Steve/sewell
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I know I have posted this before but it all got deleted so I figured I would do it again.I know a lot of you here at the forum dont collect or really care about Stiegel glass,but I figure he was one of the pioneers in Palintine-German-American methodology and made bottles for the most part different then his counterparts of his time era.His glass is rare and some people who desire it will never have the chance to find or purchase it for that matter so I will post
a part of my collection for reference .I will post part 2 of the collection at a later date.
Most of the following glass has all been obtained in Manheim (where the glass works were located)from one family and two of them from some small hamlets in Lancaster County in Pennsylvania.I was fortunate to stumble upon a family who was selling a lot of Stiegel glass.They are direct decsendents of Sebastian Witmer,one of Wilhelm Henry Stiegels enamlers (hand Painter).His glass was some of the best enameled glass Stiegel offered.Here is some information pertaining to Stiegel glass and the workman (artist's) who made these enameled bottles.
Stiegel's glass was manufactured at Manheim from November 1765 to November 1774 with the employment of over a hundred men. It was big business and the glass was shipped to the larger cities in the East. The financial failure was brought on by the Revolutionary War, and reckless borrowing. Some of the pieces of glass were enameled with symbolic, religious designs. These included flip glasses, mugs, perfume bottles, bride's bottles and drug bottles. There were designs of flowers, birds and fruit. Six opaque colors were employed: white, yellow, blue, nile green, brick red and black. According to research, there were four enamelers: Henry Nissle, Joseph Welch, Sebastian Witmer and Martin Yetters. Each had his own style of enameling.
The glass shown here is attributed to Sebastian Witmer through his descendents.Sebastian was Henry Stiegel's best enamler,
and a most loyal employee.In the pictures you will see Tulips,the peacock,pomegranates,a fox,Parrots,Objects from King
Solomon and the roses.The same themes keep playing out on each bottle.
A very popular and familiar design of the day was the tulip. The tulip figure was found on bedspreads, fracturs, birth and marriage certificates, furniture and glassware. It can also be found on tombstones and ironware. Many pieces of Stiegel glass, especially mugs and drinking glasses, are enameled with the tulip.
There is an explanation why the German forefathers thought so favorably of the tulip. It had a religious significance and it was edifying to have it in the home. To the early parishoner, the tulip was a symbol of the Trinity. It was also symbolic of all things associated with a peaceful and contented home life. There was also the suggestion of the increase of the family. In plain words, the tulip was a good, wholesome symbol.
Another favorite symbol was the peacock. Originally, the peacock was symbolic of the Resurrection. This bird, king of kings among birds, was representative of Christ risen in His glory. Some of the farmers considered the peacock a good weather forecaster and a common saying was "when the peacock cries, it's going to rain."
There were several other symbols which are of interest to us. This was the flower of Solomon's temple and the Song of Solomon. A little more superstition was associated with the pomegranate for its seven petals suggested luck and good fortune. Seven has always been a cryptic number with a kind of mystery and strangeness about it.
The pomegranate is found in the Martyrs Book, printed by the Ephrata Press in 1748. It is also found on tinware, toleware and hat boxes. Since it suggested prosperity, the pomegranate was a symbol of Divine favor and the Lord's protection. Stiegel had this design on his stoves he made at Elizabeth Furnace.
Finally, among the religious symbols found in the average home of the residents of Manheim, was the rose - the red rose. Emerging from a pagan origin, the rose became a symbol of the love of God, the glory of Heaven, eternal life and Heavenly joy. Three rose petals or three red roses represented the Trintiy, and the Virgin was called "the Mystical Rose." Unlike the other symbols mentioned, the rose had world-wide symbolism and its design can be seen in the windows of the great cathedrals.
Stiegel made good use of all these symbols and the people were very receptive. While a piece of Stiegel glass is a rare commodity today, it was a common household item in the latter part of the 18th century. It can be assumed that the early members of the Emanuel Church surrounded themselves with religious designs that daily reminded them of the Trinity, the Resurrection, Divine favor and the constant love of God. All of which, no doubt, added to their spiritual well being.
