French glassmaker Philippe-Joseph Brocard began his career as a restorer of art and antiques. It was not until his discovery of Islamic glass that he committed himself to the design and fabrication of glassware. Brocard was heavily enamored with the design and techniques of Syrian glassmakers in the 13th and 14th centuries. Until this day, he is acknowledged for the rediscovery and implementation of this time period's complex techniques, including the application of polychrome and gold enamel on glass. Brocard's technical mastery has often made it difficult to distinguish original ancient glassware from his own pieces.
By the mid-19th century, Western European fashions were heavily influenced by the Eastern Mediterranean region and the Ottoman Empire. In effect, French decorative art replicated and reinterpreted Islamic works for Western audiences, driving demand for Brocard's signature style of finely blown glass vessels, defined by their meticulously applied enamels and gilding in the Islamic style.
Brocard's initial introduction to an international audience took place at the 1867 Exposition Universelle in Paris. He also participated in the Vienna International Exhibition where his work received a prestigious Progress Medal. This recognition was soon followed by yet another at the 1878 International Exhibition in Paris, where Brocard received the First Prize for his intricately enameled glassware.
Brocard's designs soon took on significant international influence. Other prominent glassware companies such as Lobmeyr and Steigerwald were inspired by his work and continued to spread the Islamic artistic influence.
Today, many Brocard pieces - similar to the one showcased by the Makma Art Gallery - are part of international collections at the British Museum (London), the Victoria and Albert Museum (London), Orsay Museum (Paris), Musée des Arts Décoratifs (Paris) and Collection Gulbenkian (Lisbon).