c1890 Rubina verde Twisted Thorn Handled Art Glass Basket 8 3/8" tall x 5 3/8"<br>wide with no cracks, chips, or restorations. No heat checks in handles, the<br>whole thing including handles rings like a bell when tapped.<br>B48

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Bowls are 5" wide x 2.5" tall, Saucers are 6" wide. Selling the 8 pcs shown with<br>no damage or significant wear.<br><br><br><br>Steuben Glass is an American art glass manufacturer, founded in the summer of<br>1903 by Frederick Carder and Thomas G. Hawkes in Corning, New York, which is<br>in Steuben County, from which the company name was derived. Hawkes was the owner<br>of the largest cut glass firm then operating in Corning. Carder was an<br>Englishman (born September 18, 1863) who had many years' experience designing<br>glass for Stevens & Williams in England. Hawkes purchased the glass blanks for<br>his cutting shop from many sources and eventually wanted to start a factory to<br>make the blanks himself. Hawkes convinced Carder to come to Corning and manage<br>such a factory. Carder, who had been passed over for promotion at Stevens and<br>Williams, consented to do so. In 1918, Steuben was acquired by Corning Glass<br>Works and became the Steuben Division. In July 2008, Steuben was sold by Corning<br>Incorporated for an undisclosed price to Schottenstein Stores,[2] which also<br>owns 51% of Retail Ventures, a holding company for DSW, Filene's Basement, and<br>formerly Value City Department Stores; Value City Furniture, which changed its<br>name to American Signature Furniture; 15% of American Eagle Outfitters, retail<br>liquidator SB Capital Group, some 50 shopping centers, and 5 factories producing<br>its shoes, furniture and crystal. On September 15, 2011, Schottenstein announced<br>it was shutting down Steuben's Corning factory and Manhattan store, ending the<br>company's 108-year history. Soon after, Corning Incorporated repurchased the<br>Steuben brand. In early 2014, The Corning Museum of Glass announced that it<br>would work with independent contractors to reproduce Steuben using a new,<br>lead-free formula and their classic leaded crystal. Carder period<br>(1903-1932)[edit] Steuben Glass Works started operation in October 1903. Carder<br>produced blanks for Hawkes and also began producing cut glass himself. Carder's<br>great love was colored glass and had been instrumental in the reintroduction of<br>colored glass while at Stevens and Williams. When Steuben's success at producing<br>blanks for Hawkes became assured, Carder began to experiment with colored glass<br>and continued experiments that were started in England. He soon perfected Gold<br>Aurene which was similar to iridescent art glass that was being produced<br>by Tiffany and others. Gold Aurene was followed by a wide range of colored art<br>glass that eventually was produced in more than 7,000 shapes and 140 colors.<br>These are a pair of handblown Steuben gold Aurene glass candlesticks designed by<br>Frederick Carder for the Steuben Glass Works, ca. 1913. (From a private<br>collection in Manhattan, New York.)Steuben Glass Works continued to produce<br>glass of all sorts until World War I. At that time war time restrictions made it<br>impossible for Steuben to acquire the materials needed to continue manufacture.<br>The company was subsequently sold to Corning Glass Works and became the Steuben<br>Division. Carder continued as Division manager without any real change in the<br>company's operation except that he now had reporting responsibilities to Corning<br>Glass Works' management. Corning's management tried, mostly unsuccessfully, to<br>limit the articles that Steuben made to only the most popular. Production<br>continued until about 1932. In 1932, there was a major change in Steuben<br>management. The nationwide depression had limited the sale of Steuben and there<br>was a lessening of public interest in colored glass. In February 1932, John<br>MacKay was appointed to Carder's position. Carder became Art Director for<br>Corning Glass Works. Steuben then produced primarily colorless art glass.<br>Steuben still produced colored art glass, but mostly to fill special orders. A<br>few new colors were added after Carder transitioned into his new role with<br>Corning Glass Works, but the last known sale for colored art glass by Steuben<br>was in 1943. Houghton period (1933–2012) An example of Steuben Glass design<br>during the Houghton era is the Balustrade Candlestick set, which mimics a<br>classical balustrade. Of special note is the hallmark of the perfectly formed<br>tear drop air bubble suspended in the design.Corning Glass Works<br>appointed Arthur A. Houghton Jr. as President in 1933, and under his leadership<br>Steuben changed artistic direction toward more modern forms. Using a newly<br>formulated clear glass developed by Corning (referred to as 10M) which had a<br>very high refraction index, Steuben designers developed beautiful, fluid<br>designs. Pieces such as Gazelle Bowl, designed by Sidney Waugh incorporated Art<br>Deco and modernist themes into glass. The themes during this period included<br>"balustrade" designs for water goblets and candlesticks, footed bowls and<br>serving pieces. Decorative forms included wildlife pieces representing owls,<br>penguins and other birds in smooth stylistic forms. Some pieces, such as the<br>Ram's Head Candy Dish, playfully included clean lines crowned by an ornate<br>design (a ram's head, complete with a ruff) on the lid as an homage to its<br>classic earlier pieces. The company also entered into the field of larger show<br>and presentation pieces celebrating various scenes (such as its cut-away design<br>featuring an Eskimo ice fisherman above the ice, and the fish below, or the<br>Cathedral Window design) and elements that incorporated etchings. In some cases<br>sterling silver or gold plating were used on metal finish elements such as the<br>golden "fly" atop the nose of a rainbow trout. Each piece is signed simply with<br>"Steuben" on the underside of the object. Toward the 1990s, the company also<br>began production of small objects—"hand coolers"—in various animal shapes. Items<br>from this period were also noted for their careful and elegant packaging. Before<br>boxing, each Steuben piece was placed in a silver-gray flannel bag (stitched<br>with the Steuben name), and then placed in a presentation box.<br><br><br><br>tw274