My collection is slowly growing because they tend to be a bit pricey.I have four more painted toiletry bottles which are either in storage or at a glass musuem on loan.I have taken some group and individual pictures of this glassware.
First up are the group shots.
a part of my collection for reference .I will post part 2 of the collection at a later date.
Most of the following glass has all been obtained in Manheim (where the glass works were located)from one family and two of them from some small hamlets in Lancaster County in Pennsylvania.I was fortunate to stumble upon a family who was selling a lot of Stiegel glass.They are direct decsendents of Sebastian Witmer,one of Wilhelm Henry Stiegels enamlers (hand Painter).His glass was some of the best enameled glass Stiegel offered.Here is some information pertaining to Stiegel glass and the workman (artist's) who made these enameled bottles.
Stiegel's glass was manufactured at Manheim from November 1765 to November 1774 with the employment of over a hundred men. It was big business and the glass was shipped to the larger cities in the East. The financial failure was brought on by the Revolutionary War, and reckless borrowing. Some of the pieces of glass were enameled with symbolic, religious designs. These included flip glasses, mugs, perfume bottles, bride's bottles and drug bottles. There were designs of flowers, birds and fruit. Six opaque colors were employed: white, yellow, blue, nile green, brick red and black. According to research, there were four enamelers: Henry Nissle, Joseph Welch, Sebastian Witmer and Martin Yetters. Each had his own style of enameling.
The glass shown here is attributed to Sebastian Witmer through his descendents.Sebastian was Henry Stiegel's best enamler,
and a most loyal employee.In the pictures you will see Tulips,the peacock,pomegranates,a fox,Parrots,Objects from King
Solomon and the roses.The same themes keep playing out on each bottle.
A very popular and familiar design of the day was the tulip. The tulip figure was found on bedspreads, fracturs, birth and marriage certificates, furniture and glassware. It can also be found on tombstones and ironware. Many pieces of Stiegel glass, especially mugs and drinking glasses, are enameled with the tulip.
There is an explanation why the German forefathers thought so favorably of the tulip. It had a religious significance and it was edifying to have it in the home. To the early parishoner, the tulip was a symbol of the Trinity. It was also symbolic of all things associated with a peaceful and contented home life. There was also the suggestion of the increase of the family. In plain words, the tulip was a good, wholesome symbol.
Another favorite symbol was the peacock. Originally, the peacock was symbolic of the Resurrection. This bird, king of kings among birds, was representative of Christ risen in His glory. Some of the farmers considered the peacock a good weather forecaster and a common saying was "when the peacock cries, it's going to rain."
There were several other symbols which are of interest to us. This was the flower of Solomon's temple and the Song of Solomon. A little more superstition was associated with the pomegranate for its seven petals suggested luck and good fortune. Seven has always been a cryptic number with a kind of mystery and strangeness about it.
The pomegranate is found in the Martyrs Book, printed by the Ephrata Press in 1748. It is also found on tinware, toleware and hat boxes. Since it suggested prosperity, the pomegranate was a symbol of Divine favor and the Lord's protection. Stiegel had this design on his stoves he made at Elizabeth Furnace.
Finally, among the religious symbols found in the average home of the residents of Manheim, was the rose - the red rose. Emerging from a pagan origin, the rose became a symbol of the love of God, the glory of Heaven, eternal life and Heavenly joy. Three rose petals or three red roses represented the Trintiy, and the Virgin was called "the Mystical Rose." Unlike the other symbols mentioned, the rose had world-wide symbolism and its design can be seen in the windows of the great cathedrals.
Stiegel made good use of all these symbols and the people were very receptive. While a piece of Stiegel glass is a rare commodity today, it was a common household item in the latter part of the 18th century. It can be assumed that the early members of the Emanuel Church surrounded themselves with religious designs that daily reminded them of the Trinity, the Resurrection, Divine favor and the constant love of God. All of which, no doubt, added to their spiritual well being.
My collection is slowly growing because they tend to be a bit pricey.I have four more painted toiletry bottles which are either in storage or at a glass musuem on loan.I have taken some group and individual pictures of this glassware.
First up are the group shots.
