文鎮・インク壺・置き時計

Tittot Chinese Art Glass Green Dragon Paperweight Sculpture. Still in box with paperwork and COA, no damage or glass sculpture. 3 1/8" square x 1.25" deep. TW219

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pat 1879 Iron/Brass doorbell body. Fancy, just the body shown, no guts. 5.5" center to center mounting holes. isshelf

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French Bayeux Tapestry Lustre Wall plaque/trinket dish 4.25" with no damage or issues. Great piece likely from the second quarter of the 20th century.

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c1900 Brass Art nouveau Inkwell with Embossed Grapes Glass Insert. No issues other than tiny roughness on the insert that's expected. 5" wide x 2" tall.

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c1900 Blackpool England Souvenir Double inkwell in boat form. No cracks or chips, slightest wear to the front mond seam, oxidation to brass collars on inkwells. 7.25" long. B54

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1900 Black Forest Carved Shoe Inkwell. Late 19th to early 20th century 4.5" long x 2.25" tall with no damage, some ink spilled long ago on front to give it character. TW192

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c1890 Quarter Sawn Oak Piano Form Desk Caddy with double inkwell. Unusual piece<br>from the last quarter of the 19th century. Nice sized desk caddy with multiple<br>drawers and compartments shaped like a piano. The top grill comes out but also<br>has a slot to keep it in, the possibilities are endless, imagine all the stuff<br>you could keep in this. 11" wide x 10.5" tall with no damage or issues, even has<br>the porcelain inserts for the inkwells. Also has a brass presentation plaque on<br>the top that was never engraved.<br>isshelf

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c1890 Hotel Inkwell with Bell Pen rest, and two large crystal inkwells. Rare and unusual inkwell likely from a hotel or shop, over 100 years old guaranteed. Lots of brass polish reside from years could easily be removed with some water and a toothbrush if desired. The two large glass inkwells are 2.75" square x 3.75" tall. They are in good condition with one chip on front right of one and very few tiny tiny flakes on sharp edges. The base of the inkwell measures 12.75" x 5 7/8" b52

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c1890 Banker's Dip Pen Stand with Mother of pearl calligraphy pens. Selling the lot shown, two pens missing nibs. Longest 7", stand 5.25" tall. Slight roughness to tips of a few mother of pearl pens, and slight bends to a few nibs. TW260

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c1880 French Bronze Champleve Diminutive Ladies Inkwell and Letter opener. A very small and attractive inkwell and letter opener, doesn't have to be a ladies but I believe it was intended for so in the late 19th century. Letter opener is 5 7/8" long, inkwell is 3.75" tall x 4.25" wide at base. No significant loss or damage, there is one scratch on the alabaster insert that shows more in pics than real life. There is no liner for the inkwell. tw146

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c1880 Faceted Blue Glass inkwell. 2" wide x 2 3/8" tall with no cracks, chips, or restorations. Very slight roughness to the sharp corners at the base only visible upon very close examination. perfumeshelf

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c1880 コバルトフラッシュカットでインク壺を透明にします。オリジナルのドームが付いた素敵な珍しいコバルトカットのオーバーレイガラスインク壺。ドームの底に小さな傷があり、簡単に削れてしまう可能性がありますが、非常に小さいです。その他の亀裂、欠け、修復物はありません。高さ 3 インチ x 幅 2.25 インチ。TW156

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c1870 French Bronze Censer/Candlesticks pair. Selling the pair shown each with a<br>central stash spot/censer/whatever you desire it to be for. Both extremely heavy<br>for their size solid bronze with no issues. Each 8" wide x 7.5" tall, my hand<br>holding mouse in two pics for scale.<br><br>These are symetrical, they are threaded together and were loose in the pics, I<br>didn't think to line them up for the pics, they line up just fine and are tight<br>when tightened with no issues. I'm just always in a hurry...they are great.<br><br>isshefl

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Sheared Lip Ink bottle collection. Selling the collection shown, collected in the mid 20th century. Tallest is 4.75", all guaranteed mid to late 19th century. Examples of most of these have been found at Civil War excavations, these are from the estate where everything was collected in the 50's and 60's. The Lyons ink has a few stable fractures at the top 1" of the bottle, the ribbed short bottle has a very small chip on the base turned up in last pic, the larger Octagon bottle has a stable ding on base corner turned up in last pic. No other issues. TW249

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c1860 French Bois Derci inkwell with Cut Glass insert. Rare item made from Bois Derci a wood composite made in france in the mid 19th century. Marked Veritable Bois Derci in one Circle and Modele Despose in the other there's an AA in both circles center. There is one old chip on the top of the Bois Derci holder shown in pics. One tiniest flake ever on the fine crystal likely Baccarat Insert. No other damage 8.5" wide. TW73