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c1890 Bohemian Peachblow Enameled vase, 9" tall with no damage and minimal wear.<br>tw274

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c1890 Mt Washington Burmese Thomas Hood poem vase with rigaree. Absolutely perfect with no damage or restorations whatsoever, amazing one of a kind piece that belongs in a museum. 4" tall x 4 1/8" wide. MT. WASHINGTON AND PAIRPOINT GLASS Mt. Washington and its successor, the Pairpoint Corporation, was one of America’s longest-running luxury glass companies (1837-1957), one that rivaled its better known contemporaries, Tiffany and Steuben. It constantly reinvented and re-invigorated its business through creativity in texture, decoration, pattern, and color - developing a variety of styles and decorating techniques which were so technically complex that few are even practiced today. The Mt. Washington Glass Company was founded in South Boston in 1837, and moved to New Bedford, Massachusetts, in 1870. In 1880, Thomas J. Pairpoint, an English silversmith, was hired to run the Pairpoint Manufacturing Company, another company in New Bedford which Mt. Washington’s owners established to produce ornate silver-plated mounts for Mt. Washington glass. In 1894, the Pairpoint Manufacturing Company absorbed Mt. Washington, and the company was renamed the Pairpoint Corporation in 1900, which remained the company’s name until it went out of business in 1938. It was revived briefly as the Gundersen-Pairpoint Glass Company but closed permanently in 1957. The company’s most successful years were from 1880 (in the height of the opulent Gilded Age) to 1930 (the end of the exuberant Roaring Twenties). MT. WASHINGTON ART GLASS AND CUT GLASS Englishman Frederick Shirley was hired in 1872 to run Mt. Washington’s chandelier department, and two years later was put in charge of the entire company. Shirley was entrepreneurial and litigious, quick to adopt new designs and quick to complain if he thought any other firm was copying his wares. By the time he resigned in 1891, he had amassed a total of 27 patents and five design patents for various types of glass, most of which were quite successful. In 1885, Shirley introduced Burmese glass, a translucent glass that shaded from yellow to pink, which was highly decorated in the elegant and sophisticated style characteristic of the day. It became an immediate success on the Art Glass market. Shirley was a good businessman and took advantage of the dawning age of advertising to promote Burmese glass extensively. Mt. Washington’s large decorating shop specialized in enameling. The decorators who worked on Burmese glass also applied their skills to a variety of other decorated glasses with exotic names like Royal Flemish, Crown Milano, Colonial, and Pearl Satin Ware. By 1890, the company was advertising itself as “Headquarters in America for Art Glass Wares.” isshelf

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1993 David Lotton Leaf and Vine Art glass vase 7.75" tall with no cracks, chips, restorations, or wear. Signed David Lotton 1993 Leaf and Vine. The inside of this vase is iridescent. DAVID LOTTON David Lotton is a second generation American glassblower. He is the oldest son of Charles Lotton and was introduced to the world of glassblowing at a very young age. In 1970, Charles started building a furnace and began blowing pieces of glass from melted down pop bottles in a shed behind their house. David was there in this infancy and he was Charles first assistant at the age of ten. David has vivid memories of his childhood working in the shop with his father. When most children were playing childhood games he was spending time after school and on the weekends helping him at the bench. By the age of 14 he started learning how to do finishing work, polishing the bottom of the glass flat. David eventually followed in his fathers' footsteps and by the age of 15 began making paperweights. That ignited a passion to begin glass blowing. David has been creating his one of a kind vessels since 1978. His unique handcrafted works are designed with precise attention to detail. Developing his own glass formulas, David has created a complex palette of colors, giving him the ability to create his multi-layering and sculpting style. Each year David continues to study and refine the techniques he uses in creating his art. David's Clematis Reflection Series, Hollyhock Paperweight Series and Mixed Bouquets Series all reflect his floral patterns which capture his love for detail. He combines color and layering to create depth and beauty. His Organic Sculptures reflect movement and rich hues of a summer sunset. David is inspired by all nature. He has a successful ranch in the hills of Kentucky where he is inspired to evolve, change, and grow continually. He commutes back and forth to fulfill both loves. tw274

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c1890 Moser enameled Chatelaine perfume bottle. No damage, intact stopper, outer cap snaps shut with audible click. perfumedrawer

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Antique French Daum Nancy Bedside/Dresser set. Heavy gilding with etched<br>thistles, guaranteed authentic 100ish year old French Daum art glass with<br>absolutely no damage. All pieces signed except the trach which has a factory<br>ground pontil. Really amazing to find a set like this intact with good lids and<br>stoppers. Tray is 7.5" wide, the glass is like a large shot glass, Bottles are<br>4" tall and 6.75" tall. Great set with lots of potential uses, extremely high<br>quality.<br>isshelf

