アメリカン アート グラス

スチューベン イーグル ハンドクーラー ペーパーウェイト 高さ2インチ x 幅2 5/8インチ。亀裂、欠け、修復物、または外装の傷がなく、ベースに重大な磨耗がなく、ほぼ新品同様です。pwdrawer

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1850年代の水銀ガラスの聖杯とカーテンタイバック。ひび割れ、欠け、修復物はありません。銀メッキの損失が非常に少ないものの、非常に良好です。ゴブレットのサイズは高さ4.25インチ x 幅3.75インチです。カーテンタイは幅4.5インチ x 5 3/8インチ、ネジ付きです。

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Libbey American Brilliant ピリオドカットガラス シガージャー ヒュミドール 8.25インチ x 5.5インチ。蓋が間違っている珍しい品です。ベースは非常にきれいで、綿密な検査が必要な小さなチップがいくつかあるだけです。最後の写真に私の指で示したように、蓋の上部に大きなチップがあります。正しい蓋と同様の状態のベースを備えたものが約 2000 ドルで販売されているのを見たことがあります。B18

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c1900 ピジョン ブラッド 真鍮製葬儀用花瓶/大理石ホルダー/スタンド。 19 世紀後半から 20 世紀初頭の優れたオリジナル作品。高さ 13.5 インチ、ベース 4 インチ x 6 インチのガラスに損傷はありません。TW207

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1920年代のスチューベン・カーダー時代のファン花瓶、凹版カットのシップエッチング。高さ8.5インチ x 幅7.25インチ。カーダー時代のスチューベンの本物であることが保証されています。亀裂、欠け、修復、または重大な摩耗はありません。スチューベン グラスは、1903 年の夏にフレデリック カーダーとトーマス G. ホークスによってニューヨーク州コーニングのスチューベンに設立されたアメリカのアート ガラス メーカーです。社名の由来となった郡。ホークスは、当時コーニングで操業していた最大のカットガラス会社のオーナーでした。カーダーはイギリス人 (1863 年 9 月 18 日生まれ) で、イギリスでスティーブンスとウィリアムズのためにガラスをデザインした長年の経験がありました。ホークス氏は、切断工場用にガラスのブランクをさまざまなソースから購入し、最終的にはブランクを自分で製造する工場を設立したいと考えました。ホークス氏はカーダー氏にコーニング社に来てそのような工場を管理するよう説得した。スティーブンス・アンド・ウィリアムズで昇進を見送られていたカーダー氏は、昇進に同意した。tw210

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c1920 ティファニー ファブリル グリーン オパールセント 虹色アート ガラス ボウル、ルイ コンフォート ティファニー (ニューヨーク、1848 ～ 1933 年)、20 世紀初頭、幅 8.75 インチ x 高さ 2.5 インチ、ひび割れ、欠け、修復、傷はありません。ルイ コンフォート ティファニー (1848 ～ 1933): ティファニー スタジオの創設者は、アール ヌーボー スタイルのマスター アーティストであり、ティファニーのデザイン ディレクターでした。ガラス、ジュエリー、画材など、ティファニーの作品はすべて完成されました。最高の完璧さで。彼の絵画には、ヨーロッパへの旅行からインスピレーションを得た素晴らしい風景が描かれていることがよくありました。しかし、彼はアフリカからアジア、北米、ヨーロッパに至るまで世界中で絵を描きました。その過程で、彼は 1887 年の国立デザインアカデミーやフランスのレジオンドヌール勲章のシュバリエなど、多くの会員資格を得ることができました。彼はまた、いくつかの賞を受賞し、ニューヨーク近代美術館、メトロポリタン美術館、シカゴ美術館などで作品を展示しました。ティファニーはジュエリー会社と美しいファブリル ガラスで最もよく知られていますが、アーティストとしてのティファニーの才能は忘れられていませんTW210

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c1890 Amberina Art Glass Diminuative pitcher5" tall x 4.5" wide, larger than what most would consider a creamer. No cracks, chips, or restorations. TW192

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Vintage Art Glass Perfume Bottles Lot of 3 Pairpoint, Bohemian Cut Overlay, Etc. Selling the three with no damage from the last half of the 20th century. Tallest is 9 3/8", shortest is 4.75". All three are very high quality not Chinese copies or anything of that sort. TW183

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c1890 Rubina Art Glass Stoppered Jug Honeycomb Pattern. I'm reluctant to call it a cruet because the mouth and stopper are much wider than typical. Nice practical jug with no damage. 8" tall. TW189

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c1890 Amberina Art Glass Juice Pitcher8" tall, likely bohemian, no cracks,<br>chips, or restorations. Great piece of functional art.<br>TW185

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Steuben American Art Glass Heavy MCM Ashtrays. Selling both in graduated sizes,<br>smaller 5.5", larger 7". Both have a little wear, smaller one has the tiniest<br>chigger bite on top rim. Bother are signed but smaller one is difficult to see<br>with table wear on base.<br>TW131

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Steuben Penguin Family of 4, original designs by George Tompkins & Robert<br>CassettiIt. The large adult Father Penguin, a 1970's design by George Thompson<br>is 3.75" tall (9.5cm) while Mother Penguin is 3" and leaning forward<br>protectively. The penguin "Hatchling" and penguin "Fledgling" are 2.75" tall. <br>My consignor paid $1900 for this set, I'm pricing them more reasonably as she is<br>trying to liquidate her assets.<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>tw179

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c1920 Tiffany Favrille Pulled Feather trumpet bud vase. 10 3/8" tall x 2 1/16"<br>wide at rim. Guaranteed from the first quarter of the 20th century Tiffany<br>favrille art glass. Signed L.C. Tiffany Favrille 1506-9560 J No cracks, chips,<br>or restorations. No exterior scratches other than on bottom, a few interior<br>scratches from 100 years of cleaning. Money back guarantee of authenticity as<br>with everything. These are more often found in a 4" shorter 1504 model and I've<br>seen those bring 2k.<br><br>Louis Comfort Tiffany (1848 - 1933): The Founder of Tiffany Studios was a master<br>artist in the style of Art Nouveau and the design director at Tiffany & Co.<br>Whether it be with glass, jewelry or painting supplies, everything Tiffany<br>crafted was done with the utmost perfection. Often his paintings were of<br>brilliant landscapes inspired by his travels to Europe. However, he painted all<br>over the world from Africa to Asia, North America and Europe. Along the way he<br>gain access to many memberships including the National Academy of Design in 1887<br>and Chevalier of the Legion of Honor of France. He also won several awards and<br>had his art exhibited at: The Museum of Modern Art, Metropolitan Museum of Art,<br>the Chicago Institute of Art and many others. While he is most well know for his<br>jewelry company and beautiful favrile glass, Tiffany's talents as an artist have<br>not been forgotten<br>TW178