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c1850 Ships Pewter Quill Pen Inkwell . Nice clean condition with fantastic patina and no significant issues. small ding to inner rim of glass insert. Base measures 7 7/8" wide it's flat to keep from turning over on the ship. 2 5/8" tall. Nice rare authentic piece guaranteed over 150 years old. I could find no identifying marks. TW 21

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c1850 French Gilt Bronze Inkwell Putto on Fish, over the top. Super heavy solid bronze with gold dore finish from the mid 19th century sculptural inkwell. Still has original gilt bronze removable insert, no damage or issues. Previous owner that likely paid several thousand dollars for this had their DL# engraved on the base, which people seemed to do quite often with precious relics in the last half of the 20th century. Very special inkwell with two compartments for all kinds of stuff. 9.5" long x 6.5" wide. isshelf

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Antique Sevres Style French Porcelain Inkwells/tray/Match box. Selling the set<br>over 100 years old hand painted French porcelain with no cracks, chips, or<br>restorations. Original inserts for inkwells, the Match box has a striker and<br>appears permanently attached to the tray. Tray is 13.5" wide.<br>TW203

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Antique Republic Period Chinese Famille Rose Scholars Desk Set. This set was<br>purchased 40 years ago as a 100+ year old antique then. It's been kept in a<br>glass display case in someone's home until now as that person has passed away.<br>Marked with 4 Character Qianlong mark. I believe it's from the first half of the<br>20th century.<br><br>The brush pot has a hairline, it's 5.5" tall x 1 7/8" wide at rim. The hairline<br>extends halfway down, that is the only piece that's damaged. The rouge box is<br>4.5" wide x 1.5" deep. Covered ink box is 2 7/8" wide x 1 3/8" deep. That should<br>give you an idea of the dimensions of the other pieces.

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Antique Leather clad Brass mounted document box 12.5" x 7.5" x 5" tall. 19th<br>century box with no issues, clean inside and out.<br><br>isshefl

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Longest 9.5", all solid bronze, only one apparently marked. Japanese Antique Yatate The Japanese yatate is defined as a relatively small, portable, case used to hold a Japanese writing brush (fude) and ink (sumi). In old Japan, yatate were stashed in the obi (kimono belt) so that when one needed to jot down a quick note or letter, they could pull the yatate from their belt, remove the brush from the yatate handle, perhaps add a drop or two of water to the ink basin and start writing. tw147

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Antique Japanese bronze Yatate Portable inkwell collection. One shaped like an<br>antique , longest 7.5"<br><br>Japanese Antique Yatate<br><br>The Japanese yatate is defined as a relatively small, portable, case used to<br>hold a Japanese writing brush (fude) and ink (sumi). In old Japan, yatate were<br>stashed in the obi (kimono belt) so that when one needed to jot down a quick<br>note or letter, they could pull the yatate from their belt, remove the brush<br>from the yatate handle, perhaps add a drop or two of water to the ink basin and<br>start writing.<br><br>tw147

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アンティークな彫刻が施されたビートアップシューズ。 19世紀のものと思われる素晴らしい緑青を持つ素敵な作品。長さ6.5インチ×高さ2 3/8インチ。全て手彫りなのでダメージはありません。目的を達成する準備ができています。TW200

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1890 Longwy Hand Painted French Faience Desk Stand Double Inkwell with Candle Holders. Rare and unusual piece atypical of the work Longwy is mostly known for. Hand painted with precision. One of the inkwell inserts has a very old restorations and stains from ink, over all crazing. NO other cracks, chips, or restorations. 10.5" wide x 6" tall x 6" deep. TW216

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1842 Sterling Silver Inkwell Desk Set Robert Gray & Son Glasgow, Scotland.<br>Rectangular stand fitted with two removable glass inkwells, with sterling tops,<br>flanking the centered foliate engraved pen holder, hallmarked RG&S, marks<br>for Glasgow, rampant lion hallmark, date letter X, approx 4.75"h, 10.75"w,<br>6.5"d, 597 Grams Silver weight not counting the Glass inserts. One small dent on<br>top shown in pics, not a distraction and an easy repair if desired.TW197

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1920年頃 エジプト リバイバル 大理石ベースのブロンズ文鎮彫刻、高さ4 1/8インチ x 幅3.25インチ、美しい緑青があり、ダメージはありません。 19世紀後半から20世紀初頭。

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Republic Period Chinese Cloisonné Trinket box. Nice vintage piece with no issues. 3" wide x 1.25" tall with no damage or issues. B3

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Gentile Glass Millefiori Paperweight. Nice large paperweight in mint condition with no scratches or dings. 3.25" tall x 3" wide. The original glass worker in the Gentile family was Peter Gentile, born in Naples, Italy in 1884. He worked in Naples(Italy), Rochester (Pennsylvania), and Morgantown (West Virginia) before building his own factory in Star City (West Virginia) in 1947. His sons, Frankie, John and Joe Gentile helped him make paperweights in the off hours at the Guild Factory in Morgantown. However, most paperweight production since WWII has been associated with Peter, John, or John's wife Gertrude Gentile. Few weights were signed prior to1963. It is believed that Gentile Glass remained in production until 2006. Most, if not all, paperweights produced from 1975 on were signed. For more information, you can read about the Gentiles in the book American Glass Paperweights and Their Makers by Jean Melvin (1967 and 1970). b34

