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On the glass road: glass art and representation in Serbia (1850-1950)

This exhibition covers a period of one century through which the establishment of the industrialization of glass and the role of shaped glass as an important part of the modernization processes of Serbian society are traced. The role of shaped glass is traced through various cultural models through which the national, state and personal aspirations of individuals can be perused.
The exhibition consists of digitalised objects from the Museum of Applied Art, the Regional Museum of Jagodina, the Kikinda National Museum, the Ethnographic Museum and other institutions that illustrate the production of the most important factories of the 19th and first half of the 20th centuries from the territory of Serbia. Our goal is to present, in this format, the most significant objects that reflect the civic culture of everyday life, marking the status and identity of individuals and wider cultural circles of Serbian culture area from the mid-19th century to the mid-20th century.
One of the primary goals of the exhibition is to offer in one place all the most significant preserved glass collections in Serbia, namely: the dynastic and state-owned sets from the funds of the Historical Museum of Serbia, Museum of Yugoslavia, the Museum of the City of Belgradethe, the Smederevo Museum and the Endowment of King Peter I in Oplenac. The curiosities of the exhibition are objects from representative buildings of Serbia: the ‘Zlatni breg’ Villa in Smederevo and the Dedinje Palace Complex.

Развој обликованог стакла у националној производњи

Од прве мануфактуре Аврама Петрoнијевића (1846) до модернизоване производње Српске фабрике стакла у Параћину (од 1906.), у константним тежњама за одржавање континуитета у стакларској производњи и у зависности од увезеног знања, без јасне визије о систематском приступу у решавању проблема недостатка домаћих мајстора потребних за развој стакларства, није било великог простора за развој аутентичног моделовања предмета. Позајмице у продукцији употребног стакла су се огледале у преузимању технологије, начину обликовања, у декоративним техникама, чак и у декоративним шемама. Иако је имала слабије квалитете у производњи и естетици употребног сакла у односу на велике европске центре, примењена уметност стакла на нашем тлу од 1850. до 1950. године добијала је своје облике. У раздобљу од једног века којег су обележиле велике друштвено-историјске кризе и ратови, покретање индустрије уопште, а посебно индустрије стакла на нашем тлу било је изузетно тешко. Велику улогу у развоју стакларске производње имали су појединци-визионари и тежње државе ка модернизацији друштва коју је видела кроз покретање индустрија, па тиме и индустрије стакла.

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National and transnational: state, production and aesthetics of glass

The art and design of utility glass in Serbia in the period from 1850 to 1950 was developed partly in factory settings, and partly in artisan workshops for finishing, decorating and shaping glass. Although in principle glass production in Serbia was viewed as “national” as this could have been carried exclusively in the state’s economic strategies, in reality this production - both in an aesthetic and technological sense - is a product of the multicultural environment that developed in factory complexes. Just like the processes of the formation of industrial production itself, the shaping of utility glass objects depended on imported knowledge and foreign craftsmen. Theoretically, mixed, i.e. multinational communities in factory complexes were more progressive, contributing to faster development and exchange of knowledge, which should in turn have contributed to positive results. As a rule, the application of new production technologies and decoration techniques take place more easily in such environments. However, the historical circumstances to which Serbia was exposed during one century (1850-1950) did not always go hand in hand with development. The art of shaped utility glass in Serbia essentially followed the development of glassmaking and industrialization and reflected all the levels of the transformation of society that consumed this type of applied art. It seems that every multi-decade effort was interrupted by economic crises and wars, whereupon the art of glass, acquired knowledge and skills disappeared along with the people. With a lot of ambition and incredible effort, in building the glass road anew, our community was faced with a renewed desire to acquire skills and education and yet with a constant lack of capital due to wars and major crises in the first half of the 20th century.