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Steuben 6401 Wafer Stem American Art Glass Water Goblets (4). Nice set from the<br>last quarter of the 20th century with no damage, cloudiness, or scratches. All<br>very clean near mint. They each have a ground pontil with S engraved in the<br>bottom of each glass. Guaranteed Steuben American crystal, best of the best. 8<br>1/8" tall x 3 5/8" wide at rim. Selling all 4 shown, the exact 4.<br>TW170

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Steuben Mid Century Modern Fruit/Seafood Cocktail Glasses American Art Crystal<br>set of (9). Nice set from the last quarter of the 20th century with no damage,<br>cloudiness, or scratches. All very clean near mint. They each have a ground<br>pontil with S engraved in the bottom of each glass. Guaranteed Steuben American<br>crystal, best of the best. 2.25" tall x 4.25" wide at rim. Selling all 9 shown,<br>the exact 9.<br>TW170

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Hawkes Twist Cut Crystal Wine Goblets (10) 5 5/16". Selling all 10, top quality American antique cut crystal. One has chip on foot, it's on the front right in the pics, the chip could be polished out. No other chips or cracks, beautiful scarce art deco pattern by an Important American Glass company. TW164Thomas Gibbons Hawkes, born in County Cork, Ireland in 1846 to a prominent family with a glassworking heritage, emigrated to the United States in 1863. His career began as a foreman for glass factory Hoare and Daily in Brooklyn, New York moving with the company to Corning, New York in 1868.Once in Corning, he soon opened his own cutting shop which was incorporated as T.G. Hawkes & Company in 1890. This on the heels of success the year before when Hawkes famously won acclaim and Grand Prize at the Universal Exposition in Paris.Thomas Gibbons Hawkes European taste for sparkling cut glass at this time was emulated in the United States in what was called the Brilliant Cut Glass Period. Over 1,000 cutting shops were founded to meet the demand and T.G. Hawkes & Company flourished. The company was in operation for 82 years.

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Steuben Air Twist Cordial Crystal Stems Set of 8. Selling the set shown with no cracks, chips, restorations, cloudiness, or scratches. 3 7/8" tall x 1 9/16" wide at rim. They are all hand signed Steuben in the center .Steuben Glass is an American art glass manufacturer, founded in the summer of 1903 by Frederick Carder and Thomas G. Hawkes in Corning, New York, which is in Steuben County, from which the company name was derived. Hawkes was the owner of the largest cut glass firm then operating in Corning. Carder was an Englishman (born September 18, 1863) who had many years' experience designing glass for Stevens & Williams in England. Hawkes purchased the glass blanks for his cutting shop from many sources and eventually wanted to start a factory to make the blanks himself. Hawkes convinced Carder to come to Corning and manage such a factory. Carder, who had been passed over for promotion at Stevens and Williams, consented to do so. In 1918, Steuben was acquired by Corning Glass Works and became the Steuben Division. In July 2008, Steuben was sold by Corning Incorporated for an undisclosed price to Schottenstein Stores,[2] which also owns 51% of Retail Ventures, a holding company for DSW, Filene's Basement, and formerly Value City Department Stores; Value City Furniture, which changed its name to American Signature Furniture; 15% of American Eagle Outfitters, retail liquidator SB Capital Group, some 50 shopping centers, and 5 factories producing its shoes, furniture and crystal. On September 15, 2011, Schottenstein announced it was shutting down Steuben's Corning factory and Manhattan store, ending the company's 108-year history. Soon after, Corning Incorporated repurchased the Steuben brand. In early 2014, The Corning Museum of Glass announced that it would work with independent contractors to reproduce Steuben using a new, lead-free formula and their classic leaded crystal. Carder period (1903-1932)[edit] Steuben Glass Works started operation in October 1903. Carder produced blanks for Hawkes and also began producing cut glass himself. Carder's great love was colored glass and had been instrumental in the reintroduction of colored glass while at Stevens and Williams. When Steuben's success at producing blanks for Hawkes became assured, Carder began to experiment with colored glass and continued experiments that were started in England. He soon perfected Gold Aurene which was similar to iridescent art glass that was being produced by Tiffany and others. Gold Aurene was followed by a wide range of colored art glass that eventually was produced in more than 7,000 shapes and 140 colors. These are a pair of handblown Steuben gold Aurene glass candlesticks designed by Frederick Carder for the Steuben Glass Works, ca. 1913. (From a private collection in Manhattan, New York.)Steuben Glass Works continued to produce glass of all sorts until World War I. At that time war time restrictions made it impossible for Steuben to acquire the materials needed to continue manufacture. The company was subsequently sold to Corning Glass Works and became the Steuben Division. Carder continued as Division manager without any real change in the company's operation except that he now had reporting responsibilities to Corning Glass Works' management. Corning's management tried, mostly unsuccessfully, to limit the articles that Steuben made to only the most popular. Production continued until about 1932. In 1932, there was a major change in Steuben management. The nationwide depression had limited the sale of Steuben and there was a lessening of public interest in colored glass. In February 1932, John MacKay was appointed to Carder's position. Carder became Art Director for Corning Glass Works. Steuben then produced primarily colorless art glass. Steuben still produced colored art glass, but mostly to fill special orders. A few new colors were added after Carder transitioned into his new role with Corning Glass Works, but the last known sale for colored art glass by Steuben was in 1943. Houghton period (1933–2012) An example of Steuben Glass design during the Houghton era is the Balustrade Candlestick set, which mimics a classical balustrade. Of special note is the hallmark of the perfectly formed tear drop air bubble suspended in the design.Corning Glass Works appointed Arthur A. Houghton Jr. as President in 1933, and under his leadership Steuben changed artistic direction toward more modern forms. Using a newly formulated clear glass developed by Corning (referred to as 10M) which had a very high refraction index, Steuben designers developed beautiful, fluid designs. Pieces such as Gazelle Bowl, designed by Sidney Waugh incorporated Art Deco and modernist themes into glass. The themes during this period included "balustrade" designs for water goblets and candlesticks, footed bowls and serving pieces. Decorative forms included wildlife pieces representing owls, penguins and other birds in smooth stylistic forms. Some pieces, such as the Ram's Head Candy Dish, playfully included clean lines crowned by an ornate design (a ram's head, complete with a ruff) on the lid as an homage to its classic earlier pieces. The company also entered into the field of larger show and presentation pieces celebrating various scenes (such as its cut-away design featuring an Eskimo ice fisherman above the ice, and the fish below, or the Cathedral Window design) and elements that incorporated etchings. In some cases sterling silver or gold plating were used on metal finish elements such as the golden "fly" atop the nose of a rainbow trout. Each piece is signed simply with "Steuben" on the underside of the object. Toward the 1990s, the company also began production of small objects—"hand coolers"—in various animal shapes. Items from this period were also noted for their careful and elegant packaging. Before boxing, each Steuben piece was placed in a silver-gray flannel bag (stitched with the Steuben name), and then placed in a presentation box. TW143