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c1992 Wedgwood Blue Elephant Paperweight and Trinket Box. Selling both with no wear or damage whatsoever. The measure about 3.25" wide. This pattern was made from 1992-1995. b49

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1960's Mazzega Murano Lamp Dichroic Paperweight Base. Great piece, it needs<br>wiring but since I do a high percentage of international shipping and the future<br>owner may want to put a different fixture on it I am not messing with it. It's<br>easy, one trip to the hardware store and 10 minutes and the possibilities are<br>endless...almost. No cracks, chips, dings, or restorations, a few scratches only<br>visible upon very close examination. 8.5" tall, 3.5" tall without fixture 6 3/8"<br>wide with handle. very heavy.<br>TW141

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Randy Strong 1998 Studio Art Glass Heart Dichroic Paperweight. No cracks, chips,<br>scratches, or dings. 3.25" x 2.75"<br>b31

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Antique Napoleon Bronze Statue Paperweight 19th Century Signed Maton. Guaranteed<br>well over 100 years old with fantastic patina. Signed Maton and also has the<br>foundry stamp on the back of the base. Great detail and very heavy for it's<br>size. Would go great on a desk as a paperweight. 5.75" tall x 2.75" wide.<br>B28

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Baccarat Thomas Payne Sulfide Paperweight. Very few of these paperweights were made, I'm not exactly sure of the date on it, most in the collection were from the seventies. 3.25" wide x 2.5" tall and in mint condition with no cracks, chips, dings, or wear. tw130

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1950s ADAC," Allgemeiner Deutscher Automobil- Club" Grill badge, German Automobile Club. Selling both badges with no significant issues. tw88

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Texas Tech Electrical Engineering Paperweight c1980 brass/ bronze. Nice quality<br>vintage paperweight, won't find another. Looks like it says class of 80. From an<br>Electrical engineers estate, I think maybe he was a professor.<br>Tw4

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c1930 Kienzle Germany Alarm Clock Gold Dore Bronze with Blue Enamel. Nice art deco alarm clock from the first half of the 20th century. Good working order with working alarm. Very small chip on right side of crystal, no other significant issues. 3 1/8" wide. TW10

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c1890 Papier Mache with Mother of pearl Inlay Double Inkwell with Pen rest.<br>Measures 11.5" x 9.75" with some typical wear but in overall good condition. No<br>damage to glass inkwells, no cracks or repairs to base. Hinges are good and<br>strong on inkwells, they're dirty.<br>TW10

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Art Glass Paperweight Eickholt fountain Vortex Magnum Dichroic Iridescent 4"<br>tall x 3.5" wide with no cracks, chips, dings, scratches, or other issues.<br>Beautiful, better than the pics.

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Size Approx 6.5cm Diameter. Heavy paperweight, it's not a box with a lid, no damage or detectable wear.

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Andrews Rollin Karg Art Glass Paperweight no cracks, chips, scratches, or dings. 3.5" wide x 1.5" tall. Rollin Karg, is a renowned glass artisan from the Midwest who designs and creates small and massive sculptural pieces from molten glass, usually shaped in a free-form, asymmetrical manner.  He brings the glass to life through his dynamic use of color, especially dichroic colors – a color that transmits one color while reflecting another – which adds a unique dimension to the piece. While Karg prefers to use traditional techniques of glass making that are thousands of years old, he also adds his own inventive techniques to each project.  It is amazing and awe-inspiring to watch him create massive works of art through the use of a five-foot blowpipe. Although Karg spent the first part of his career as an industrial engineer, photographer, potter and woodworker before becoming a full time glass artist in 1983, he has quickly gained notoriety for his contribution to the world of glass art.  He has won many awards in competitions and shows throughout the United States and his work has been exhibited throughout most of North America.

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1940's Lucite/fiberglass/wood Art Deco Clock converted to battery 4.75" tall x 6<br>1/8" wide. Near mint condition, extremely special high end designer stuff,<br>Didn't research but it's not some regular mass produced clock. Converted to<br>battery, dated either 1940 or 46 by hand inside. Works.

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Great early Inkwell with no cracks, chips, restorations. It has clean gold, very tight hinge, nice patina on the bronze mounts. B8

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Great early Inkwell with no cracks, chips, restorations. It has clean gold, very tight hinge, nice patina on the bronze mounts. B8

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Great early Inkwell with no cracks, chips, restorations. Some wear to Dore on the bronze. All hand decorated. 3.5" tall x 3.75" wide.

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Great early Inkwell with no cracks, chips, restorations. Some wear to Gilding. All hand decorated. 3.5" tall x 3.25" wide.