Glass inspired by national idea and representation

In the midst of the Serbian cultural circle, the art of shaped glass was essentially linked to the civil structure of the population, while ordinary industrial and packaging glass could be found in wider social circles. During the 19th century, art and visual culture played a significant role in private lives and the construction of national identity. Proceeding from state and national ideological influences in society, using visually acceptable models of decoration in glass decoration, heraldic motifs, plays with patriotic themes, as well as portraits of the members of the national intellectual pantheon, national heroes were used as symbols. Decorating homes, furnishing households with artificial and luxurious objects was subordinated to current cultural patterns. In the first half of the 2Oth century, the influence of Yugoslav ideas and the newly created cultural climate had a great importance and a direct impact on the development of production as well as on the decoration of glass

Tumbler with the coat of arms of the Principality of Serbia

Tumbler with the coat of arms of the Principality of Serbia

Austro-Hungarian Empire, the last third of the 19th century
cast glass, red glaze, colors, sandblasting
Museum of Applied Art, inv. no. 22116 - (https://mpu.rs/)
Pitcher with the depiction of Serbian medieval ruler from the Nemanjić dynasty, Stefan the First-Crowned

Pitcher with the depiction of Serbian medieval ruler from the Nemanjić dynasty, Stefan the First-Crowned

Austro-Hungarian Empire, the first decade of the 20th century
Glass Factory Hrastnik (?)
decoration: Velika Kikinda, the First Serbian Workshop of Uroš Čavić according to the template by Vladi...
Tumbler with the coat of arms of the Principality of Serbia1

Tumbler with the coat of arms of the Principality of Serbia1

Principality of Serbia, cc 1850
Јagodina, manufactured by Avram Petronijević
faceted cast glass, red glaze, colors, traces of gilding
height 13 cm
Мuseum of Applied Art, inv. no. 6566...
Tumbler with the coat of arms of the Principality of Serbia

Tumbler with the coat of arms of the Principality of Serbia

Principality of Serbia, cc 1850
Jagodina, manufactured by Аvram Petronijević
faceted cast glass, yellow glaze, colors, gilding
Museum of Applied Art, inv. no. 22080
Tumbler with the coat of arms of the Principality of Serbia

Tumbler with the coat of arms of the Principality of Serbia

Austrian Empire, cc 1860
Croatia, Osredek Glass Factory (?)
double-layer cast glass, red glaze, bearing, engraving
Museum of Applied Art, inv. no. 5096
Glass-goblet with the coat of arms of the Principality of Serbia

Glass-goblet with the coat of arms of the Principality of Serbia

Austro-Hungarian Empire, by 1882 (?)
mold-blown glass, worn; green paint, enamel, gold paste
Museum of Applied Art (https://mpu.rs/), inv. no. 11476
Absinthe glass with the coat of arms of the Kingdom of Serbia

Absinthe glass with the coat of arms of the Kingdom of Serbia

Kingdom of Serbia, cc 1903
Јagodina, the Nacko Janković and Son Glass Factory
blown glass, etching, serrated tape
Museum of Applied Art (https://mpu.rs/), inv...
Absinthe glasses with the coat of arms of the Kingdom of Serbia

Absinthe glasses with the coat of arms of the Kingdom of Serbia

Kingdom of Serbia, to 1914
Paraćin, Serbian Glass Factory
blown glass, etching
Museum of Applied Art (https://mpu.rs/), inv. no. 23122
Goblets of Kosta Sredojev

Goblets of Kosta Sredojev

Austro-Hungarian Empire, the first decade of the 20th century
Velika Kikinda, the First Serbian Workshop of Uroš Čavić
faceted glass cast in a mold, colors, enamel, painting, gold band
Mus...
Tumbler with the portrait of Branko Radičević

Tumbler with the portrait of Branko Radičević

Austro-Hungarian Empire, the second decade of the 20th century
Velika Kikinda, the First Serbian Workshop of Uroš Čavić
cast glass, colors, gold band
Museum of Applied Art, inv. no. 871
Tumbler with the portrait of Montenegrin Bishop Njegoš Petrović