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Pairpoint Oversized Brilliant Period Cut Glass Casket Jewelry box. Very large box in grat condition with no large chips, no cracks, no other issues. There are some small chips to the vertical cuts on the base only visible upon close examination 7.5" wide x 4.5" tall, I didn't find a mark. This piece was made in the US from about 1890-1915. isshelf

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1960's Vintage Lucite/Art Glass Mosquito/Dragonfly Brooch. This piece is super cool and estate fresh circa mid 20th century guaranteed. I think it's a ual revolution things as the way it's shaped it really would have been impossible to pin on something that didn't extend from the rest of the body like a breast. 2.75" long x 2.5" wide x 1.5" tall. No damage or issues The body is Lucite and the wings, body, and head are glass. Very unusual item. While dragonfly brooches have been popular for 150 years or so I believe this is a mosquito because of it's legs. kitshelf

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c1880 White/Cobalt cut to clear scent bottles. One with sterling top, one with original stand. Neither retaining inside stopper, the brass hinge is good, sterling hinge is broken. Chip inside rim of cobalt bottle under sterling liner, no other chips, no cracks. Selling both bottles, tallest 4" perfumedrawer

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c1890 Mt Washington Pairpoint perfume flask 6.25" tall x 3 3/8" wide with no damage. isshelf

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c1890 Amberina Art Glass spooner. 4.5" tall with no damage, receipt from last purchased included. Amberina glass, blended colour glass in which the lower part, a yellowish amber, merges into a ruby-red colour higher in the vessel. It was patented in 1883 for the New England Glass Company at East Cambridge, Mass., and was produced extensively there and by the successor company, the Libbey Glass Company at Toledo, Ohio, into the 1890s. The base metal was an amber glass containing some gold, and the tinges were developed by applied reheating. The glass was sometimes blown in molds. A wide range of table and ornamental wares, with diamond or ogival designs, or swirled ribbing, were produced by the New England Glass Company, and amberina glass was also produced at New Bedford, Mass., under the name rose amber. isshelf

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c1890 Mt Washington Art Glass Sugar shaker and Salt and Pepper collection. Sugar<br>shakers are 4" wide, shakers are 2 5/8" wide. None with any cracks, some with<br>chips inside where lids go. Some need new plaster to hold the metal piece in<br>place that the lid screws on to be functional. Overall a great and rare<br>collection, 30 years ago finding just a single one of these shakers "Out in the<br>wild" made my day. Selling the entire collection shown, all hand painted about<br>125 years ago in the US. A few show strong traces of uranium under UV light.<br>isshelf

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3 c1890 Hobbs Brockunier Wheeling Peachblow cruets. Tallest 7", left. No cracks,<br>no "heat checks" in handles, no restorations. Left Cruet has some chips on<br>bottom of stopper and a small chip on foot, center cruet has a bruise on the<br>inside of the stopper and no other damage, right cruet has no damage at all.<br>Guaranteed authentic and original late 19th century American art glass. All<br>three extremely rare to find in any condition. 20 Years ago one of these cruets<br>when found would sell for more than I'm asking for this three.<br><br>In 1886, a Chinese porcelain vase with "Peach Bloom" glaze sold at auction for<br>$18,000. The tremendous price and the phrase Peach Bloom were widely publicized.<br>Within months, American glass companies developed new formulas to capitalize on<br>the Peach Bloom name. This glassware is now collectively referred to as<br>"Peachblow".<br><br>One type of Peachblow, shading from yellow at the bottom to deep red at the top,<br>was made by the Hobbs, Brockunier and Company of Wheeling, West Virginia. It is<br>now called Wheeling Peachblow after the town where it was made. Wheeling<br>Peachblow is a two-layered glass or cased glass. The inside layer is white; the<br>outer layer shades from yellow at the bottom to deep red at the top. Original<br>Wheeling Peachblow was made in two finishes, shiny and satin.

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Antique Wavecrest art glass pin/trinket dish. 4.75" wide x 1.5" tall. No cracks,<br>chips, or scratches on glass.

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2000 Jeremy Lotton Multiflora Paperweight 3.5" wide x 2.75" tall with no damage<br>or wear.<br><br>Jeremiah Lotton was born in 1982 into a family of successful glass artists. Fram<br>an early age, Jeremiah was facinated with glass and learning the art of working<br>with his hands to create beautiful things. At 13, Jeremiah worked in his<br>father's studio learning to build and maintain glass furnaces. He also learned<br>how to use glass and polishing equipment and began to gain a general<br>understanding of how a glass studio functions. At 15, he began working with hot<br>glass itself, and by 17, he had developed his own line of designs.<br><br>Following in the tradition of his grandfather, father, and uncles, Jeremiah<br>strives to produce the highest quality glass. These standards show through his<br>designs and are evident in how quickly his is progressing. Being the first of<br>the third generation, hold much responsibility. It is extremely important to<br>Jeremiah that he lives up to the high standards associated with the Lotton name.<br>Jeremiah continues to develop his talents by working at the bench daily creating<br>new and exciting designs with increasing enthusiasm. Watching his work evolve<br>and expand will be exciting for all of Jeremiah's numerous collectors.<br>pwdrawer