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3.25" tall x 3.5" wide with no cracks, chips, dings, scratches, or other issues. Beautiful, better than the pics. Irving returned to college in his fifties and earned an MA in Art from Vanderbilt University specializing in glass technology and art glass making. Irving Slotchiver developed several glass formulas that are still being used today. Having spent almost twenty years in the art glass business and receiving top awards from many shows across the country, he once again retired.

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Vintage Itallian Murano lampwork paperweight. No dings, cracks, chips, or surface scratches, very few base scratches. 3.25" wide. pwdrawer

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Quartz Amethyst Cats Carved Eagle Head paperweight 2.5" wide, natural hand carved stones with glass eyes. No damage. pwdrawer

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1950's-60's Merck Diuril medical model promotional paperweights. Selling both,<br>plastic with no damage, filled with water. 6.5" tall. Attached is an example of<br>what a pair sold for in 2017 through an Auction house that's connected with<br>Ebay, first price is with the Buyers premium, second without. No buyers premium<br>here.<br>kitshelf

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Selling both mid to late 19th century. I've seen these called civil war<br>Inkwells, heard they've been dug at battle fields. I don't know about all that,<br>but they are 19th century for sure. One is Russian, the other unmarked. Both<br>sprigs, clasps, and hinges work well. One is missing the piece that covers the<br>spring to seal the jar. Many things would work for that if it matters. No other<br>issues other than appropriate wear. They're both 1 9/16" tall.

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1920's Missouri and Kansas Telephone Company Blue Bell Paperweight. No cracks or chips, A few very very tiny mold seam chigger bates on base rim. Right after the turn of the century the blue bell paperweights made their debut within the Bell System appearing on employee's desk. It is believed Fenton Glass Co. manufactured these paperweight starting around 1910 until 1930. The individual companies within the bell system ordered these paperweights with their names in white stencling on the front and Local & Long Distance Telephone on the back side. However there several exceptions to this, two of them being Mountain States Telephone and Western Electric Company. The blue paperweights were manufactured in ice blue, peacock blue, and colbalt blue. isshelf

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1996 "Present day Rookwood Pottery" Polar Bear paperweight in box. No damage,<br>still in box, box has wear. Cat is 4.25" tall and heavy enough for a paperweight<br>or possibly even a bookend for smaller books.<br>. It does bear a faint glazed over rookwood mark in addition to other markings,<br>it's just faint and I didn't have time to zoom in.<br><br>b17

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4.75" Large Eickholt Opalescent Iridescent Jellyfish Paperweight with controlled bubbles. No cracks, chips, or dings. First pic is same paperweight on a black background which seems to present it better. isshelf