Tumbler with the portrait of Montenegrin Bishop Njegoš Petrović

Austro-Hungarian Empire, the second decade of the 20th century
Velika Kikinda, the First Serbian Workshop of Uroš Čavić
cast glass, colors, gold band
Museum of Applied Art, inv. no. 1235
Tumbler with the coat of arms of the Principality of Serbia

Tumbler with the coat of arms of the Principality of Serbia

Austrian Empire, Bohemia, cc 1860
faceted cast glass, red glaze, colors, gilding
height 13 cm
Museum of Applied Art, inv. no. 11481
Gоblet with a portrait of Prince Aleksandar Obrenović

Gоblet with a portrait of Prince Aleksandar Obrenović

Austro-Hungarian Empire, Bohemia, cc 1880
crystal, cast, stained glass, enamel, painted portrait, colors, gold
Belgrade City Museum, inv. no. UPЕ 167
Goblet of Princess Ljubica Obrenović

Goblet of Princess Ljubica Obrenović

Austrian Empire, cc 1820
crystal cast cut glass, gold, cobalt, enamel; engraving, painting
Belgrade City Museum, inv. no. UPE 279

Glassware in the function of propaganda

Tumbler with the portrait of Julija Obrenović

Tumbler with the portrait of Julija Obrenović

Austrian Empire, cc 1860
red cast glass, gold paste, paints; applied photo
height 12 cm
Museum of Applied Art, inv. no. 896
Wineglass with a double portrait of King Alexander and Queen Draga Obrenović

Wineglass with a double portrait of King Alexander and Queen Draga Obrenović

Austro-Hungarian Empire,beginning of the 20th century
mold-blown glass, gold band, gold paste, applied photo
Museum of Applied Art, inv. no. 2338

Glass in everyday life

In the applied glass art of everyday life, it seems that the most represented objects were those that had attractive shapes and decoration. Similar to imported cut crystal, double-layered and opal glass, blown colored and pressed qlass, the domestically produced qlass appeared in Serbian civic culture which, according to its shapes, mainly had the role of satisfyinq the personal taste of the individual. Glass shaped in this way and aesthetically based on Central European stylistic sources was a part of daily rituals, table culture and the consumption of beveraqes and food. The most diverse forms of qlass were a kind of marker of contemporary trends and attempts to denote members of the same cultural milieu and social class sharinq the same values, reqardless of national and state borders. Turninq to their own homes, family and personal ambitions, members of the citizenry souqht to present themselves as equal to those circles in the world that they could match in terms of wealth, intellectual and cultural level.

Part of the Drina drinking set

Part of the Drina drinking set

Kingdom of Yugoslavia, after 1928
Paraćin, Serbian Glass Factory
blown cut glass
water glass: height 22.8 cm
small glass: height 8.7 cm
wine glass: height 23.8 cm
Museum of App...
Parts of rakija sets (5 parts)

Parts of rakija sets (5 parts)

Principality of Serbia, cc 1850.
Crni vrh, Avram Petronijević’s Glass Factory
blown glass, red glaze, enamel
Museum of Applied Art - (https://mpu.rs/), inv. n...
Small jar for sweets (5 parts)

Small jar for sweets (5 parts)

Principality of Serbia, around 1850.
Crni vrh, Avram Petronijević’s Manufacture
cast glass, red glaze, enamel
height 7.1 cm
Museum of Applied Art, inv. no. 2328
Dessert saucer

Dessert saucer

Principality of Serbia, around 1850.
Crni vrh, Avram Petronijević’s Manufacture
cast glass, red glaze, enamel, gold paint
height 1,5 cm
diameter 15,1 cm
Museum of Applied Art, inv....
Coin tumbler with the initials A. K.

Coin tumbler with the initials A. K.