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1984 David Lotton Magnum coral paperweight. Ni chips, cracks, dings, scratches, or other issues. 3.75" wide x 3" tall. DAVID LOTTON David Lotton is a second generation American glassblower. He is the oldest son of Charles Lotton and was introduced to the world of glassblowing at a very young age. In 1970, Charles started building a furnace and began blowing pieces of glass from melted down pop bottles in a shed behind their house. David was there in this infancy and he was Charles first assistant at the age of ten. David has vivid memories of his childhood working in the shop with his father. When most children were playing childhood games he was spending time after school and on the weekends helping him at the bench. By the age of 14 he started learning how to do finishing work, polishing the bottom of the glass flat. David eventually followed in his fathers' footsteps and by the age of 15 began making paperweights. That ignited a passion to begin glass blowing. David has been creating his one of a kind vessels since 1978. His unique handcrafted works are designed with precise attention to detail. Developing his own glass formulas, David has created a complex palette of colors, giving him the ability to create his multi-layering and sculpting style. Each year David continues to study and refine the techniques he uses in creating his art. David's Clematis Reflection Series, Hollyhock Paperweight Series and Mixed Bouquets Series all reflect his floral patterns which capture his love for detail. He combines color and layering to create depth and beauty. His Organic Sculptures reflect movement and rich hues of a summer sunset. David is inspired by all nature. He has a successful ranch in the hills of Kentucky where he is inspired to evolve, change, and grow continually. He commutes back and forth to fulfill both loves. pwdrawer

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c1890 Mt Washington Burmese New England Peachblow collection. Selling the 5 piece collection shown all guaranteed American art glass from the late 19th century. All from the same collection that has been together for generations. Every piece is perfect after very close examination. No damage to handles, no damage whatsoever. No cracks, chips, or restorations. All with factory ground pontils, 4 Burmese pieces glow under a blacklight and the Peachblow vase doesn't. Tallest Vase 7", tallest pitcher, 7 5/8", Peachblow vase 6" MT. WASHINGTON AND PAIRPOINT GLASS Mt. Washington and its successor, the Pairpoint Corporation, was one of America’s longest-running luxury glass companies (1837-1957), one that rivaled its better known contemporaries, Tiffany and Steuben. It constantly reinvented and re-invigorated its business through creativity in texture, decoration, pattern, and color - developing a variety of styles and decorating techniques which were so technically complex that few are even practiced today. The Mt. Washington Glass Company was founded in South Boston in 1837, and moved to New Bedford, Massachusetts, in 1870. In 1880, Thomas J. Pairpoint, an English silversmith, was hired to run the Pairpoint Manufacturing Company, another company in New Bedford which Mt. Washington’s owners established to produce ornate silver-plated mounts for Mt. Washington glass. In 1894, the Pairpoint Manufacturing Company absorbed Mt. Washington, and the company was renamed the Pairpoint Corporation in 1900, which remained the company’s name until it went out of business in 1938. It was revived briefly as the Gundersen-Pairpoint Glass Company but closed permanently in 1957. The company’s most successful years were from 1880 (in the height of the opulent Gilded Age) to 1930 (the end of the exuberant Roaring Twenties). MT. WASHINGTON ART GLASS AND CUT GLASS Englishman Frederick Shirley was hired in 1872 to run Mt. Washington’s chandelier department, and two years later was put in charge of the entire company. Shirley was entrepreneurial and litigious, quick to adopt new designs and quick to complain if he thought any other firm was copying his wares. By the time he resigned in 1891, he had amassed a total of 27 patents and five design patents for various types of glass, most of which were quite successful. In 1885, Shirley introduced Burmese glass, a translucent glass that shaded from yellow to pink, which was highly decorated in the elegant and sophisticated style characteristic of the day. It became an immediate success on the Art Glass market. Shirley was a good businessman and took advantage of the dawning age of advertising to promote Burmese glass extensively. Mt. Washington’s large decorating shop specialized in enameling. The decorators who worked on Burmese glass also applied their skills to a variety of other decorated glasses with exotic names like Royal Flemish, Crown Milano, Colonial, and Pearl Satin Ware. By 1890, the company was advertising itself as “Headquarters in America for Art Glass Wares.” tw273