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Van Briggle Elephant Paperweight in Blue Matte. Great piece from the second quarter of the 20th century. No cracks, chips, or restorations, some crazing with no stains. 3.5" long x 2.5" tall. tw122 Van Briggle Art Pottery was at the time of its demise the oldest continuously operating art pottery in the United States, having been established in Colorado Springs, Colorado in 1901 by Artus and Anne Van Briggle. Artus had a significant impact on the Art Nouveau movement in the United States, and his pottery is foundational to American Art Pottery. The Art Nouveau style favored by its founders continues to influence the pottery's designs. Artus Van Briggle settled in Colorado Springs in 1899 after establishing himself as a notable artist with the Rookwood Pottery of Ohio. With Anne Louise (née Gregory), his new wife, Artus began exploring the Art Nouveau style in their pottery creations, drawing awards and accolades from the American and European art communities. Although he was a talented painter who had displayed and won awards in Europe, from 1899 until his death Artus devoted himself almost exclusively to the craft and art of pottery. Van Briggle's Art Nouveau designs and distinctive matte glazes were awarded high honors from prestigious sources, including the Paris Salon, the Saint Louis Exposition, the Lewis and Clark Centennial Exposition, and the American Arts and Crafts Exhibition in Boston. The Van Briggle Pottery Studio closed in spring 2012 Artus Van Briggle in 1900. Born to artistic parents on March 21, 1869, Artus Van Briggle had an early introduction to painting using materials found about the home. The Van Briggle family lived in Ohio, one of America's hotbeds of ceramic design. At the age of 17 he moved to Cincinnati, Ohio, where he decorated china dolls at the Arnold Fairyland Doll Store, while attending his early art studies at the Cincinnati Art School. After a stint at the Avon Pottery where he was introduced to the ceramic arts, Artus took a job at Rookwood Pottery; there he excelled at hand-painting designs. His skill and talent were recognized by Rookwood founder, Maria Storer, who became his benefactor, even sending him to France to study art at the Académie Julian in Paris. In Europe, he was exposed to styles of art and became infatuated with an early matte glaze from the Chinese Ming Dynasty; a type that was lost to history. Artus also met his future wife, fellow American student Anne Lawrence Gregory, an accomplished artist in her own right. Finishing their Paris studies in 1896, they returned to America. Artus resumed his work at Rookwood and also started sculpting and experimented with recreating the lost Ming Dynasty glazes. Perfecting the distinctive dull or matte glaze In 1899, struggling with health issues due to tuberculosis, Artus left Rookwood and moved to the drier air of Colorado Springs, Colorado. Upon befriending the Holmes family of Chico Basin, he stayed at the HOP Ranch during the summers of 1899, 1900, and 1901 to reduce work stress and regain strength while pursuing his own styles of pottery, centered around the Art Nouveau movement. He continued his research on the ancient matte glazes that fascinated him in Paris. After two years of trials and experiments a matte glaze was perfected. One of the matte glazes perfected by Artus was the matte blue glaze, based on an ancient Chinese process that had long been lost to history. Artus opened Van Briggle Pottery in 1901 and was joined by Anne Gregory, who took a position as a high school art teacher in Colorado Springs. In 1903, Artus Van Briggle was appointed First Director of the Department of Art and Design in Colorado College, succeeding Louis Soutter, a Swiss artist (born in Geneva, Switzerland) he met in Paris in 1895. In 1902, Anne and Artus were married, and she devoted herself to their pottery; she created designs and collaborated in all aspects of the enterprise with her husband. Late 1902 brought Van Briggle awards for his glazes and designs in Art Nouveau from the prestigious Paris Salon; he was now an accepted artist. During their early years, Artus and Ann established hundreds of Art Nouveau styles of pottery under the Van Briggle name. The Despondency vase won Van Briggle wide acclaim and first place at the Paris Salon in 1903. A display at the 1904 Centennial Exhibit in St. Louis won Van Briggle more awards and greater international fame. Van Briggle Memorial Pottery Pottery loses its founder Artus Van Briggle died in July 1904, at the age of 35. Anne continued the pottery using the forms created by Artus as a foundation and adding more designs of her own. In 1907, Anne and pottery stockholder and city-founder William Jackson Palmer began construction on a new pottery on Uintah Street. The Van Briggle Memorial Pottery — designed by Dutch architect Nicholas Van den Arend — was opened in 1908 and stands today as an historic landmark noted for its architecture and use of ceramics in the facade. Having remarried in 1908, Anne Louise Gregory Ritter leased the pottery in 1912 to Edmund deForest Curtis, who ran it until 1916. She sold the company in 1922 to J.F. and I.H. Lewis and moved to Denver the following year, where she would concentrate on painting and where she remained until her death in 1929. In her absence, the pottery fell under financial hardships and was sold at sheriff's auction; later it was re-sold, once more becoming the property of Mr. Curtis. Surviving disaster and war The pottery was sold twice more in the ensuing decade and survived a fire in 1919 that gutted the interior but left the brick shell and kilns. New owners I.F. and J.H. Lewis took the opportunity to modernize and expand the facility beginning in 1920 and stabilized the production and financial aspects of the pottery for the first time. Despite damage from the flood of 1935—the most destructive flood in Colorado Springs history — that destroyed much of the company's records and molds, the pottery continued to enjoy success up to World War II, when they closed for approximately three years as the United States focused its resources on the war effort. With the increase of interstate travel in the United States a freeway was planned in 1953 for Colorado Springs which J.H. Lewis estimated would run through the Memorial Plant site. Although the freeway eventually was planned to avoid destroying the historic pottery, Mr. Lewis nonetheless put into action plans to relocate the pottery to a higher-traffic area of Colorado Springs. In 1955, Mr. Lewis and Clem Hull brought a new facility on line at a renovated railroad roundhouse on Midland Road. The new facility, known as the Midland Plant, had a smaller capacity but enjoyed quick success due to its location on the main highway to the Garden of the Gods and other tourist locations. In 1968, Mr. Lewis sold the Memorial Plant to Colorado College, and it fell into disrepair for the ensuing 40 years, being used variously as offices and storage.

