Quezal Art Glass Jack-in-the-Pulpit Vase (Pulled Feather)

In the world of American art glass, few pieces carry the mystique and beauty of a Quezal Jack-in-the-Pulpit vase with pulled feather decoration. These luminous, iridescent creations represent the pinnacle of early twentieth century glassmaking craft, produced by a small Brooklyn (later Queens) workshop that dared to rival the great Louis Comfort Tiffany. Today, the Metropolitan Museum of Art considers the Jack-in-the-Pulpit form to be one of the few American art forms convincingly associated with Art Nouveau, and the most important form made by Quezal.

The Founding of Quezal

The Quezal Art Glass and Decorating Company was founded in 1901 in Brooklyn, New York, by Martin Bach Sr. and Thomas Johnson, both former employees of Tiffany's Corona glassworks. The two men had spent years mastering the techniques of iridescent glass production under Tiffany's exacting supervision, and they set out to establish their own firm using the same methods they had perfected.

The company name was inspired by the quetzal bird of Central America, famed for its brilliantly colored plumage. The spelling was intentionally simplified to "Quezal" (dropping the "t" from quetzal), creating a distinctive brand identity. The choice was fitting: just as the quetzal's feathers display shimmering, iridescent colors, Quezal glass would become renowned for its extraordinary play of light and color across lustrous surfaces.

The company operated from 1901 to 1924, a relatively brief span that contributes significantly to the rarity and collectibility of its output. During those 23 years, Bach and his team produced an impressive range of art glass, from lamp shades and light fixtures to vases, bowls, and decorative objects.

The Jack-in-the-Pulpit Form

The Jack-in-the-Pulpit vase takes its name from the North American wildflower (Arisaema triphyllum) whose distinctive hooded spathe and upright spadix create a form that glass artists found irresistible. In glass, the form is characterized by a tall, slender stem that flares dramatically outward into a wide, ruffled or undulating rim, mimicking the flower's natural canopy.

Quezal's version of this form is remarkable for its combination of structural elegance and decorative complexity. Each vase was hand-blown by a skilled glassworker using a blowpipe, with the flared rim shaped while the glass was still hot and malleable. The proportions required exceptional control: the thin stem had to support the weight of the broad, often asymmetrical rim without sagging or collapsing during the cooling process.

The form was popular among several Art Nouveau glass makers (Tiffany produced his own celebrated versions), but Quezal's interpretation is distinguished by its particular color combinations and the quality of its pulled feather decoration.

Pulled Feather Decoration

The pulled feather technique is one of the most visually striking decorative methods in art glass. It involves applying threads or trails of colored glass onto the surface of a still-hot vessel, then using a pointed tool to drag or "pull" the threads in alternating directions. The result is a repeating pattern that resembles the barbs of a feather, with elegant, flowing curves that seem to grow organically from the glass surface.

On a Quezal Jack-in-the-Pulpit vase, the pulled feather pattern typically appears on the flared rim and sometimes extends down the neck of the piece. The most common color scheme features green and gold feathering on an opalescent white or cream ground, though variations exist with blue, amber, and even purple tones. The entire surface is treated with metallic oxides during the finishing process, creating the signature Quezal iridescence that shifts in color depending on the angle of light.

The quality of the pulled feather work varies from piece to piece, as each was created by hand. Collectors prize examples where the feathering is symmetrical, evenly spaced, and shows crisp definition between the colored threads. Blurred or uneven feathering, while still attractive, typically indicates a less skilled execution or production challenges.

Identifying Authentic Quezal Glass

Authentic Quezal pieces are typically signed on the base with the word "Quezal" engraved or etched into the glass. The signature may appear in script or block letters, and some pieces also bear numerical markings that served as internal inventory or production codes.

Collectors should be aware of several authentication considerations:

The signature should appear to be original to the piece, not added later. Engraved signatures cut into the glass surface will show appropriate wear consistent with the age of the piece. Acid-etched signatures should show slight irregularity consistent with handwork.