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c1890 Mt Washington Crown Milano American art glass vase. 8" tall with no cracks, chips, or restorations, and nearly no wear to enamel/gold. Amazing square shaped vase continuously decorated throughout. tw273 MT. WASHINGTON AND PAIRPOINT GLASS Mt. Washington and its successor, the Pairpoint Corporation, was one of America’s longest-running luxury glass companies (1837-1957), one that rivaled its better known contemporaries, Tiffany and Steuben. It constantly reinvented and re-invigorated its business through creativity in texture, decoration, pattern, and color - developing a variety of styles and decorating techniques which were so technically complex that few are even practiced today. The Mt. Washington Glass Company was founded in South Boston in 1837, and moved to New Bedford, Massachusetts, in 1870. In 1880, Thomas J. Pairpoint, an English silversmith, was hired to run the Pairpoint Manufacturing Company, another company in New Bedford which Mt. Washington’s owners established to produce ornate silver-plated mounts for Mt. Washington glass. In 1894, the Pairpoint Manufacturing Company absorbed Mt. Washington, and the company was renamed the Pairpoint Corporation in 1900, which remained the company’s name until it went out of business in 1938. It was revived briefly as the Gundersen-Pairpoint Glass Company but closed permanently in 1957. The company’s most successful years were from 1880 (in the height of the opulent Gilded Age) to 1930 (the end of the exuberant Roaring Twenties). MT. WASHINGTON ART GLASS AND CUT GLASS Englishman Frederick Shirley was hired in 1872 to run Mt. Washington’s chandelier department, and two years later was put in charge of the entire company. Shirley was entrepreneurial and litigious, quick to adopt new designs and quick to complain if he thought any other firm was copying his wares. By the time he resigned in 1891, he had amassed a total of 27 patents and five design patents for various types of glass, most of which were quite successful. In 1885, Shirley introduced Burmese glass, a translucent glass that shaded from yellow to pink, which was highly decorated in the elegant and sophisticated style characteristic of the day. It became an immediate success on the Art Glass market. Shirley was a good businessman and took advantage of the dawning age of advertising to promote Burmese glass extensively. Mt. Washington’s large decorating shop specialized in enameling. The decorators who worked on Burmese glass also applied their skills to a variety of other decorated glasses with exotic names like Royal Flemish, Crown Milano, Colonial, and Pearl Satin Ware. By 1890, the company was advertising itself as “Headquarters in America for Art Glass Wares.”

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6.75" c1890 Coraline Art glass vase. Minor loss to glass beaded coraline<br>decoration. No cracks, chips, or restorations...

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c1880 Mt Washington Uranium Glass Burmese Rose bowl/vase 4 7/8" tall and wide with no damage, ground pontil, guaranteed authentic. Designed by Frederick Shirley and made by the Mount Washington Glass Company, this single layer glass achieved a delicate coloration of pink or salmon shading to yellow by the addition of uranium oxide and gold to the original glass batch. This created a yellow opaque glass which on reheating turned to a salmon color shading into the yellow. Further reheating turned the salmon color back to yellow. The uranium in the glass causes the vase to fluoresce brightly when exposed to black light. Burmese glass is highly collected and is also included in all major American Art Glass collections. This glass is rare today as it was very expensive to manufacture and was only made for a short period of time.

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1880's New England peachblow vase 3.75" tall x 2.5" wide with no damage or<br>issues.<br><br>The Glass of New England 1818-1888<br>The glass industry was attracted to New England for many of the same reasons it<br>was attracted to other locations throughout history; access to natural fuel<br>resources, availability to world marketplaces, and a ready work force. Of the<br>many glass houses in New England in the early to mid-1800s, two of the best<br>known were The New England Glass Company and The Boston and Sandwich Glass<br>Company. The New England Glass Company was located in the Cambridge area of<br>Boston. The use of the term "Cambridge Glass" in literature has led to some<br>confusion with the somewhat later Cambridge Glass Company of Cambridge, Ohio.<br>The New England Glass Company was incorporated in 1818. Deming Jarvis, the only<br>one of the four owners with practical business experience, was to run the shop.<br>Mr. Jarvis, born in Boston into a wealthy family, had working experience in the<br>dry goods business before joining the NEGC. He had a unique talent for selecting<br>the right men and getting them to come to work for him, including some of<br>Europe's most skillful cutters. Deming's father died in 1823, leaving him with<br>considerable wealth and he spent some time in Pittsburgh<br>studying the local methods of glass making.<br>isshelf

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6 Baccarat Turin Claret Wine Stems in Original box (more available). Buying 6 claret wines shown in mint condition with no damage or wear. No cracks, chips, scratches, restorations, or cloudiness. They come in the original box, box has tape all over it. I have multiple boxes available all in the same condition from the same estate, hardly used if ever. Qty 1 gets you 6 glasses, 2 gets you 12, etc. This is a retired pattern that was only produced from 1982 - 1986. These measure 6" tall x 3" wide at the rim.

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Edward Hald (1883-1980) for Orrefors, Graal Fish Vase 1963 Mid century Modern.<br>This impressive vase designed by Edward Hald is extremely heavy and thick<br>walled. The flash pattern depicts a series of fish and sea weeds. The aquarium<br>effect is significantly enhanced by the reflection of the flashed pattern on the<br>inner walls of the glass vase.Dimensions: 4.75 tal, 6 pounds. Condition: Very<br>good. No chips, cracks or repairs. Wear consistent with age; some light<br>scratches mainly on base as it's very heavy. Signature: "Orrefors Graal vr 310t<br>Edward Hald" script on the base.<br><br>A Note About the Artist: Edward Hald (1883-1980) trained as an architect and<br>painter. He studied in Dresden, Stockholm, Copenhagen and Paris. His time in<br>Copenhagen included work under Johan Rohde; in Paris he worked under Matisse. In<br>1917, Hald worked briefly at Rorstrand, and then began his long association with<br>Orrefors. At the time Edward Hald joined Orrefors in 1917, the early experiments<br>of Simon Gate and the master glassblower, Knudt Bergkvist, for the Graal<br>technique were still evolving. The Graal technique used acid etching or wheel<br>carving to create thin designs in relief on the surface of multilayer, glass<br>blanks. The carved blanks were then heated to a molten state by glassblowers,<br>encased with an additional layer of clear glass to entrap the design, and<br>finally worked with blowing to a finished state. The result was literally,<br>"painting within the glass".Edward Hald created some of the earliest designs to<br>use the Graal method. He continued to work in Graal throughout his long career,<br>including the heavy "Fish Graal" pieces first shown in 1937. Also "Slip Graal"<br>and "Aqua Graal" were favored techniques. Hald also designed many important<br>engraved pieces such as the "Fireworks" bowl. He retired from Orrefors in 1978.