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Early 1920's Van Briggle Rabbit Paperweight in mulberry. No cracks, chips, restorations or crazing. 3 7/8" long x 2.5" tall. tw122Van Briggle Art Pottery was at the time of its demise the oldest continuously operating art pottery in the United States, having been established in Colorado Springs, Colorado in 1901 by Artus and Anne Van Briggle. Artus had a significant impact on the Art Nouveau movement in the United States, and his pottery is foundational to American Art Pottery. The Art Nouveau style favored by its founders continues to influence the pottery's designs. Artus Van Briggle settled in Colorado Springs in 1899 after establishing himself as a notable artist with the Rookwood Pottery of Ohio. With Anne Louise (née Gregory), his new wife, Artus began exploring the Art Nouveau style in their pottery creations, drawing awards and accolades from the American and European art communities. Although he was a talented painter who had displayed and won awards in Europe, from 1899 until his death Artus devoted himself almost exclusively to the craft and art of pottery. Van Briggle's Art Nouveau designs and distinctive matte glazes were awarded high honors from prestigious sources, including the Paris Salon, the Saint Louis Exposition, the Lewis and Clark Centennial Exposition, and the American Arts and Crafts Exhibition in Boston.The Van Briggle Pottery Studio closed in spring 2012Artus Van Briggle in 1900. Born to artistic parents on March 21, 1869, Artus Van Briggle had an early introduction to painting using materials found about the home. The Van Briggle family lived in Ohio, one of America's hotbeds of ceramic design. At the age of 17 he moved to Cincinnati, Ohio, where he decorated china dolls at the Arnold Fairyland Doll Store, while attending his early art studies at the Cincinnati Art School. After a stint at the Avon Pottery where he was introduced to the ceramic arts, Artus took a job at Rookwood Pottery; there he excelled at hand-painting designs. His skill and talent were recognized by Rookwood founder, Maria Storer, who became his benefactor, even sending him to France to study art at the Académie Julian in Paris.In Europe, he was exposed to styles of art and became infatuated with an early matte glaze from the Chinese Ming Dynasty; a type that was lost to history. Artus also met his future wife, fellow American student Anne Lawrence Gregory, an accomplished artist in her own right. Finishing their Paris studies in 1896, they returned to America. Artus resumed his work at Rookwood and also started sculpting and experimented with recreating the lost Ming Dynasty glazes.Perfecting the distinctive dull or matte glaze In 1899, struggling with health issues due to tuberculosis, Artus left Rookwood and moved to the drier air of Colorado Springs, Colorado. Upon befriending the Holmes family of Chico Basin, he stayed at the HOP Ranch during the summers of 1899, 1900, and 1901 to reduce work stress and regain strength while pursuing his own styles of pottery, centered around the Art Nouveau movement. He continued his research on the ancient matte glazes that fascinated him in Paris. After two years of trials and experiments a matte glaze was perfected. One of the matte glazes perfected by Artus was the matte blue glaze, based on an ancient Chinese process that had long been lost to history.Artus opened Van Briggle Pottery in 1901 and was joined by Anne Gregory, who took a position as a high school art teacher in Colorado Springs. In 1903, Artus Van Briggle was appointed First Director of the Department of Art and Design in Colorado College, succeeding Louis Soutter, a Swiss artist (born in Geneva, Switzerland) he met in Paris in 1895.In 1902, Anne and Artus were married, and she devoted herself to their pottery; she created designs and collaborated in all aspects of the enterprise with her husband. Late 1902 brought Van Briggle awards for his glazes and designs in Art Nouveau from the prestigious Paris Salon; he was now an accepted artist. During their early years, Artus and Ann established hundreds of Art Nouveau styles of pottery under the Van Briggle name. The Despondency vase won Van Briggle wide acclaim and first place at the Paris Salon in 1903. A display at the 1904 Centennial Exhibit in St. Louis won Van Briggle more awards and greater international fame. Van Briggle Memorial Pottery Pottery loses its founder Artus Van Briggle died in July 1904, at the age of 35. Anne continued the pottery using the forms created by Artus as a foundation and adding more designs of her own. In 1907, Anne and pottery stockholder and city-founder William Jackson Palmer began construction on a new pottery on Uintah Street. The Van Briggle Memorial Pottery — designed by Dutch architect Nicholas Van den Arend — was opened in 1908 and stands today as an historic landmark noted for its architecture and use of ceramics in the facade.Having remarried in 1908, Anne Louise Gregory Ritter leased the pottery in 1912 to Edmund deForest Curtis, who ran it until 1916. She sold the company in 1922 to J.F. and I.H. Lewis and moved to Denver the following year, where she would concentrate on painting and where she remained until her death in 1929. In her absence, the pottery fell under financial hardships and was sold at sheriff's auction; later it was re-sold, once more becoming the property of Mr. Curtis.Surviving disaster and war The pottery was sold twice more in the ensuing decade and survived a fire in 1919 that gutted the interior but left the brick shell and kilns. New owners I.F. and J.H. Lewis took the opportunity to modernize and expand the facility beginning in 1920 and stabilized the production and financial aspects of the pottery for the first time. Despite damage from the flood of 1935—the most destructive flood in Colorado Springs history — that destroyed much of the company's records and molds, the pottery continued to enjoy success up to World War II, when they closed for approximately three years as the United States focused its resources on the war effort.With the increase of interstate travel in the United States a freeway was planned in 1953 for Colorado Springs which J.H. Lewis estimated would run through the Memorial Plant site. Although the freeway eventually was planned to avoid destroying the historic pottery, Mr. Lewis nonetheless put into action plans to relocate the pottery to a higher-traffic area of Colorado Springs. In 1955, Mr. Lewis and Clem Hull brought a new facility on line at a renovated railroad roundhouse on Midland Road. The new facility, known as the Midland Plant, had a smaller capacity but enjoyed quick success due to its location on the main highway to the Garden of the Gods and other tourist locations.In 1968, Mr. Lewis sold the Memorial Plant to Colorado College, and it fell into disrepair for the ensuing 40 years, being used variously as offices and storage.

