continued. . . 

While the company is, admittedly, a shadow of its former self – there are now just 21 glassblowers from a 300-strong heyday – von Schnurbein is extremely optimistic, particularly when it comes to exports, which currently generate 40% of sales. The U.S. has always been a small but reliable market since Theresienthal began exporting here in the late 19th century after one of the von Poschingers took a fancy to an American whom he later married.

Currently, Theresienthal is distributed here by Julia Watts, LLC, the two-year-old import operation founded by industry veteran Julia Watts. Watts – a former retailer (George Watts & Son) and manufacturer’s exec (she held sales and marketing positions at Rosenthal, Baccarat, and Hermès) – figured it was time to capitalize on an intensive two decades working with independent retailers. “My specialty store experience made me fall in love with this industry and my executive experience made me excited about how new companies could be brought to market in a fresh approach,” Watts enthuses. Buoyed by this dream, Watts set out her own shingle importing relatively unknown, high-end, handcrafted, design-oriented product.

Theresienthal was a perfect addition and Watts was instantly smitten. “Theresienthal is a tiny company with a very old tradition of glassmaking whose craftsmen are completely dedicated to what they do,” Watts wages. “It’s one of a few crystal companies left producing everything entirely by hand.” Watts especially liked that certain well-received designs date to the company’s origins. “And they still hold up,” she injects. “These are classic designs that the U.S. market has already responded to.” Focusing on designs that coordinate with both contemporary and traditional styles is Watts’ plan. “Theresienthal has wonderful collections that emphasize color as well as intricate decorating techniques,” she says. “There are many unusual shapes which you just don’t see from other glass producers.”

Von Schnurbein concurs. “Our products are special,” he avers. “The water-soaked molds into which we blow the hot glass creates a fine surface that feels like silk. We have classical shapes, but they’re carefully adjusted for today’s needs.” And, most important he stresses, it’s entirely handmade. “We reject any automated treatment,” von Schnurbein pooh-poohs. “There’s no stem pressing, no acid polishing, and no laser finishing. We refuse to substitute craftsmen with machines. We fully rely on our peoples’ skills.” Von Schnurbein is banking on the fact that there’s an American customer who prizes such attention to detail. “The U.S. market bears a lot of healthy niches for our products,” he notes. “There are many people who appreciate the value of real handmade quality and a stylistically stark design.”


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