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1920's Steuben Aurene Lamp Shade Vase Flared. No cracks, chips, or restorations, expected wear to base on about 100 year old piece of glass. Color is way better than pics suggest, lots of colors in different light. 5.5" tall x 5 3/8" wide at rim. Steuben Glass Works Steuben Glass is an American art glass manufacturer, founded in the summer of 1903 by Frederick Carder and Thomas G. Hawkes in Corning, New York, which is in Steuben County, from which the company name was derived. Hawkes was the owner of the largest cut glass firm then operating in Corning. Carder was an Englishman (born September 18, 1863) who had many years' experience designing glass for Stevens and Williams in England. Hawkes purchased the glass blanks for his cutting shop from many sources and eventually wanted to start a factory to make the blanks himself. Hawkes convinced Carder to come to Corning and manage such a factory. Carder, who had been passed over for promotion at Stevens and Williams, consented to do so. In 1918, Steuben was acquired by Corning Glass Works and became the Steuben Division. In July 2008, Steuben was sold by Corning Incorporated for an undisclosed price to Schottenstein Stores,[2] which also owns 51% of Retail Ventures, a holding company for DSW, Filene's Basement, and formerly Value City Department Stores; Value City Furniture, which changed its name to American Signature Furniture; 15% of American Eagle Outfitters, retail liquidator SB Capital Group, some 50 shopping centers, and 5 factories producing its shoes, furniture and crystal. On September 15, 2011, Schottenstein announced it was shutting down Steuben's Corning factory and Manhattan store, ending the company's 108-year history. Soon after, Corning Incorporated repurchased the Steuben brand. In early 2014, The Corning Museum of Glass announced that it would work with independent contractors to reproduce Steuben using a new, lead-free formula and their classic leaded crystal. Carder period (1903-1932) Steuben Glass Works started operation in October 1903. Carder produced blanks for Hawkes and also began producing cut glass himself. Carder's great love was colored glass and had been instrumental in the reintroduction of colored glass while at Stevens and Williams. When Steuben's success at producing blanks for Hawkes became assured, Carder began to experiment with colored glass and continued experiments that were started in England. He soon perfected Gold Aurene which was similar to iridescent art glass that was being produced by Tiffany and others. Gold Aurene was followed by a wide range of colored art glass that eventually was produced in more than 7,000 shapes and 140 colors. Steuben Glass Works continued to produce glass of all sorts until World War I. At that time war time restrictions made it impossible for Steuben to acquire the materials needed to continue manufacture. The company was subsequently sold to Corning Glass Works and became the Steuben Division. Carder continued as Division manager without any real change in the company's operation except that he now had reporting responsibilities to Corning Glass Works' management. Corning's management tried, mostly unsuccessfully, to limit the articles that Steuben made to only the most popular. Production continued until about 1932. In 1932, there was a major change in Steuben management. The nationwide depression had limited the sale of Steuben and there was a lessening of public interest in colored glass. In February 1932, John MacKay was appointed to Carder's position. Carder became Art Director for Corning Glass Works. Steuben then produced primarily colorless art glass. Steuben still produced colored art glass, but mostly to fill special orders. A few new colors were added after Carder transitioned into his new role with Corning Glass Works, but the last known sale for colored art glass by Steuben was in 1943 B43

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c1890 Mt Washington Napoli Hand Painted Nappy. No cracks, chips, or restorations. 7 1/8" wide with handle. tw130

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1950's DeVilbiss Iridescent Perfume Atomizer. These are the same fancier gilt<br>bronze lids they put on the Steuben bottles, not sure if this is steuben. All<br>it's missing is the bulb, all the hardware is here for an easy bulb add. 6.25"<br>tall with no damage.<br>tw141

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Steuben Etched Blue Aurene Perfume bottle Base. 7. 75" tall with a 3.5" wide<br>base. No cracks, chips, restorations or wear. I sold one with the top for about<br>$1450 if I remember correctly. You could buy the top off one that isn't etched.<br>TW126

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c1890 Amberina Art Glass Cream pitcher with Embossed Daisy and Fern Pattern. Very unusual piece of late 19th century American art glass guaranteed. 5" tall x 4.75" wide, ground pontil, nice piece. No cracks, chips, or restorations. tw126

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c1890 Rubina Art Glass Wine Carafe. Guaranteed late 19th century likely American, possibly Northwood or Hobbs. 8.5" tall x 6" wide with no cracks, chips, restorations, or dings. B25

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c1880 New England Glossy Peachblow Art Glass Vase. Nice piece with no damage<br>originally from the famous Frederick Rindge Collection. 6.25" tall x 4" wide.<br>Rindge was high up in the Mt Washington Glass Collectors Society and I believe<br>others in the Nineties, he was very well respected in the art glass community<br>and shared his expertise in many glass publications. I remember reading his<br>articles in the 1990's when one could only dream of having the opportunity to<br>own an authentic rare piece of American 19th century art glass like this.<br>B25

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This is a magnificent glass vase on a metal base. Overall height is<br>approximately 10 3/8 ", the glass vase measures 9 1/2" and is up to 3 1/4" wide.<br>The diameter of the opening is 1 7/8". Pressed white milk glass with a beaded<br>top rim. Multiple embossed designs around the neck and base as well as embossed<br>scroll-like designs down the full length of the sides. Beautifully hand painted<br>on front and back with multiple small blue flowers with yellow centers and long<br>wispy brown stems and leaves. Reddish-brown accents and many white beads. The<br>metal base consists of a silver-colored ring and four attached gold-colored<br>feet. The ring appears to be made of brass with a silver colored paint, the feet<br>seem to consist of a white/grey metal with gold painting. Both ring and feet are<br>quite ornate. Manufactured by the C.F. Monroe Company in Meriden, CT and the<br>bottom of the vase is accordingly marked with the orange Wavecrest mark as used<br>around 1900. In excellent condition without any damage. No chips, no cracks, no<br>wear other than three enamel dots on the very top rim, no repairs.<br>B25

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c1890 Stevens & Williams Cranberry Amberina Threaded Finger bowl set (4).<br>Selling the set of 4 130 year old bowls in near mint condition. I found two of<br>the tiniest pencil lead sized chigger bites to the threading after extremely<br>close scrutiny. One is shown in the center of the last pic. 5.75" wide x 2 5/8"<br>tall. No cracks, chips, or restorations.<br>TW127

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c1890 Amberina Large Footed Rose Bowl in Ribbed swirl pattern. Guaranteed late 19th century with no cracks, chips, or restorations. I've seen this bowl attributed to Mt Washington but don't have time to confirm, it's nice and 19th century and undamaged is what it is. 7" wide x 4.25" tall with a 3.25" foot. TW127

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Vintage Peachblow Art Glass Cruet. Nice hand blown peachblow art glass cruet. It came from a collection of predominately Victorian American art glass, but there were some pieces from other countries and a few mid 20th century Pairpoint items. I can't honestly attribute this to anyone but I know it's not Chinese and I know it's not junk. It could be Murano, Bohemian, or American. Most of the collection was acquired in the 90's or before and much of it came from Earlys' Art glass auction. 7.5" tall x 3.5" wide with handle. No cracks, chips, or restorations. B26