Principality of Serbia, around 1850
Crni vrh, Avram Petronijević’s Manufacture
cast glass, engraving, 20 Austrian coins from 1844
height 11,2 cm
Museum of Applied Art, inv. no. 150
Ewer

Ewer

Ottoman Empire, the last third of the 19th centuryMuseum of Applied Art - (https://mpu.rs/), inv. no. 7583
Goblet

Goblet

Principality of Serbia, around 1846
Crni vrh, Avram Petronijević’s Manufactre
cast glass, engraving, traces of gilding
height 14,5 cm
Museum of Applied Art, inv. no. 5091
Tumbler with the initials J.K

Tumbler with the initials J.K

Principality of Serbia, around 1850
Crni vrh, Manufacture of Avram Petronijević
mold-blown glass, engraving
height 11,7 cm
Museum of Applied Art, inv. no. 7585

Утилитарно стакло украшено везом од стаклених перли

Као део популарне бидермајер културе, средином 19. века појављују се предмети примењене уметности украшени везом стаклених перли. Осим намештаја, делова одеће, међу њима су предмети а пушење попут лула, дуванкесе, бурмутице, разне кутије, огледалца, чаше, чутуре и бројни други предмети који се данас чувају у музејским збиркама Србије.Развој и почетак индустријске производње стаклених перли у главним центрима за производњу стакла у Мурану и Чешкој одиграли су кључну улогу, производећи разне врсте стаклених перли које су се разликовале не само по величини, боји и облику већ и по текстури. Могле су бити округле, фасетиране, вишеслојне, провидне, непрозирне, опалске, осмишљене уз употребу свих техника које су се примењивале у производњи стакла и могле су бити примењене и на перле. Успон технолошког развоја и инвентивност подстицали су и коришћење стаклених перли у везу.Средином 19. века вез од стаклених перли био је у Србији веома распрострањен у грађанским ентеријерима и био је готово незаобилазан елемент декорације. Осим пехар-чаше са стопом, у збирци Музеја примењене уметности (кат. бр. 35) налазе се још чаша за вино и чаша за ликер, типичног бидермајер облика (кат. бр. 36, 37). Све три чаше су од безбојног, ливеног, дебљег стакла, вероватно пореклом из увоза, а декорисане су везом са цветним мотивима. Централна декорација прве чаше је вез са венцем и ћириличним иницијалима М. С. и са 1855. годином приказаном на супротној страни предмета. Иницијали припадају везиљи Марији Стојковић из Београда, са годином која означава време настанка веза. О популарности веза стакленим перлама сведочи још један предмет из збирке Музеја примењене уметности - мала чутура од стакла која је у потпуности пресвучена везом од стакла, тиркизноплаве боје.

Beaded Goblet-glass

Beaded Goblet-glass

Central Europe, mid-19th century
embroidery, handmade by Marija Stojković from Belgrade, 1855
cast glass, glass beads, embroidery
Museum of Applied Art, inv. no. 5088
Wine glass

Wine glass

Central Europe, mid-19th century
cast glass, glass beads, embroidery
Museum of Applied Art - (https://mpu.rs/), inv. no. 1083
Liqueur glass

Liqueur glass

Central Europe, mid-19th century
cast glass, glass beads, embroidery
Museum of Applied Art - (https://mpu.rs/), inv. no. 889
Beaded flask

Beaded flask

Austrian Empire, Czechia, mid-19th century
blown glass, glass beads, embroidery
Museum of Applied Art - (https://mpu.rs/), inv. no. 6571

Употребно стакло за десерт и пиће

Wine decanters

Wine decanters

Kingdom of Serbia, 1896.
Jagodina, Glass factory Nacko Janković i sin
blown green glass, colors, enamel
height 12 cm
Museum of Applied Art, inv. no. 14324
Fruit vase

Fruit vase

Austro-Hungarian monarchy, end of the 19th century
pressed uranium glass
height 18,3 cm
Museum of Applied Art, inv. no. 13298
Drinking set with the initials B. D.

