A warm terra cotta, the color clay turns coming out of the kiln, with a paler crystallized mouth where the growth ran thinner at the opening.

Grown, not cut. Isaac Monte dissolves five to seven minerals in boiling water in a large metal tank, suspends a glass form in the solution and lets the tank cool. Over the following weeks the minerals come out of the water and grow onto the glass. Nothing is glued and nothing is carved. The crystal is the object.

The color comes from which minerals went into the tank. Ember is a heavier, more saturated growth than the paler colorways, and the surface carries more relief because of it.

The large size: taller than the medium, and around half the height of the grand vases. The glass form the crystals grew onto is the interior of the vase, so it holds water and fresh flowers directly. The glass is fixed in place, not removable, and the crystal itself never touches water.

He sets the chemistry, the temperature and the timing. The tank decides the rest, which is why no two are alike and why he will tell you he cannot fully steer any single one. This is the only Ember large vase.

It goes on the dining console, or the entry table that has been waiting for one object. For the wedding that goes long, the collector who keeps acquiring, the room where every guest asks what it is.