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c1890 Amberina Footed Rose Bowl. Most likely American. No cracks, there is a little roughness on the feet and one actually chip but you have to look so close to see any of it, like 6" away and serious scrutiny. Looks beautiful from all sides, promise. 6" tall x 4.5" wide. b26

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c1890 Hobbs Brockunier Wheeling Peachblow Satin glass stick vase. 10" tall x<br>5.5" wide with no cracks, chips, or restorations. There are a few small<br>scratches on the exterior only visible upon close examination. These pretty much<br>always have some and it's rarely mentioned.<br><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.<br>B26

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derson Pairpoint Peachblow Tall Candlestick in uncommon form. 8.25" tall x 3<br>5/8" wide at base. From the second quarter of the 20th century. It has a diamond<br>scratched P in a diamond on the base which is tough to photograph but if you<br>look close at last picture you can see it highlighted by the uv flashlight. It<br>is a catalogued derson period shape. No cracks, chips, or restorations.<br>B26

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c1890 Amberina Art Glass Footed vase. 5" tall x 3" wide with no cracks, chips, or restorations. Fine quality piece. tw126

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c1880 Mt Washington Burmese Creamer. 3.75" tall x 3.5" wide with no cracks, chips, or restorations. Guaranteed late 19th century Mt Washington Burmese glass. TW126

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c1880 Mt Washington Burmese Glossy Footed Creamer. 4.25" tall x 3.5" wide with handle with no cracks, chips, or restorations. Nice rare piece guaranteed to be what iI say it is with providence. Frederick Rindge was high up in the Mt Washington Glass Collectors Society and I believe others in the Nineties, he was very well respected in the art glass community and shared his expertise in many glass publications. I remember reading his articles in the 1990's when one could only dream of having the opportunity to own an authentic rare piece of American 19th century art glass like this. TW126

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c1880 Mt Washington Burmese Egg Shaped Footed Vase Uranium American Art Glass .<br>Guaranteed late 19th century Mt Washington Burmese Glass, One pic I presented is<br>shining a UV flashlight at it. 7" tall x 4.5" wide, previously sold at Early Art<br>Glass Auction probably in the Nineties.<br>tw126

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c1910 Northwood Carnival Glass Sweetmeat Candy Dish in Amethyst Iridescent. 9" tall x 5.25" wide. The smallest Chigger bite on stem after very close examination. No other cracks, chips, or other issues.

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c1910 Green Northwood Grape and Cable Plate with Double Handgrip. 7 7/8" x 6" x 2 5/8" tall. No cracks or chips, really nice iridescence.

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9" Steuben Crystal Slinky Cat Figure Flawless 3.5" wide Very heavy . No cracks, chips, dings, or scratches even on the base. Guaranteed 100% to be authentic Steuben American art glass designed by Donald Pollard and retailed for around $2000.

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c1900 Northwood Green Opalescent Lemonade Set Pitcher and 5 Tumblers. No cracks,<br>chips, or restorations. There are 5 tumblers, I only photographed four, I'll try<br>to update the pics asap, the fifth one is perfect. One tumbler has the tiniest<br>flake on base rim, it's the same one with the black factory flaw on the rim.<br>Tumblers are 4" tall Pitcher is 9.5" tall. This is estate fresh, I don't believe<br>it's a married set. I haven't tested it under a blacklight, but wouldn't be<br>surprised if it glows, looks a little vaselineish especially the pitcher. all of<br>the tumblers bear the northwood mark.

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c.1910 Northwood White Carnival Glass Three Fruits Stippled Bowl 9" No cracks,<br>chips, or scratches. Above average electric iridescence.

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c1890 Mt Washington Burmese Hobnail Creamer and Sugar Rare and Authentic<br>Guaranteed circa late 19th century. Selling both for one price. Creamer is 5.75"<br>tall x 5" wide with handle. Sugar is 4" tall x 6.25" handle to handle. A few<br>minor imperfections from production, no cracks, chips, or restorations. Both<br>with ground Pontils, creamer marked #130, they glow under blacklight.<br><br>Burmese glass is a type of opaque colored art glass, shading from yellow to<br>pink. It is found in either the rare original "shiny" finish or the more common<br>"satin" finish. It is used for table glass and small, ornamental vases and<br>dressing table articles.<br><br>It was made in 1885 by the Mount Washington Glass Company of New Bedford,<br>Massachusetts, USA. Burmese glass found favor with Queen Victoria. From 1886,<br>the British company of Thomas Webb & Sons was licensed to produce the glass.<br>Their version, known as Queen's Burmeseware, which was used for tableware and<br>decorative glass, often with painted decoration. Burmese was also made after<br>1970 by the Fenton art glass company.<br><br>Burmese is a uranium glass. The formula to produce Burmese Glass contains<br>uranium oxide with tincture of gold added. The uranium oxide produced the<br>inherent soft yellow color of Burmese glass. Because of the added gold, the<br>characteristic pink blush of color of Burmese was fashioned by re-heating the<br>object in the furnace. The length of time in the furnace will determine the<br>intensity of the color. Strangely, if the object is subjected to the heat again,<br>it will return to the original yellow color.<br>tw133

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Antique Amethyst Enameled Water Pitcher Art Glass c.1900 Fenton or Northwood<br>9.75" tall x 8" wide with handle. No cracks, chips, or restorations. Wear to<br>Gilding on rim.<br>tw84

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Like new condition with no cracks, chips, or scratches. It has good color and strong molding. 9" wide x 3" deep.

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Super condition with no cracks, chips, or scratches. It has good color and strong molding. Unmarked, but guaranteed early 20th century Northwood cardinal glass.

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Hawkes Sterling Base Cut Glass Centerpiece compote. Hawkes cut glass bowl with<br>an urn and scrolling flowers set in a sterling base marked Hawkes Sterling, 12<br>1/2" wide by 6" ht. NOTE: Exhibited at the Wichita Art Museum where there is a<br>current permanent exhibition of the Burnstein Collection. All museum ID tags can<br>be removed. PROVENANCE: Burnstein Collection.<br><br>Thomas Gibbons Hawkes, born in County Cork, Ireland in 1846 to a prominent<br>family with a glassworking heritage, emigrated to the United States in 1863. His<br>career began as a foreman for glass factory Hoare and Daily in Brooklyn, New<br>York moving with the company to Corning, New York in 1868.<br><br>Once in Corning, he soon opened his own cutting shop which was incorporated as<br>T.G. Hawkes & Company in 1890. This on the heels of success the year before when<br>Hawkes famously won acclaim and Grand Prize at the Universal Exposition in<br>Paris.<br><br>Thomas Gibbons Hawkes<br>European taste for sparkling cut glass at this time was emulated in the United<br>States in what was called the Brilliant Cut Glass Period. Over 1,000 cutting<br>shops were founded to meet the demand and T.G. Hawkes & Company flourished. The<br>company was in operation for 82 years.