Drinking set with the initials B. D.

Austro-Hungarian Empire, the end of the 19th century
blown glass, engraved
Museum of Applied Art, inv. no. 2341
Carfe

Carfe

Kingdom of Serbia, 1896.
Jagodina, Glass factory Nacko Janković i sin
blown green glass, colors, enamel, gold
height 14 cm
Museum of Applied Art, inv. no. 15374
Small jug

Small jug

Kingdom of Serbia, 1896.
Jagodina, Glass factory Nacko Janković i sin
blown green glass, colors, enamel
height 12,5 cm
Museum of Applied Art, inv. no. 14325
Decanter

Decanter

Kingdom of Serbia, 1869 - 1900.
Jagodina, Glass factory Nacko Janković i sin
blown glass, colors, enamel
height 17 cm
Museum of Applied Art, inv. no. 14328
Drinking glass

Drinking glass

Kingdom of Serbia, cc 1900
Јagodina, Nacko Janković and Son Glass Factory
cast glass, paints, ename
Museum of Applied Art, inv. no. 21055
Glasses for rakija

Glasses for rakija

Kingdom of Serbia, around 1900.
Jagodina, Glass factory Nacko Janković i sin
blown glass, colors
height 7,8 cm
Museum of Applied Art, inv. no. 14335
Desert saucer

Desert saucer

Kingdom of Serbia, 1882–1890.
Jagodina, Glass factory Nacko Janković i sin
pressed colorless glass, red color
diameter 17,6 cm
Museum of Applied Art, inv. no. 2285
Pitcher

Pitcher

Kingdom of Serbia, around 1900.
Jagodina, Glass factory Nacko Janković i sin
blown glass,colors, enamel
height 27 cm
Museum of Applied Art, inv. no. 12106
Decanter

Decanter

Kingdom of Serbia, around 1900
Jagodina, Glass factory Nacko Janković i sin
blown glass, colors, enamel
height 20 cm
Museum of Applied Art, inv. no. 14327
Dessert stand

Dessert stand

Austro-Hungarian monarchy, end of the 19th century
pressed blue transparent and opal glass
height 17,2 cm
Museum of Applied Art, inv. no. 21057
Part of a drinking set

Part of a drinking set

Kingdom of Serbia, cc 1900
Јagodina, Nacko Janković and Son Glass Factory
blown glass, colors, enamel, gold
Museum of Applied Art, inv. no. 21632

Бањске чаше и туристичко стакло

Small tourist ewer

Small tourist ewer

Kingdom of Serbia, 1882 - 1896.
Јagodina, Nacko Janković and Son Glass Factory
blue pressed glass
Museum of Applied Art (https://mpu.rs/), inv. no. 21056
Spa tumber

Spa tumber

Kingdom of Serbia, beginning of the 20th century
Jagodina, Nacko Janković and Son Glass Factory / Paraćin, Serbian Glass Factory (?)
Cast glass, colored enamel, gilded
Museum of Applied Ar...
Spa glasses

Spa glasses

Kingdom of Yugoslavia, 1929–1941.
Croatia, Osredek Glass factory
cast glass, painted
Museum of Applied Art, inv. no. 9229, 9230 (https://mpu.rs/)
Spa drinking glass

Spa drinking glass

Kingdom of Serbs, Croats and Slovenes, cc 1922
Paraćin, Serbian Glass Factory
cast glass, processed leather
Museum of Applied Art, inv. no. 22575

Кафанско стакло

Tavern rakija carafe

Tavern rakija carafe

Kingdom of Serbia, until 1914.
Paraćin, Serbian glass factory
glass cast in a mold, polished
Museum of Applied Art, inv. no. 5064
Wine decanters

Wine decanters

Kingdom of Yugoslavia, 1928–1945.
Paraćin, Serbian Glass factory
mold-blown cut glass
Museum of Applied Art, inv. no. 11229, 22310
Bottle

