated the development of trends in the applied arts during the 1920s and 1930s, as well as the goals to be achieved in connection with these:
"It is now the turn of Hungarian industry to utilize even more forcefully Hungarian applied arts, which have already brought so many advantages and inestimable gains."
At the 1943 Glass and Metal Exhibition, glass articles were exhibited by the following: Janos Kossuch's glass factory at Ajka, Julia Báthory, Feketeerdő Glass Factory, Co. Ltd, the Glass Factory of Hangyaipar Co. Ltd, Parad, the Hungarian Glass Refining Works - Gusztav Szittner, and Salgótarjan Glass Factory Co. Ltd." the exhibition, and the analysis to which it gave rise, brought the glass industry's relationship with art and design to the forefront of attention. That this had become almost the central issue was indicated by the radio address given by Aladar Haasz, a departmental head at the ministry, entitled "Art in the Hungarian Glass Industry", which was also published in the journal Hungarian Applied Arts.
The analysis urged "solidarity between those working in the glass industry": "Here the applied artist engaged in design and the artistically inclined craftsman must work hand in hand if they want to produce serious results." This co-operation was proof of the success of combining the right materials with the principle of functionalism, and its ultimate goal - the political connotations of which were obvious ~ was the creation of a "characteristically Hungarian style."
The periodical Hungarian Applied Art published a photograph of a jasper glass vase made by the Ajka factory and exhibited at the 1943 exhibition. For this work the applied artist Zoltan Eleod received a certificate of recognition.
Eleod's activity - as testified by objects, which have survived - was on an especially high level both artistically and technically. His glass objects showed the success of the functional trend in Art Deco, combined with an individual, inventive technical versatility. He continued the traditions of portrait engraving. It was he who made the spherical section like plate, embellished with a portrait of Ferenc Liszt and the first three bars of the Second Rhapsody, with a wavy, beveled series of motifs on the rim. A special technique was renewed by a small schnapps glass, the material of which was the "Hungarian crystal" developed at Ajka. On the bottom of it was placed a gold-foil medallion embellished with trefoils. The shape of the cup, which widens towards the rim, is beveled, which, combined with the inlaid medallion, provides the opportunity for special optical games.
Although it renews an old technique and corresponding to early 18th-century and 19th-century exemplar, combines the Zwischengoldglas technique with beveling, taken as a whole the object exhibits the stylistic traits of 1930s trend, "Modern Classicism". A functionally shaped grapefruit glass, made from yellow glass, and a plate impress with their contrasts between matt-etched and sandblown surfaces and highly polished surfaces and motifs.
A distinctive use of Art Deco decorative motifs is shown by a pale green, egg-shaped bonbonniere, the surface of which is matted to give silky shine. Its gilded embellishment is stylized flowers among wavy, Geometrical ornamentation.
Rezso Garamvolgyi's ornamented flask made in the 1930s followed the 19th-century traditions of laminated glass. The white layer on a blue base is "peeled" and cut in a Geometric pattern; there are flowers on its body in polychrome enamel. Another work made in 1954, is a finely cut glass ashtray. This is a model of highly decorative, yet functional, utility article.
A characteristic type of 1930s product is the cocktail glass exhibiting a combination of black and colorless, transparent glass, with a finely shaped bowl embellished with doubly curved cone-shaped, finely delineated, cut motifs.
In the 1950s and 1960s, in addition to blown, colored - aquamarine, amber, amethyst and smoke colored - goblets and mass-produced glasses, the popular so-called tube glasses and colourless, transparent cut glass, the production of lead glass was started. New compositions began to be applied, for example matt, rosy ornamentation, as well as traditional motifs, such as the pinwheel with its special light refraction and Sudeten ornamentation, with rich, lace-like cutting, featuring the baccarat star as a central motif From 1931 onwards Keresztely Elsa, who was working at Ajka, was an accomplished master of cutting and engraving; his brilliantly cut covered goblet and "horse bowl" reveal a very profound knowledge of technique.
Wineglass for the Helsinki VIT, Nandor Nemeth, 1962From the 1960s the applied artist Magda Nemeth achieved dominance in the artistic direction of the factory's production. Magda Nemeth, who has worked at Ajka since 1959 with a break of only two years between 1988 and 1991 when she worked at the Vasarosnameny Glass Factory, has a special sense for design. She is a master of sets of dishes suitable for large-scale factory production, functional yet highly decorative, and of the design of sets of drinking glasses. Her spun-glass sets are outstanding.
In addition to the profound functionalism of Magda Nemeth's work an example of this is her cream and sugar container -, her utility glasses exhibit fine form and colour, and their technical ingenuity is beyond question. This is shown by the optically ornamented glasses and by the sets of goblets with hemispherical feet and colored stems ornamented with hot-worked twisted glass threads.
Her inventiveness and ingenuity have bee significant in the field of cut-glass ornaments and spun glass. A relatively early and interesting specimen of a cut-glass service is a set of goblets made in six colors for the World Youth Meeting in Moscow. An ironically stunning surface is produced by the ornamentation, which follows the patterns of various animal pelts on the goblets. The egg shaped ornamentation and the little rose-like bowls exhibiting various surface effects are also variations on a theme, while the vases and bowls made for a Japanese order are fine manifestations in glass, both technically and artistically. of a strict Japanese system of symbols.
The deep-cut ornaments with geometric and floral patterns demonstrate Magda Nemeth's inventiveness and sure optical knowledge, as do the goblet stems with their individual solutions, which change the traditional utility forms into something individual.
Magda Németh: Bottle-vase, with cut decoration, 1996The ornamentation of the spun table sets is partly inspired by Nature, shaping flower calices and delineating tine floral lines, and partly Geometrical, with lines of spots and oval shapes. The so-called cabbage-leaf set was particularly popular abroad also. Among the sets in production at the present time is the decorative, and yet simple, set with polychrome or gilded edges, and with so-called hammer ornamentation.
The latest experiment is being made with two-layer glass. In contrast to Bohemian commercial laminated glass, which imitates 19th-century souvenir glasses. Magda Nemeth is working on Geometric forms and ornamental patterns fully appropriate to both material and technique. In this respect she follows an individual course, even by international standards.
Looking at the products of the latest decades, Ajka has established design of a craftsmanlike quality, hallmarked by the name of Tapio Wirkkala, thanks mostly to the efforts of Magda Nemeth. This is no small achievement, since the factory has to move in an orbit dictated by its orders.
The factory at Ajka has been characterized by technical variety and the flexible parallel application of hot and cold techniques ever since its foundation: from the iridescent wineglasses of the 1880s to the laminated glass of today all techniques have been characterized by professional execution and, in the last decades, by special, tine designs, bringing more and more recognition abroad.
Vera Varga

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