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Large Daniel Lotton Art Glass Vase 7" tall x 8.5" wide with no cracks, chips,<br>restorations, or other issues. Iridescent interior, amazing piece overall.<br><br><br>Daniel Lotton is the son of world renown glass artist Charles Lotton. Born into<br>an artistic family, Daniel was encouraged to express his creative energies. At<br>the age of 14 he started working in Charles' Lynwood glass shop learning to make<br>pendants and paperweights. At the age of 17 he started doing Charles' finishing<br>work which consisted of grinding and polishing glass. He later assisted and<br>apprenticed Charles for several years. When Daniel graduated high school he<br>started working full time in the studio for Charles as well as creating his own<br>glass. As his skills grew so did his commitment to his art. Through the years<br>Daniel has grown into the artist that he is now today.<br><br>A constant throughout his career and his work is the inspiration he derives from<br>nature. Some of those designs that he has created over his career is his Pulled<br>Fern design, Anthuriums Flowers, Tuliptokiss Flowers, Iris, Asters as well as<br>his signature Cynthia Flower. Surely these will stand the test of time in the<br>art world. Examination of any Daniel Lotton art from paperweights and perfume<br>bottles as well as vases, lamps, and chandeliers will inevitably communicate his<br>desire to emulate the Master's great hand in every laboring creation.<br><br>Daniels' passion for glass has changed throughout the years.Daniel spends many<br>hours sketching new designs, perfecting color formulas to personlly excute those<br>ideas to keep his art progressive. At the present time he is captivated in<br>creating beautiful lighting, such as lamps, lighted tables as well as<br>chandeliers. He creates beautiful custom lighting for collectors as well as<br>businesses.<br><br>You can find Daniel's studio surrounded by farm fields in the quaint town of<br>Crete, Illinois. Daniel's unique one-of-a-kind pieces can be found in many fine<br>galleries across the country.<br><br>His work is collected by art enthusiasts, celebrities, and prominent sports<br>icons both nationally and internationally. NASCAR Champion Tony Stewart, Grammy<br>Award Winner Singer Melissa Etheridge, and Actress Salma Hayek are just a few of<br>the prominent collectors of Daniel Lotton's Art Glass. Assuredly, Daniel Lotton<br>collectibles will be enjoyed by many generations to come.

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Robert Lagestee Lotton Art glass Vase. 8.5" tall x 5.75" wide with no cracks,<br>chips, or restorations. Amazing piece dated 2019 with no damage or detectable<br>wear.<br><br>Robert Lagestee is the grandson of Charles Lotton, the Patriarch of the Lotton<br>Family.<br>Robert is the son of Charles's daughter Rachel Lotton Lagestee. Born in 1991,<br>Robert grew up surrounded by the Beautiful glass of his grandfather and uncles,<br>Daniel and David.<br>He dreamed of blowing glass. In 2005 he tried his hand at glass blowing and was<br>naturally talented but decided to follow his father in the family grocery<br>business. But in 2015 he returned to his First Love...Glass Blowing. Working<br>under his grandfather, Charles. He absorbed like a sponge, soaking up every<br>detail.<br>Today Robert pursues his own career, developing vases, paperweights, perfumes<br>and bowls. His goal is to be established and worthy of the Lotton Fame. We Think<br>He Is On His Way...<br>Robert signs his glass .... Robert Lagestee Lotton