Bottle

Kingdom of Serbs, Croats and Slovenes, 1922
Paraćin, Serbian glass factory
blown glass
Museum of Applied Art, inv. no. 5081
Pub / tavern glasswere

Pub / tavern glasswere

Kingdom of Serbia, until 1914.
Paraćin, Serbian glass factory
cast glass, engraved
Museum of Applied Art, inv. no. 11213, 11212, 14336

Декоративно стакло

Vase for flowers

Vase for flowers

Kingdom of Yugoslavia, 1929–1945.
Paraćin, Serbian glass factory
blown glass, engraved
height 40 cm
Museum of Applied Art, inv. no. 6586

Боце за наргиле

Вишевековни утицаји османске културе имали су своје одразе и у култури свакодневног живота Србије 19. и првих деценија 20. века. Оријентали утицаји се у оквиру стакларске производње у Србији може пратити кроз различите форме употребних предмета као што су стаклене боце за наргиле, чаше за чај (мадкур чаше), боце за ружину воду итд. Реч је о типовима посуда које иницијално припадају култури Блиског истока и вековима опстају на Балкану. Прилагођавајући се кроз различите намене култури свакодневице, постају део традиционалне културе.
У Европи током 19. Века јача интересовање за исламску културу и уметност. Приватне и јавне колекције почињу да се употпуњавају предметима археолошког и употребног стакла са Истока, оне се проучавају, имитирају и постају врло популарне у декорацији простора. Велике светске изложбе додатно су подстакле интересовање за оријенталну уметност у стаклу. Почетком шездесетих година 19. века био је популаран Oriental или Moorish декоративни стил ентеријера, који је подстицао стакларе да своје инспирације нађу у средњовековним предметима Блиског истока. Најзначајнији центар продукције био је Париз, где су се производили разни употребни предмети инспирисани Оријентом; затим Нанси, где је Емил Гале (Emile Galle) инспирисан посебно далеким истоком и Јапаном; бечка фирма Лобмајер (J. & L. Lobmeyr) производила је употребно и декоративно стакло инспирисано блискоисточњачким средњовековним оригиналима, исто као и Мозер (Moser) у Чешкој и мануфактура Антонија Салвијатија (Antonio Salviati) у Мурану. Разлог у подстицају те врсте производње лежао је у освајању нових тришта. Многи европски центри попут Венеције и Бохемије деценијама и вековима су извозили стакло на Блиски исток, док су неки произвођачи тек у 19.веку, посебно у време ратова, свој опстанак видели у извозу на исток. То је свакако утицало на стил обликовања и декорације многих европских стаклара. Од последње трећине 19. века бохемијске стакларе се усмеравају на извозно стакло у оријенталном стилу намењено Турској и Русији. Посебан подстрек производњи и популарности оријенталних мотива на стаклу чини се да почиње од доласка Исмаил-паше на место намесника Египта који Каиро трансформише у велики модеран трговачки центар, а који је био привлачан и великим европским привредницима. С друге стране, османски владари били су велики патрони западне уметности, самим тим и луксузног стакла, а мање заинтересовани за локалне произвођаче.
Највећи успех средњоевропских стаклара био је освајање османлијског света. Предмети чешке производње са исламским мотивима тражени су од Балкана, преко Каира, до Техерана. Емајлиране стаклене боце, вазе, наргиле, ибрици за ружину воду и лампе за џамије са емајлираним украсима вегетабилних и геометријских мотива или гравираним портретима значајних личности Османског царства, налазили су своје крајње одредиште на великом блискоисточном тржишту све до првих деценија 20. века. Предмети који припадају оријенталној култури од средине 19. века део су увоза, али свакако су и део домаће стакларске производње у Србији. У музејским збиркама сачуване су и увозне средњоевропске боце за наргилу, вазе, чаше за чај са емајлираним флоралним мотивима, цветним латицама или цикличним понављањима орнамената преточених у фризове. Један мањи број предмета приписује се производњи Аврамовца средином 19. века. Осим употребне намене која диктира облик предмета, оне не поседују декорацију која би их сврстала у оријенталну примењену уметност. Заправо, декорација свих тих предмета пратила је општа уметничко-стилска кретања обликованог стакла средњоевропских стаклара.
Иако у другој половини 19. века већ увелико функционишу и турске фабрике стакла, пре свих фабрика Бејкоз (Beykoz Cam ve Billurât Fabrika) из Истанбула, производи из Турске нису сачувани у тој мери на нашим просторима као они увезени са Запада. То што је сачувано у збиркама јесу својеврсни конструкти оријенталних облика и европских стилских кретања у декорацији. У том смислу, један од веома занимљивих примера јесте наргила за хашиш са иберфанг стаклом из збирке Музеја примењене уметности из првих деценија 20. века.