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1980 Chihuly student William Morris Art Glass vase height: 10 1/2 inches, width:<br>10 1/2 inches, depth: 3 1/2 inches. Absolutely no damage or wear whatsoever.<br>This vase represents his early work he was producing at Pilchuck while gaffing<br>for Dale Chihuly.<br><br>William Morris was born in Carmel, California in 1957. He is an American glass<br>artist who has been able to change the history of art within his lifetime.<br>Morris was educated at California State University in Chico, California as well<br>as Central Washington University in Ellensburg, Washington. 
In 1978, Morris<br>arrived at the Pilchuck Glass School and found work initially as a driver.<br>Later, he worked with Dale Chihuly, the founder of the school, and eventually<br>became his chief gaffer in the 1980s. Morris remained with Chihuly for about 10<br>years as his chief assistant before deciding to form his own studio and develop<br>his own artistic style of glass blowing.<br><br>For more than twenty-five years, William Morris has captivated and intrigued the<br>art community with hauntingly evocative and beautiful glass sculptures. He has<br>captured the imagination time and again by creating objects that appear to be<br>ancient stone or woodcarvings, not the modern glass sculptures they actually<br>are. His art speaks of human origins, myth, ancestry, and ancient civilizations.<br>It symbolizes a harmony between humanity and nature and provides a ghost-like<br>bond to the world around us – a world that is often forgotten, ignored, and<br>abused.<br><br>Morris gathers much of his inspiration from ancient cultures from around the<br>world – Egyptian, Asian, Native American – all peoples who respected and admired<br>the land they inhabited. Because of this, Morris’s artwork has become something<br>all its own: culturally distinct and yet familiar to all cultures. His pieces<br>embody a spiritual quality that sharply contrasts old beliefs with those of the<br>modern world. These objects speak to our senses and continuously beg us to<br>explore them further.<br><br>Morris achieved much success during his career and retired in 2007. He spent<br>over twenty-five years honing his skills and pushing the medium of glass further<br>than anyone, including himself, could ever have imagined.<br><br>Morris’ work can be found in numerous public collections including:<br><br>The Metropolitan Museum of Art, New York, NY; Corning Museum of Glass, Corning,<br>NY; American Glass Museum, Millville, NJ; Hokkaido Museum of Modern Art,<br>Hokkaido, Japan; Musee Des Arts Decoratifs, Paris, France; Auckland Museum,<br>Auckland, New Zealand and the Victoria and Albert Museum, London, England.

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Vintage Gambarro & Poggi Murano duck. 5" long signed on base though I couldn't capture it in the photo. No damage or significant wear. pwdrawer

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c1900 Pairpoint heart American Brilliant Period Cut Glass plate. Amazing piece<br>of cut glass 7" wide with no significant damage, very few tiny flakes only<br>visible under extremely close examination, as clean as they get. I couldn't find<br>any identifying marks but it's Pairpoint.<br>isshelf

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Waterford Kylemore Cut Crystal Claret Wines (5). Each is 6" tall x 3" wide at<br>rim, selling 5 claret goblets for one price. They are all free from cracks,<br>chips, dings, none are ground down, no cloudiness, or scratches. This beautiful<br>pattern was retired in 2017. They are marked as shown, the acid stamps are on<br>the base of the glasses visible on the top of the bases of the second pic if you<br>look closely.<br><br>Blk Crate

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6 French Baccarat Turin Claret Water goblet Stems in Original box (more<br>available). Buying 6 water goblets shown in mint condition with no damage or<br>wear. No cracks, chips, scratches, restorations, or cloudiness. They come in the<br>original box, box has tape all over it. I have multiple boxes available all in<br>the same condition from the same estate, hardly used if ever. Qty 1 gets you 6<br>glasses, 2 gets you 12, etc. This is a retired pattern that was only produced<br>from 1982 - 1986.<br>These measure 6 5/8" tall x 3.25" wide at the rim.

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18" French Lalique Champs-Elyses Bowl. This one is about 20 years old, fresh<br>from a 4 million dollar home in extremely clean preowned condition with no<br>chips, cracks, tiny nicks, scratches on top or sides. Very slight shelf wear to<br>the base as this thing does way a ton. Current retail on this is $3800.<br>Item# 1121600<br>Dimensions: H 7.48" x L 18.11" x W 7.48" (H 19.00 cm x L 46.00 cm x l 19.00 cm)<br>Weight: 13.67 lbs (6.20 kg)<br>The spectacular rows of trees lining the most beautiful avenue of the world<br>inspired the design of the finely engraved crystal leaves that adorn the<br>Champs-Elyses Crystal Bowl, designed by Marc Lalique Crystal in 1951. In this<br>work of art, the artist captures the beautiful essence of Paris. This emblematic<br>artwork was designed in 1951 by Marc Lalique Crystal.<br>Handcrafted in France.