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c1910 Quezal Iridescent American Art glass diminutive bowl 4.5" wide with great<br>iridescence, no cracks, chips, or restorations.<br><br>toothpickdrawer<br><br>Quezal Art Glass – The Journal of Antiques and Collectibles – April 2003<br><br>By Malcolm Mac Neil<br><br>Some of the most beautiful and alluring art glass made in America during the<br>early part of the 20th Century was made by the Quezal Art Glass and Decorating<br>Company. Often in the shape of blossoming lilies with brilliant gold interiors<br>and colorfully decorated with floral and other motifs inspired by nature, Quezal<br>art glass ranks right alongside the iridescent glass of Louis Comfort Tiffany<br>and Frederick Carder. Quezal artisans created an extensive range of decorative<br>and useful items, including vases, compotes, finger bowls, open salts, candle<br>holders, and shades for lighting fixtures, which are equivalent in terms of<br>beauty and quality of craftsmanship to Tiffany’s Favrile and Carder’s Aurene<br>glass. In recent years, glass collectors have discovered anew the special charms<br>and appeal of Quezal art glass, and collector desirability for this lovely<br>glassware has increased dramatically.<br><br>The Quezal Art Glass and Decorating Company was incorporated a century ago, on<br>March 27, 1902. It was founded by Martin Bach, Sr., Thomas Johnson, Nicholas<br>Bach, Lena Scholtz, and Adolph Demuth. The factory was located on the corner of<br>Fresh Pond Road and Metropolitan Avenue in Maspeth, Queens, New York. In October<br>1902, the trademark “Quezal” was successfully registered. By 1904, roughly fifty<br>glassworkers were employed at the works.<br><br>Martin Bach, Sr. was the president, proprietor, and guiding force behind this<br>successful company. Born in 1862 in Alsace-Lorraine to German parents, he<br>emigrated to the United States in 1891. Before his emigration, Bach worked in<br>Saint-Louis, France, at the Saint-Louis Glass Factory. After Bach arrived in<br>this country, he was hired by Louis C. Tiffany as the latter’s first batch-mixer<br>or chemist at the newly established Tiffany Glass and Decorating Company, in<br>Corona, Queens. After a period of about eight years, Bach left Tiffany and<br>established his own glassworks. By this time, Bach had already started his small<br>family. He and his German-born wife, Anne-Marie Geisser, whom he married in the<br>fall of 1889, in Paris, France, had three children. Two daughters, Jennie and<br>Louise, were born in France and a son, Martin, Jr., was born in Corona.<br><br>Bach was assisted by Thomas Johnson, an English immigrant, and Maurice Kelly, a<br>native of Corona, both of whom were gaffers or master glassblowers. Johnson and<br>Kelly helped pave the way for Quezal’s early accomplishments and later<br>recognition. Thomas Johnson, like Bach, was a founding member and also<br>previously employed by Louis C. Tiffany. Johnson’s association with Quezal,<br>however, was relatively short lived. Around 1907, Johnson left for Somerville,<br>Massachusetts, where he became involved in making Kew Blas glass, under William<br>S. Blake at the Union Glass Company. Maurice Kelly’s tenure with Quezal was also<br>brief. Kelly worked at Quezal from January 1902 until July 1904, but by November<br>1904, he was making Favrile glass at Tiffany Furnaces, where he would happily<br>remain until 1918.<br><br>To this day, the belief still exists that there once existed a man named Quezal,<br>who worked for Louis C. Tiffany, and it is after him that Quezal glass is named.<br>In truth, however, the founders of the Quezal Art Glass and Decorating Company<br>named the company and its products after one of the world’s most beautiful<br>birds, the elusive and rare quetzal, which dwells in the treetops of the remote<br>tropical forests of Central America. A rare company promotional brochure<br>provides a vivid description of the quetzal: Of all the birds of the America’s,<br>it is the most gorgeous. No more splendid sight is to be seen in all the world<br>than a quezal, flying like a darting flame through the depths of a Central<br>American forest. Its back is of a brilliant metallic green, so vivid it shines<br>even in the twilight of the woods like a great emerald and its breast is a<br>crimson so deep and bright that every motion of the wonderful creature is a<br>flashing of rubies among the trees and giant creepers. It bears a true golden<br>crown upon its head – a helmet of bright yellow and green, shaped just as the<br>helmet of old Aztec kings were shaped. Its tail is composed of lacelike plumes,<br>extending more than two and one-half feet beyond its body.<br><br>The quezal was certainly an appropriate designation for the company’s<br>resplendent glassware. One of the most prized characteristics of Quezal art<br>glass is the shimmering and dazzling brilliance reflected in the iridescent<br>surfaces on the interior as well as exterior of the glass. The radiant rainbow<br>colors in metallic hues, including gold, purple, blue, green, and pink, to name<br>only a few, were certainly inspired by the quetzal and its feathers. Not<br>surprisingly, lustrous feathers, in shades of opal, gold, emerald, and blue, are<br>among the most common decorative motifs encountered on Quezal glass.<br><br>The enduring hallmark of Quezal art glass is its unique expression of the Art<br>Nouveau style, based on organic shapes and naturalistic motifs coupled with<br>technical perfection in the . Vases, compotes, drinking vessels, and shades for<br>lighting fixtures were often fashioned to resemble flowers such as crocuses,<br>tulips, calla lilies, casablanca lilies, and jack-in-the-pulpits. Variously<br>colored inlaid threads of glass, pulled and twisted by hooks, simulate<br>naturalistic floral and leaf patterns, lily pads, clover leafs, and vines. Opal,<br>gold, and green colors prevail and the glass is generally opaque. Red is the<br>rarest color of all. Compared with Tiffany’s Favrile glass, the crisp, vivid,<br>and colorful decoration of Quezal art glass is distinctively precise,<br>symmetrical, and restrained.<br><br>Other Quezal wares recall shapes and styles favored in ancient Egypt, Persia,<br>Greece, and Rome, as well as the Italian Renaissance and the Georgian period in<br>England. This is especially true of classic-shaped vases and bowls of<br>translucent amber glass, which have a single surface color such as iridescent<br>gold or blue. Still, others were inspired by traditional Chinese and Japanese<br>forms.<br><br>The Gorham Manufacturing Company in Providence, Rhode Island, and the Alvin<br>Silver Manufacturing Company in Sag Harbor, Long Island, purchased Quezal art<br>glass, which they in turn embellished in their shops with silver overlay<br>decoration in the fashionable Art Nouveau style and later resold. Gorham’s<br>silver overlay designs mostly include stylized floral motifs. Alvin’s silver<br>designs are wonderfully organic. One sumptuous design is of a group of sinuous<br>iris blossoms with carefully articulated petals surrounded by attenuated<br>meandering vines. Collectors should note that not all silver-deposit pieces are<br>marked with a maker’s mark since the silversmith had to be quite careful not to<br>damage the glass underneath.<br><br>A rare 1907 retail catalog survives from Bailey, Banks, and Biddle Company, a<br>luxury goods retailer in Philadelphia, which reveals original retail prices of<br>Quezal art glass. A surprising revelation provided by this catalog is that<br>Quezal art glass was nearly twice as expensive as comparable French imported<br>glass made by such renowned firms as Gallé and Daum. Hock glasses, a stemmed<br>glass used primarily for drinking German white wine, were sold by the dozen and<br>retailed between $50 and $75. Fingerbowls were also sold by the dozen and<br>retailed between $50 and $100. These high retail prices were nearly the same as<br>those charged for Tiffany’s Favrile glass, and suggest Quezal art glass was also<br>marketed towards the high-end or luxury market.<br><br>Electricity was a brand new invention in the late 1800s and American glass<br>manufacturers developed novel approaches for concealing the electric light bulb,<br>which was rather harsh to the eye and perhaps unflattering to the domestic<br>interior. Tiffany, Steuben, and Quezal responded to this need with the most<br>extraordinary and beautiful art-glass shades, all of which were hand-made and<br>exquisitely fashioned. Many other companies also made art glass shades for table<br>and floor lamps, electroliers, hallway fixtures, and wall sconces, but it was<br>Quezal that excelled in this area and was the most prolific.<br><br>Quezal art glass shades were available in an infinite variety of shapes, sizes,<br>colors, and decorations. Some shades are formed and decorated as lilies while<br>others are bell-shaped and have ribbed or textured decoration. Rims are usually<br>plain but sometimes are notched or ruffled. Common motifs include feather or<br>hooked feather, leaf and vine, applied flowers, drape, fishnet, King Tut, and<br>spider webbing. The workmanship shown on most Quezal shades is of the highest<br>caliber. The sale of these shades represented a significant portion of the<br>firm’s revenue. Many manufacturers and retailers of electric lighting fixtures<br>purchased Quezal shades to sell with their fixtures, including Edward F.<br>Caldwell and Company in New York City, Stuart-Howland Company in Boston, and The<br>David J. Braun Mfg. Co., in Chicago. The 1907 Bailey, Banks and Biddle retail<br>catalog mentioned earlier, reveals Quezal art glass shades retailed between<br>$7.50 and $22.50 per shade. Today, Quezal shades are actively collected and<br>prices are considerably higher, especially for the rarest, largest, and most<br>elaborately decorated ones.<br><br>Amazingly, little is known about the original names for each of the company’s<br>products – for they certainly had them. One most satisfying exception is an<br>attractive and distinctive line introduced by Quezal in 1917, which was<br>appropriately named “The Glass That Looks Like Pottery.” The subtle color<br>blending and soft finish of the glass has all the rich color tones of the finest<br>contemporary art pottery produced in America or abroad. In 1919, Quezal’s new<br>sales representatives, Dela Croix & Wilcken, who were located at 19 Madison<br>Avenue in Manhattan, changed the name to “Innovation.”<br><br>“Innovation” is distinguished from Quezal’s other art glass because it is not<br>iridescent. In addition, the high-gloss body of the glass is always opaque and<br>usually consists of a subtle and artistic blending of colors that include dark<br>and light brown, olive green, gray, pale blue, lavender, dark orange, and pale<br>yellow. Previously this glass has been referred to as “stone,” “agate” or<br>“laminated” glass, which are the different terms used to designate a similar<br>type of glass by the Tiffany Glass and Decorating Company. No two pieces are<br>alike. The over-all effect is otherworldly and sometimes reminiscent of a<br>tropical sunset. In some cases, the shape and coloring are strikingly similar to<br>ceramics; in others the decoration is bold and distinctive.<br><br>Fortunately, a few of the line drawing sketchbooks, trade catalog pages,<br>bill-heads, correspondence and other papers from the Quezal glassworks have<br>survived. In 1994, these papers were donated by the children of Martin Bach,<br>Jr., Gladyce Bach Wells, and Clifford Bach, to the Museum of American Glass at<br>Wheaton Village in Millville, New Jersey. One of these documents reveals the<br>original pattern designations, which included diamond, curl, hammered, frill,<br>block-a-dot, reed, feather, leaf, heart, and spider. The “spider” decoration is<br>certainly an appropriate designation for this type of glass. It is easily<br>recognizable by the very thin threads of amber glass randomly wrapped around<br>some vases and shades, much like a real spider would weave its web. Detailed<br>line drawings exist for a wide variety of items and demonstrate the high level<br>of technical skill required by Quezal artisans, who manufactured these items<br>according to clearly prescribed specifications.<br><br>Most companies that produced art glass in this country followed the lead of<br>Louis C. Tiffany and marked their products with an identifying signature or a<br>paper label to distinguish their products from those of their competitors. The<br>Quezal glassworks was no exception. Quezal art glass is usually signed so it can<br>be more easily distinguished from similar items, including those marked Tiffany,<br>Steuben, Kew Blas, Imperial, Fostoria, Lustre Art, and Durand. A few of the<br>different marks that are sometimes found on genuine Quezal items include “Quezal<br>N.Y.,” “Quezal,” accompanied by a decorative scroll underline, and “Quezal”<br>together with a prefix letter and numeral. Two variations of the mark, “Quezal,”<br>by itself, are known: it appears either engraved into the surface of the glass<br>or else a special pencil or stylus was used, which left a platinum or silver<br>signature. Vases and other tableware items are generally signed on the underside<br>in the area of the pontil mark. The signature on a Quezal shade is usually found<br>along the interior of the fitter rim, which is the part of the shade that<br>adheres to the lighting fixture.<br><br>Martin Bach, Sr. was often given to generous actions and gave away a good many<br>pieces of his beautiful Quezal glass to neighbors, friends, and even settled his<br>local debts with his wares. When he died of cancer on August 1, 1921, at the age<br>of fifty-nine in the Greenpoint Hospital in Brooklyn, unfilled orders for Quezal<br>art glass totaled some $350,000 – a considerable sum in 1921. Complicating<br>matters, Quezal was experiencing financial difficulties under the management of<br>Robert Robinson, president, and Martin Bach, Jr., vice-president.<br><br>Dr. John Ferguson, a close friend of the Bach family and their family physician,<br>was brought in as an investor. Dr. Ferguson, together with three other wealthy<br>friends, raised the capital necessary to keep the factory operational. The<br>investors contributed an undisclosed sum of money and promised additional<br>financing if Martin Bach Jr. could show a profit of $1,000 at the end of the<br>year.<br><br>Notwithstanding the infusion of capital, in December 1923, the Quezal Art Glass<br>and Decorating Company was sold to Edward Conlan, a personal friend of Dr.<br>Ferguson, and in January 1924, the Quezal Art Glass and Decorating Company was<br>reorganized as the Quezal Glass Manufacturing Company. Dr. Ferguson served as<br>president and Martin Bach Jr. served as general manager. The reorganized company<br>continued to make both commercial and artistic glassware and even introduced<br>many new articles.<br><br>Several important glass artisans were employed in the art glass shop, including<br>Harry and Percy Britton, William Wiedebine, and Emil Larson, a gaffer hired in<br>1923. Sadly, by early 1924, the majority, if not all, of Quezal’s artisans from<br>the art glass shop had left the factory, which closed soon thereafter. These<br>individuals and Martin Bach, Jr., who was in possession of his father’s<br>glassmaking formulas, moved on to other glass manufacturers, including the<br>Imperial Glass Company in Bellaire, Ohio, and the Durand Art Glass division of<br>the Vineland Flint Glass Works, in Vineland, New Jersey.<br>tw210

