The liquidation of the Nøstetangen glassworks

Text Randi Gaustad

When Storm quit as director of the glassworks in 1766, a period of constantly changing directors and great difficulties for the glassworks followed. The problem of obtaining sufficient fuel for the Nøstetangen became increasingly large. From the very beginning there had been competition with the silver mines at Kongsberg for wood. In 1769, a new white-glass cabin was therefore built in Hurdal to relieve the burden on the operation at Nøstetangen, and Nøstetangen was gradually closed down. Most of the glassworks workers were transferred to Hurdal and with them many of Nøstetangen's models of both wine glasses and decanters.

In 1809, the operation of the public glassworks was taken over by a consortium, led by Caspar Kauffeldt. He moved the crystal and white glass production from Hurdal to Gjøvik. Thus, from 1809, Gjøvik glassworks became the only manufacturer of drinking glasses and decanters in white glass in Norway.

Neither in Hurdal nor in Gjøvik were illustrated price catalogs made, only price lists. From the price lists it appears that some of the old Nøstetangen models were also produced in Hurdal. In Gjøvik too, a few models from the previous glassworks were produced, in addition to new ones. This means that in many cases one is on uncertain ground when it comes to deciding whether a glass or carafe was made at Nøstetangen, Hurdal or Gjøvik.

Because the history of the three pre-industrial glassworks in Norway is so closely woven together, this exhibition about Nøstetangen glassworks also includes some characteristic works from the glassworks in Hurdal and Gjøvik.

 

Two years later, a new cottage for crystal production was ready at Hurdal. Until 1808, two types of white glass were made: crystal and ordinaire Composition, also called German glass. Hurdal crystal is somewhat whiter and harder than crystal from Nøstetangen. Blue glass became a popular article towards the end of the century, and after 1800 also opaque off-white glass. There is no illustrated catalog of Hurdal production, only pure price lists.

This means that one is on uncertain ground when it comes to what was made there. From the price lists it appears that many of the old Nøstetangen models were in production for many years. No less than 30 of Nøstetangen's wine glasses are mentioned in 1783, in addition to countless new models that it is impossible to know for sure what they looked like. Champagne glasses in five different models were an important novelty. In general, it can be said that the ambitions at Hurdal Glasverk were more in the direction of producing simple wine glasses rather than the magnificent objects that had been so important at Nøstetangen. Gradually, classicism also made its presence felt in the models. It meant a gradual transition from James Keith's lively cottage-worked forms to simpler and calmer ones. The stem of the wine glasses became lower and usually smooth, the bell spherical or oval. Potpourri jars, Perfume or Stinke pots with Laag as it was called in the price lists, were made in blue, white or violet glass. Such jars filled with fragrant, dry flowers and spices later became a very popular item at Gjøvik Glassworks.

Because the production at Hurdal factory was initially a pure continuation of Nøstetangen, the exhibition shows mostly glass from Nøstetangen, but also many which the experts are unsure whether they were made at Nøstetangen or Hurdal. Some Hurdal glasses have also been included to clarify the difference.