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French Lalique crystal paperweight. 4.25" x 3" genuine Lalique crystal with no<br>scratches, chips, cracks, or other issues.<br>pwdrawer

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c1800 Cobalt Blown Bristol Glass Decanter set with faceted stoppers. Selling the<br>extremely rare and gorgeous set shown, blown glass bottles with ground pontils,<br>faceted stoppers, hand painted gilt decoration on each. All three bases are<br>perfect with no damage, Rum stopper has one tiny chigger bite on facet, Brandy<br>stopper is broken and reglued at the skinny part where faceted top meets the<br>ground part that fits in the bottle, Hollands has a chip as shown. No other<br>issues, amazing set. 8 5/8" tall.<br>tw272

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Studio Cameo Art Glass Cachepot. Looks to be dated 1984 and a few illegible<br>signatures. Great piece with no damage or issues. Has one crimp in the top<br>obviously intentional as it was done before the piece was engraved. 7.75" wide x<br>4.25" tall. The house this came from had the best of everything and this is<br>obviously great.<br>isshelf

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c1910 French Renee Lalique Perfume Atomizer 3.75" tall x 1 5/8" wide with no<br>damage, atomizer untested for functionality. Marked R. Lalique Made in France on<br>base in mold.<br>perfumedrawer

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c1900 Cranberry Bohemian Moser art glass vase. 8 3/8" tall with no damage,<br>minimal wear to gilding. Antique piece well over 100 years old, unmarked, likely<br>Moser.<br>tw270

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c1900 American Brilliant Period Cut Glass candelabra. Amazing piece with no<br>significant issues, no damage to glass, no identifying marks found. 21.25" tall<br>approx 13.5" wide x 12" tall to top of glass from base. To me it seems obviously<br>American though I didn't research the maker, whatever it is it's rare and super<br>special. Fresh from a 4 million dollar home, likely an early American mansion<br>before that. The mounts aren't marked, no wear to plating but I'm assuming<br>silver plate. Removable original bobeches and top insert for up to 5 lites.<br>isshelf

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1988 Selkirk Art Glass paperweight. Signed Selkirk Glass Original 1988 416/500 3 3/8" wide x 3 1/8" tall with no scratches, dings, or damage. pwdrawer.

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Chinese Art Glass Peach Paperweight. Signed and numbered with no damage<br>whatsoever. 4.5" wide x 3" tall.<br>pwdrawer

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c1880 French Baccarat pressed glass pineapple compote. Unusual piece with holes I suppose for short prisms to hang, I'm sure it's an antique piece and though I don't have time to research it I feel it's Baccarat as I've had a fair amount of Baccarat pressed glass. Unmarked 7" wide x 2 5/8" tall. tw270

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c1900 Green Moser gold enamel art glass vase. 12 3/8" tall, late 19th to early 20th century. A few small chis to factory ground rim, largest shown in third pic, nothing detectable without very close examination and they could be easily ground down. isshelf

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15" Robert Eickholt Heavy Abstract studio art glass centerpiece bowl. 15" wide with no damage or detectable wear. Robert Eickholt is a well known glass artist who has been creating captivating blown glass for over 40 years. Robert founded Eickholt Glass in 1978 when he returned home to Columbus, Ohio after studying glassblowing in Berkeley, California. Once home he continued his studies at Ohio State and at the Columbus College of Art and Design. Since its founding the studio has produced numerous types of beautiful art glass creations such as paperweights, vases, eggs, sculptures and perfume bottles. Each piece is made one at a time and completely unique. Eickholt Glass is quite well known for their distinctive designs which incorporate precious metals including gold and silver and rare oxides like cobalt and copper. Their beautiful art glass has earned them accolades worldwide. tw243

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c1900 French Porcelain topped trinket box with art glass base 1.75" wide late<br>19th to early 20th century 1 1/8" tall. No cracks, chips, or restorations, tight<br>hinge, lid snaps shut and stays shut.<br><br>trinketdrawer

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c1900 23.75" Palatial Moser gold decorated vase. Entirely hand painted, huge piece 23.75" tall x 6" wide at the rim. Some wear to gilding, no cracks, chips, or restorations. Guaranteed late 19th to first quarter of the 20th century. Apparently unmarked other than the engraved number or initial inside the factory ground pontil.

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c1912 Lalique for D'Orsay Powder box with 3 Nymphs. 3.75" wide x 1 5/8" tall with no cracks, chips, or other issues. D'Orday in mold on exterior of box, R. Lalique France in mold of exterior of base. perfumedrawer

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1970's Lalique Nina Ricci Bath salts box. These bath salts were bought fifty years ago and never used. A half century old bath crystals ready for current use and a magnificent Lalique frosted crystal vanity box as a premium -what a premium! Rene Lalique frosted glass box with molded relief decoration of a pair of love doves on l the lid. 5.5" wide x 3.5" tall. Near microscopic chigger bite on the very inside rim on the lid shown top center of the 5th picture. No other damage or wear. isshelf

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c1910 Amber Loganberry Carnival Glass Vases By Imperial Pair. Selling the pair shown with wonderful color and iridescence. True amber base color on these 10" tall x 6" wide, a true estate fresh pair that's been together for over 100 years with the same family that never sold anything. These both have very nice iridescence, better than average. 9-10 years ago a few of these brought over 2k each for one vase at Seeck Carnival glass auction. I'm going to assume that those bidders got carried away and possibly they even had better iridescence even though that's difficult to imagine. isshelf

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1950's Large Barovier and Toso Murano Woman with Bouquet figure. Very large figure in mint condition with no damage or wear, was covered in 60-70 years of k protecting her, she's clean now. 11.5" tall, very substatial. And yes I can pack her correctly to get you safely. No identifying marks. isshelf

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c1910 Carnival glass horse head bowl. 8 7/8" wide with no damage or detectable wear whatsoever, nice color.