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1920's Durand Art Glass Candlestick. Very amazing candlestick, I've had a lot of<br>Tiffany, Steuben, etc candlesticks and they just don't come any better. 5.25"<br>tall x 4.5" wide rim with no damage or flaws.<br><br>Durand art glass was made between 1924 and 1931. Durand was the art glass<br>division of Vineland Flint Glass Works in New Jersey which was founded by Victor<br>Durand in 1897. Many of the glass artists came from the Quezal Art Glass company<br>which closed in 1924. The artists at Durand were granted a great deal of freedom<br>to produce glass in a variety of styles. Many pieces were blown using an unusual<br>yellow glass which many collectors now refer to as "Ambergris". Durand produced<br>a wide variety of art glass items including bowls, vases, perfume bottles,<br>candlesticks and lamps. Durand's art glass quickly gained fame for its beauty<br>and quality. In 1926 Durand received a medal of honor at the Sesquicentennial<br>International Exposition in Philadelphia. Sadly production ceased in 1931 when<br>Victor Durand died in an auto accident.<br><br>tw106

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

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c1880 Mt Washington Uranium Glass Burmese pitcher and tumbler. Both guaranteed<br>authentic c1880's Mt washington no damage or issues. Pitcher 4.25" tall, tumbler<br>3.75" tall and wide. Selling both for one price.<br><br>Designed by Frederick Shirley and made by the Mount Washington Glass Company,<br>this single layer glass achieved a delicate coloration of pink or salmon shading<br>to yellow by the addition of uranium oxide and gold to the original glass batch.<br>This created a yellow opaque glass which on reheating turned to a salmon color<br>shading into the yellow. Further reheating turned the salmon color back to<br>yellow. The uranium in the glass causes the vase to fluoresce brightly when<br>exposed to black light. Burmese glass is highly collected and is also included<br>in all major American Art Glass collections. This glass is rare today as it was<br>very expensive to manufacture and was only made for a short period of time.

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c1880 Mt Washington Uranium Glass Burmese pitcher 7.5" tall 5.5" handle to<br>spout, no damage or issues.<br><br>Designed by Frederick Shirley and made by the Mount Washington Glass Company,<br>this single layer glass achieved a delicate coloration of pink or salmon shading<br>to yellow by the addition of uranium oxide and gold to the original glass batch.<br>This created a yellow opaque glass which on reheating turned to a salmon color<br>shading into the yellow. Further reheating turned the salmon color back to<br>yellow. The uranium in the glass causes the vase to fluoresce brightly when<br>exposed to black light. Burmese glass is highly collected and is also included<br>in all major American Art Glass collections. This glass is rare today as it was<br>very expensive to manufacture and was only made for a short period of time.