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50's-60's Italian Murano Dog figure with gold flecks 6" tall x 5" deep with no cracks, chips, or restorations, no dings. Appropriate shelf wear on base as it's heavy and 60+ years old. Estate fresh as of yesterday with no identifying marks, likely had a paper label.

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c1920's Van Briggle Elephant Paperweight in Blue Matte. No cracks, chips, or restorations, overall crazing with no stains. 3.5" long x 2.5" tall. tw122 Van Briggle Art Pottery was at the time of its demise the oldest continuously operating art pottery in the United States, having been established in Colorado Springs, Colorado in 1901 by Artus and Anne Van Briggle. Artus had a significant impact on the Art Nouveau movement in the United States, and his pottery is foundational to American Art Pottery. The Art Nouveau style favored by its founders continues to influence the pottery's designs. Artus Van Briggle settled in Colorado Springs in 1899 after establishing himself as a notable artist with the Rookwood Pottery of Ohio. With Anne Louise (née Gregory), his new wife, Artus began exploring the Art Nouveau style in their pottery creations, drawing awards and accolades from the American and European art communities. Although he was a talented painter who had displayed and won awards in Europe, from 1899 until his death Artus devoted himself almost exclusively to the craft and art of pottery. Van Briggle's Art Nouveau designs and distinctive matte glazes were awarded high honors from prestigious sources, including the Paris Salon, the Saint Louis Exposition, the Lewis and Clark Centennial Exposition, and the American Arts and Crafts Exhibition in Boston. The Van Briggle Pottery Studio closed in spring 2012 Artus Van Briggle in 1900. Born to artistic parents on March 21, 1869, Artus Van Briggle had an early introduction to painting using materials found about the home. The Van Briggle family lived in Ohio, one of America's hotbeds of ceramic design. At the age of 17 he moved to Cincinnati, Ohio, where he decorated china dolls at the Arnold Fairyland Doll Store, while attending his early art studies at the Cincinnati Art School. After a stint at the Avon Pottery where he was introduced to the ceramic arts, Artus took a job at Rookwood Pottery; there he excelled at hand-painting designs. His skill and talent were recognized by Rookwood founder, Maria Storer, who became his benefactor, even sending him to France to study art at the Académie Julian in Paris. In Europe, he was exposed to styles of art and became infatuated with an early matte glaze from the Chinese Ming Dynasty; a type that was lost to history. Artus also met his future wife, fellow American student Anne Lawrence Gregory, an accomplished artist in her own right. Finishing their Paris studies in 1896, they returned to America. Artus resumed his work at Rookwood and also started sculpting and experimented with recreating the lost Ming Dynasty glazes. Perfecting the distinctive dull or matte glaze In 1899, struggling with health issues due to tuberculosis, Artus left Rookwood and moved to the drier air of Colorado Springs, Colorado. Upon befriending the Holmes family of Chico Basin, he stayed at the HOP Ranch during the summers of 1899, 1900, and 1901 to reduce work stress and regain strength while pursuing his own styles of pottery, centered around the Art Nouveau movement. He continued his research on the ancient matte glazes that fascinated him in Paris. After two years of trials and experiments a matte glaze was perfected. One of the matte glazes perfected by Artus was the matte blue glaze, based on an ancient Chinese process that had long been lost to history. Artus opened Van Briggle Pottery in 1901 and was joined by Anne Gregory, who took a position as a high school art teacher in Colorado Springs. In 1903, Artus Van Briggle was appointed First Director of the Department of Art and Design in Colorado College, succeeding Louis Soutter, a Swiss artist (born in Geneva, Switzerland) he met in Paris in 1895. In 1902, Anne and Artus were married, and she devoted herself to their pottery; she created designs and collaborated in all aspects of the enterprise with her husband. Late 1902 brought Van Briggle awards for his glazes and designs in Art Nouveau from the prestigious Paris Salon; he was now an accepted artist. During their early years, Artus and Ann established hundreds of Art Nouveau styles of pottery under the Van Briggle name. The Despondency vase won Van Briggle wide acclaim and first place at the Paris Salon in 1903. A display at the 1904 Centennial Exhibit in St. Louis won Van Briggle more awards and greater international fame. Van Briggle Memorial Pottery Pottery loses its founder Artus Van Briggle died in July 1904, at the age of 35. Anne continued the pottery using the forms created by Artus as a foundation and adding more designs of her own. In 1907, Anne and pottery stockholder and city-founder William Jackson Palmer began construction on a new pottery on Uintah Street. The Van Briggle Memorial Pottery — designed by Dutch architect Nicholas Van den Arend — was opened in 1908 and stands today as an historic landmark noted for its architecture and use of ceramics in the facade. Having remarried in 1908, Anne Louise Gregory Ritter leased the pottery in 1912 to Edmund deForest Curtis, who ran it until 1916. She sold the company in 1922 to J.F. and I.H. Lewis and moved to Denver the following year, where she would concentrate on painting and where she remained until her death in 1929. In her absence, the pottery fell under financial hardships and was sold at sheriff's auction; later it was re-sold, once more becoming the property of Mr. Curtis. Surviving disaster and war The pottery was sold twice more in the ensuing decade and survived a fire in 1919 that gutted the interior but left the brick shell and kilns. New owners I.F. and J.H. Lewis took the opportunity to modernize and expand the facility beginning in 1920 and stabilized the production and financial aspects of the pottery for the first time. Despite damage from the flood of 1935—the most destructive flood in Colorado Springs history — that destroyed much of the company's records and molds, the pottery continued to enjoy success up to World War II, when they closed for approximately three years as the United States focused its resources on the war effort. With the increase of interstate travel in the United States a freeway was planned in 1953 for Colorado Springs which J.H. Lewis estimated would run through the Memorial Plant site. Although the freeway eventually was planned to avoid destroying the historic pottery, Mr. Lewis nonetheless put into action plans to relocate the pottery to a higher-traffic area of Colorado Springs. In 1955, Mr. Lewis and Clem Hull brought a new facility on line at a renovated railroad roundhouse on Midland Road. The new facility, known as the Midland Plant, had a smaller capacity but enjoyed quick success due to its location on the main highway to the Garden of the Gods and other tourist locations. In 1968, Mr. Lewis sold the Memorial Plant to Colorado College, and it fell into disrepair for the ensuing 40 years, being used variously as offices and storage.