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c1870 Bohemian for Persian market Ruby cut to clear Hookah base. Great hookah base from the 19th century, Bohemain glass for persian market. No cracks, chips, or restorations. Some wear to gilding and hard water deposits in interior. 10.75" tall x 5" wide x 1 5/8" width of the inside of rim wall to wall. isshelf

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c.1910 Northwood Ice Blue Carnival Glass bowl in Nippon Pattern. No cracks,<br>chips, flea bites, or scratches. Nice iridescence, 8 5/8" wide.

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Large c1890 Wavecrest Hand Painted Art glass dresser box. 7.25" wide x 4" tall<br>with no cracks or chips to glass, nice strong frame and hinge. Missing bottom<br>liner, slight wear to decoration.<br>tw270

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2 Mid Century Italian Murano Applied Glass toothpick holders. Selling both the toothpicks shown, the cranberry with loss to one petal. No other damage. Tallest 2.75" toothpickdrawer

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Vintage Cranberry Murano apple. 2 3/8" tall and wide with no damage or wear. Top quality Italian murano glass from the third quarter of the 20th century. pwdrawer

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c1900 Huge Moser Art Nouveau Bohemian Art Glass Ewer Green with Raised gold. 18"<br>tall x 7" wide at base. Very large piece of 110+ year old Bohemian art glass,<br>unsigned Moser. High quality raised gold with no cracks, chips, or restorations.<br>Minor wear to gilding, and small amount of mineral deposits in interior.<br>isshelf

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Nicholas J. Lutz(1835-1906) Attributed Unusual Victorian Art Glass Enameled<br>Latticino Vase. 7.75" tall, extremely special piece of glass. Latticino like the<br>best Italian glass with Enameling equivalent to the best French/American art<br>glass of the period. This piece is definately well over 100 years old I'm<br>certain and guaranteeing it to be. Ground pontil, natural wear on base, best<br>quality imaginable with no damage or flaws other than minor wear to gilding.<br>Really if this is what I think it is it belongs in a museum as it's a top<br>example of someone's work, if you have any better ideas base on<br>reality/experience I'd also be grateful for that.<br><br>Nicholas J. Lutz (21 February 1835 St. Louis-lès-Bitche, France - 31 March 1906<br>Somerville, Massachusetts) was a French glassmaker who received his training at<br>the Cristalleries de St. Louis, and later emigrated to the United States where<br>he settled in White Mills in Pennsylvania, later working at the Boston and<br>Sandwich Glass Company<br>isshelf

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1960's Murano JFK Paperweight John F Kennedy President. Nice large and uncommon<br>paperweight. 3.25" tall x 3.75" wide with no cracks, chips, dings, or scratches.<br>Minimal expected shelf wear on base.<br>pwdrawer

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c1940 French Baccarat Perfume Bottle Collection. Selling the 4 Bottles with<br>ground stoppers all French Crystal St Louis or Baccarat from the first half of<br>the 20th century. Average 3.5" tall with no chips, The Frosted Faberge has a<br>ground base that is acid etched Faberge Bottle Made in France.<br>TW162

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c1940 French Baccarat Perfume Bottle Collection. Selling the 4 Bottles with<br>ground stoppers all French Crystal St Louis or Baccarat from the first half of<br>the 20th century. Average 3.5" tall with no chips, The Frosted Faberge has a<br>ground base that is acid etched Faberge Bottle Made in France.<br>TW162

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c1900 Art Nouveau Sterling Silver Overlay Art glass Tankard. Nice sized tankard<br>10 1/8" tall x 3 5/8" wide at rim including spout. No cracks, chips, or<br>restorations. Looks to have an illegible hallmark at top of silver above the<br>handle, tests sterling.<br>isshelf

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c1920's Steuben Cranberry Swirled Wine Stem. 5 5/8" tall x 3" wide at rim. No<br>cracks, chips, restorations, or cloudiness. Ground pontil, unmarked.<br><br>Steuben Glass is an American art glass manufacturer, founded in the summer of<br>1903 by Frederick Carder and Thomas G. Hawkes in Corning, New York, which is in<br>Steuben County, from which the company name was derived. Hawkes was the owner of<br>the largest cut glass firm then operating in Corning. Carder was an Englishman<br>(born September 18, 1863) who had many years' experience designing glass for<br>Stevens and Williams in England. Hawkes purchased the glass blanks for his<br>cutting shop from many sources and eventually wanted to start a factory to make<br>the blanks himself. Hawkes convinced Carder to come to Corning and manage such a<br>factory. Carder, who had been passed over for promotion at Stevens and Williams,<br>consented to do so.<br>tw123

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