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1994 David Lotton Shot Glasses Alpha and beta. Selling the two vessels for you to use for whatever. Tallest is about the size of a typical shot glass or cordial 2" tall x 1.5" wide, the other is 1.25" tall x 1.5" wide. Smaller is inscribed as a gift from David. No damage to either. 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. toothpickdrawer

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c1880 Mt Washington Burmese Glossy Footed milk pitcher. 5.75" tall x 4" wide<br>with handle with no damage or issues.<br><br>Designed by Frederick Shirley and made by the Mount Washington Glass Company,<br>this single layer glass achieved a delicate coloration of pink or salmon shading<br>to yellow by the addition of uranium oxide and gold to the original glass batch.<br>This created a yellow opaque glass which on reheating turned to a salmon color<br>shading into the yellow. Further reheating turned the salmon color back to<br>yellow. The uranium in the glass causes the vase to fluoresce brightly when<br>exposed to black light. Burmese glass is highly collected and is also included<br>in all major American Art Glass collections. This glass is rare today as it was<br>very expensive to manufacture and was only made for a short period of time.

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c1890 Mt Washington Burmese vase hand painted with rigaree. Absolutely perfect with no damage or restorations whatsoever, amazing piece 3" tall and wide. MT. WASHINGTON AND PAIRPOINT GLASSMt. 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 GLASSEnglishman 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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c1920 Steuben Aurene and Fry Foval candlesticks. 1 12", 1 8". Both perfect with no damage, restorations, or flaws. From the first quarter of the 20th century. The Fry foval is apparently unmarked, Aurene<br>signed as shown. Selling both.<br><br>Steuben Glass Works 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><br>In 1918, Steuben was acquired by Corning Glass Works and became the Steuben<br>Division.<br><br>In July 2008, Steuben was sold by Corning Incorporated for an undisclosed price<br>to Schottenstein Stores,[2] which also owns 51% of Retail Ventures, a holding<br>company for DSW, Filene's Basement, and formerly Value City Department Stores;<br>Value City Furniture, which changed its name to American Signature Furniture;<br>15% of American Eagle Outfitters, retail liquidator SB Capital Group, some 50<br>shopping centers, and 5 factories producing its shoes, furniture and crystal.<br><br>On September 15, 2011, Schottenstein announced it was shutting down Steuben's<br>Corning factory and Manhattan store, ending the company's 108-year history. Soon<br>after, Corning Incorporated repurchased the Steuben brand. In early 2014, The<br>Corning Museum of Glass announced that it would work with independent<br>contractors to reproduce Steuben using a new, lead-free formula and their<br>classic leaded crystal.<br><br>Carder period (1903-1932)<br>Steuben Glass Works started operation in October 1903. Carder produced blanks<br>for Hawkes and also began producing cut glass himself. Carder's great love was<br>colored glass and had been instrumental in the reintroduction of colored glass<br>while at Stevens and Williams. When Steuben's success at producing blanks for<br>Hawkes became assured, Carder began to experiment with colored glass and<br>continued experiments that were started in England. He soon perfected Gold<br>Aurene which was similar to iridescent art glass that was being produced by<br>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><br>Steuben Glass Works continued to produce glass of all sorts until World War I.<br>At that time war time restrictions made it impossible for Steuben to acquire the<br>materials needed to continue manufacture. The company was subsequently sold to<br>Corning Glass Works and became the Steuben Division. Carder continued as<br>Division manager without any real change in the company's operation except that<br>he now had reporting responsibilities to Corning Glass Works' management.<br>Corning's management tried, mostly unsuccessfully, to limit the articles that<br>Steuben made to only the most popular. Production continued until about 1932.<br><br>In 1932, there was a major change in Steuben management. The nationwide<br>depression had limited the sale of Steuben and there was a lessening of public<br>interest in colored glass. In February 1932, John MacKay was appointed to<br>Carder's position. Carder became Art Director for Corning Glass Works. Steuben<br>then produced primarily colorless art glass.<br><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<br><br>isshelf

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1920's Steuben Aurene Footed Flared vase shape #227. Good Steuben vase, footed form with ruffled rim in gold aurene glass with a nice platinum iridescence, signed aurene #227, 6"w x 6.5"h No damage or significant wear. Purchased May 07, 2006 at Treadway Toomey's Auction in Illinois.Steuben Glass WorksSteuben Glass is an American art glass manufacturer, founded in the summer of 1903 by Frederick Carder and Thomas G. Hawkes in Corning, New York, which is in Steuben County, from which the company name was derived. Hawkes was the owner of the largest cut glass firm then operating in Corning. Carder was an Englishman (born September 18, 1863) who had many years' experience designing glass for Stevens and Williams in England. Hawkes purchased the glass blanks for his cutting shop from many sources and eventually wanted to start a factory to make the blanks himself. Hawkes convinced Carder to come to Corning and manage such a factory. Carder, who had been passed over for promotion at Stevens and Williams, consented to do so.In 1918, Steuben was acquired by Corning Glass Works and became the Steuben Division.In July 2008, Steuben was sold by Corning Incorporated for an undisclosed price to Schottenstein Stores,[2] which also owns 51% of Retail Ventures, a holding company for DSW, Filene's Basement, and formerly Value City Department Stores; Value City Furniture, which changed its name to American Signature Furniture; 15% of American Eagle Outfitters, retail liquidator SB Capital Group, some 50 shopping centers, and 5 factories producing its shoes, furniture and crystal.On September 15, 2011, Schottenstein announced it was shutting down Steuben's Corning factory and Manhattan store, ending the company's 108-year history. Soon after, Corning Incorporated repurchased the Steuben brand. In early 2014, The Corning Museum of Glass announced that it would work with independent contractors to reproduce Steuben using a new, lead-free formula and their classic leaded crystal.Carder period (1903-1932) Steuben Glass Works started operation in October 1903. Carder produced blanks for Hawkes and also began producing cut glass himself. Carder's great love was colored glass and had been instrumental in the reintroduction of colored glass while at Stevens and Williams. When Steuben's success at producing blanks for Hawkes became assured, Carder began to experiment with colored glass and continued experiments that were started in England. He soon perfected Gold Aurene which was similar to iridescent art glass that was being produced by Tiffany and others. Gold Aurene was followed by a wide range of colored art glass that eventually was produced in more than 7,000 shapes and 140 colors.Steuben Glass Works continued to produce glass of all sorts until World War I. At that time war time restrictions made it impossible for Steuben to acquire the materials needed to continue manufacture. The company was subsequently sold to Corning Glass Works and became the Steuben Division. Carder continued as Division manager without any real change in the company's operation except that he now had reporting responsibilities to Corning Glass Works' management. Corning's management tried, mostly unsuccessfully, to limit the articles that Steuben made to only the most popular. Production continued until about 1932.In 1932, there was a major change in Steuben management. The nationwide depression had limited the sale of Steuben and there was a lessening of public interest in colored glass. In February 1932, John MacKay was appointed to Carder's position. Carder became Art Director for Corning Glass Works. Steuben then produced primarily colorless art glass.Steuben still produced colored art glass, but mostly to fill special orders. A few new colors were added after Carder transitioned into his new role with Corning Glass Works, but the last known sale for colored art glass by Steuben was in 1943 TW273

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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 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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