Hookah bottle

Hookah bottle

Austro-Hungarian Empire, Czechia, the end of the 19th century
cast cut glass, red glaze, enamel
Museum of Applied Art, inv. no. 5079
Hookah bottle

Hookah bottle

Kingdom of Serbia, cc 1850
Crni vrh, manufactured by Avram Petronijević
blown glass, red glaze, gold paste, enamel, paints
Museum of Applied Art, inv. no. 5082
Hookah

Hookah

Kingdom of Serbs, Croats and Slovenes, cc 1920
frame: workshop from Bosnia
wood, metal, silver, inlay, turning, paper, silk, glass beads, embroidery
glass ball: Czechoslovakia
überfang...

Utilitarian and formal: glassware in the court and in the state ceremonial culture

In relation to civic culture, court and state ceremonial culture were oriented towards imported, exclusively luxury glass. Emulating the modern world power centers, the same ideals were inevitably pursued in the politics of the organization of state and governing spaces. By taking over the established models in the decoration of court and state areas, the art of shaped glass was also appropriated. Ever since the first beginnings of statehood, luxury glass was encountered in the royal culture. The most important art enterprises for the production of luxury glass were engaged or became suppliers for the state facilities in Serbia throughout the century and beyond.From the reign of Miloš Obrenović to the period of Josip Broz Tito, nearly the same glass companies such as Lobmeyr and Moser, supplied their products for the needs of equipping state buildings with useful and dazzling glass creations. Sincethese companies were also engaged by European courts and palaces, their presence was similarly desirable in Serbia and Yugoslavia. Part of that luxurious glass that has been preserved to this day was an element of the ruler’s exemplification and represented a kind of fragile emblem of power. The largest segment of representative utility glass originates from the time of the Obrenović dynasty. Only due to the auctions after the change of dynasties did the glass survive the war, further being included in museum collections through acqui-sitions. In contrast, items from the last dynasty were preserved in traces. However, during the First and Second World Wars, glass items disappeared in the demolition caused by war. It seems that a small fragment of the used luxury glass became part of the new state after the Second World War. After the formation of the FNRY president’s cabinet in 1953, based on the preserved glass sets with finishing touch- es in the decoration, we can see that the new state also had a well-defined idea about the use of luxury utility glass for ceremonial purposes.

Glassware set from the court of Аleksandar I Оbrenović

Glassware set from the court of Аleksandar I Оbrenović

Austro-Hungarian Empire, the end of the 19th century
mold-blown, cut crystal glass, silver plating
МАА inv.no. 1718, 1719, 1803, 5067
Parts of a glassware set from the Aleksandar Obrenović court

Parts of a glassware set from the Aleksandar Obrenović court

Austro-Hungarian Empire, the end of the 19th, the beginning of the 20th century
mold-blown cut glass, engraved
Belgrade City Museum, inv. no. UPE 142,192,193,194,195,197
Wine carafe

Wine carafe

France, Paris, the end of the 19th century
mold-blown cut glass, engraved; silver fitting, handle, base
master Ferdinand Arpin
Palace Complex in Dedinje
Wine carafe