The quality of the iridescence is a key indicator. Genuine Quezal iridescence has a depth and warmth that is difficult to replicate. It should appear integral to the glass surface, not like a superficial coating. When held to the light, authentic pieces display complex color shifts across the spectrum.

The glass itself should show characteristics consistent with early twentieth century production: slight variations in thickness, occasional small bubbles (known as seeds), and the subtle asymmetries that come from hand-blown work.

Current Market Values

Quezal Jack-in-the-Pulpit vases with pulled feather decoration are among the company's most desirable and valuable productions. Pricing varies significantly based on size, color, quality of decoration, and condition:

Category	Description	Price Range
Museum Quality	Large (12"+), exceptional feathering, brilliant iridescence, signed	$6,000 - $12,000+
Excellent	Good size (10-12"), clean feathering, strong iridescence, signed	$3,500 - $6,000
Very Good	Medium size (8-10"), nice feathering, good iridescence, signed	$2,000 - $3,500
Good	Smaller size or less refined feathering, signed	$1,000 - $2,000
Fair	Minor damage (small chips, light scratches), or unsigned	$500 - $1,000
Damaged	Cracks, repairs, significant chips	$200 - $500

A particularly large or exceptional example appeared on PBS's Antiques Roadshow, where a Quezal Jack-in-the-Pulpit vase dating to circa 1900-1915 was appraised at a retail value in the range of several thousand dollars. Auction results from houses like Bonhams and Christie's confirm that premium examples regularly achieve prices in the $4,000 to $8,000 range, with the finest pieces occasionally exceeding $10,000.

For context, comparable Tiffany Favrile Jack-in-the-Pulpit vases command significantly higher prices (often $15,000 to $50,000 or more), which makes Quezal an attractive alternative for collectors who appreciate the same aesthetic and craftsmanship at a more accessible price point.

Condition Considerations

Glass is inherently fragile, and pieces that have survived more than a century deserve careful evaluation. Key condition issues to watch for include:

Chips and flakes. The thin, flared rim of a Jack-in-the-Pulpit vase is particularly vulnerable to chipping. Small rim chips are relatively common and reduce value by 20 to 40 percent depending on severity and visibility.

Cracks. Any crack, whether visible or hidden, significantly impacts value. Hold the piece up to a strong light and examine carefully. Hairline cracks can be difficult to detect.

Repairs. Professional glass restoration can be nearly invisible, so examine the piece under ultraviolet light if possible. Repairs will often fluoresce differently than the original glass.

Iridescence wear. The metallic surface treatment can wear over time, particularly if the piece has been frequently handled or aggressively cleaned. Dull spots or areas where the iridescence has flaked away reduce both aesthetic appeal and value.

The Tiffany Connection

The relationship between Quezal and Tiffany is central to understanding Quezal's place in the art glass world. Martin Bach's years at Tiffany's Corona works gave him an intimate understanding of the techniques and formulas used to create Favrile glass. When he left to start Quezal, he brought that knowledge with him.

Tiffany was reportedly not pleased by the competition, and the two firms maintained a rivalry throughout Quezal's existence. The similarities between their products are undeniable, and indeed, novice collectors sometimes confuse the two. However, trained eyes can distinguish Quezal from Tiffany by subtle differences in color palette, form proportions, and decorative execution.

Quezal's pulled feather work, in particular, tends to show a slightly different character than Tiffany's. The feathering is often bolder and more pronounced, with stronger color contrasts. Tiffany's feathering tends to be more delicate and subtly integrated into the overall surface treatment.

Collecting Quezal Today

For collectors of American art glass, Quezal represents an exceptional value proposition. The company's relatively short operational life (23 years) and small production scale make all authentic Quezal pieces genuinely scarce. The Jack-in-the-Pulpit form with pulled feather decoration is the company's signature creation, the piece most associated with the Quezal name and the one most likely to appreciate in value over time.

When purchasing, work with reputable dealers or auction houses that specialize in American art glass. Request condition reports and provenance documentation when available. And remember that the beauty of these pieces is best appreciated in person, where the play of light across the iridescent surface reveals the full artistry of the glassmakers who created them more than a century ago.

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