Wine carafe

Central Europe (Austro-Hungarian Empire), the last third of the 19th century
blown, cut glass; silver fitting and handle
Palace Complex in Dedinje
Vase

Vase

Austro-Hungarian Empire, the beginning of the 20th century
Vienna, J. C. Klinkosch
cast cobalt blue glass, silver hardware
Palace Complex in Dedinje
Claret wine jug with engraved coat of arms of FPRY (4 items)

Claret wine jug with engraved coat of arms of FPRY (4 items)

Claret wine jug with engraved coat of arms of FPRY (4 items)
Austro-Hungarian monarchy, last third of the 19th century
Vienna, Klinkoš (J. C. Klinkosch)
Mold – blown crystal glass, sanded,...
Glasses with the monogram of Aleksandar I Obrenović

Glasses with the monogram of Aleksandar I Obrenović

Glasses with the monogram of Aleksandar I Obrenović
Austro-Hungarian Empire, end of the 19th century
cast glass, engraved
Museum of Applied Art, inv. no. 23276
Wine jug

Wine jug

German Empire, the end of the 19th century
mold-blown glass, engraved; silver plated hardware
Palace Complex in Dedinje
Set with candlesticks and candy dish

Set with candlesticks and candy dish

Italy, Venice (?), cc 1900
decoration: after Salviati, made by Moser
blue, blown glass; painted, enamel, colors, gold paste
Palace Complex in Dedinje
Goblet

Goblet

Central Europe (Germany or Czechoslovakia), 1920–1940
cast, crystal double-layered cut glass, etched
Palace Complex in Dedinje
Wine goblet

Wine goblet

Central Europe (Germany or Czechoslovakia), 1920–1940.
cast, double-layer crystal glass, engraved
height 23 cm
Collection of the Palace Complex in Dedinje
Vase from the Fipop series (Fipop)

Vase from the Fipop series (Fipop)

Czechoslovakia, 1919–1922
Karlovy Vary, Moser (Moser)
according to the design of Leo Moser (Leo Moser)
green Radion glass, cut, oroplastique decoration – etched, brown patinated bands with...
Set with the monogram of Petrija Оbrеnović

Set with the monogram of Petrija Оbrеnović

Austro-Hungarian Empire, cc 1860
Vienna, J. & L. Lobmeyr
crystal glass, engraved
Historical Museum of Serbia, inv. no. R-390, inv. no. R-389
Goblet with the coat of arms of the Principality of Serbia

Goblet with the coat of arms of the Principality of Serbia

Аustrian Empire, cc 1860
crystal glass cast, cut class, engraved
Historical Museum of Serbia, inv. no. 112/659
Decanter with the monogram of King Milan

Decanter with the monogram of King Milan

Austro-Hungarian Empire, after 1882
crystal glass, mold-blown, cut glass, colors, enamel, gold
Historical Museum of Serbia, inv. no. R 109-656
Adele Melikoff service

Adele Melikoff service

Czechoslovakia, from 1922
Karlovy Vary, Moser
Designed by Leo Moser
crystal, cut glass
Republic of Serbia, Administration for Joint Services of the Republic Bodies, Collection of villa...
Papa set

Papa set

Czechoslovakia, from 1916
Karlovy Vary, Moser
designed by Leo Moser
crystal, cast, cut glass
Republic of Serbia, Administration for Joint Services of the Republic Bodies, Collection of...
Pit set

Pit set

Czechoslovakia, from 1920
Karlovy Vary, Moser
designed by Leo Moser
crystal, cast, cut glass
Republic of Serbia, Administration for Joint Services of the Republic Bodies, Collection of...
Goblet – vase

Goblet – vase

Austro-Hungarian Empire, Vienna, the last third of the 19th century
mold-blown glass, engraving
Republlic of Serbia, Administration for Joint Services of the Republic Bodies, Collection of vil...