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Early 1920's Van Briggle Rabbit Paperweight in mulberry. No cracks, chips,<br>restorations or crazing. 3 7/8" long x 2.5" tall.<br>tw122<br><br>Van Briggle Art Pottery was at the time of its demise the oldest continuously<br>operating art pottery in the United States, having been established in Colorado<br>Springs, Colorado in 1901 by Artus and Anne Van Briggle. Artus had a significant<br>impact on the Art Nouveau movement in the United States, and his pottery is<br>foundational to American Art Pottery. The Art Nouveau style favored by its<br>founders continues to influence the pottery's designs.<br><br><br>Artus Van Briggle settled in Colorado Springs in 1899 after establishing himself<br>as a notable artist with the Rookwood Pottery of Ohio. With Anne Louise (née<br>Gregory), his new wife, Artus began exploring the Art Nouveau style in their<br>pottery creations, drawing awards and accolades from the American and European<br>art communities. Although he was a talented painter who had displayed and won<br>awards in Europe, from 1899 until his death Artus devoted himself almost<br>exclusively to the craft and art of pottery. Van Briggle's Art Nouveau designs<br>and distinctive matte glazes were awarded high honors from prestigious sources,<br>including the Paris Salon, the Saint Louis Exposition, the Lewis and Clark<br>Centennial Exposition, and the American Arts and Crafts Exhibition in Boston.<br><br>The Van Briggle Pottery Studio closed in spring 2012<br><br>Artus Van Briggle in 1900.<br>Born to artistic parents on March 21, 1869, Artus Van Briggle had an early<br>introduction to painting using materials found about the home. The Van Briggle<br>family lived in Ohio, one of America's hotbeds of ceramic design. At the age of<br>17 he moved to Cincinnati, Ohio, where he decorated china dolls at the Arnold<br>Fairyland Doll Store, while attending his early art studies at the Cincinnati<br>Art School. After a stint at the Avon Pottery where he was introduced to the<br>ceramic arts, Artus took a job at Rookwood Pottery; there he excelled at<br>hand-painting designs. His skill and talent were recognized by Rookwood founder,<br>Maria Storer, who became his benefactor, even sending him to France to study art<br>at the Académie Julian in Paris.<br><br>In Europe, he was exposed to styles of art and became infatuated with an early<br>matte glaze from the Chinese Ming Dynasty; a type that was lost to history.<br>Artus also met his future wife, fellow American student Anne Lawrence Gregory,<br>an accomplished artist in her own right. Finishing their Paris studies in 1896,<br>they returned to America. Artus resumed his work at Rookwood and also started<br>sculpting and experimented with recreating the lost Ming Dynasty glazes.<br><br>Perfecting the distinctive dull or matte glaze<br>In 1899, struggling with health issues due to tuberculosis, Artus left Rookwood<br>and moved to the drier air of Colorado Springs, Colorado. Upon befriending the<br>Holmes family of Chico Basin, he stayed at the HOP Ranch during the summers of<br>1899, 1900, and 1901 to reduce work stress and regain strength while pursuing<br>his own styles of pottery, centered around the Art Nouveau movement. He<br>continued his research on the ancient matte glazes that fascinated him in Paris.<br>After two years of trials and experiments a matte glaze was perfected. One of<br>the matte glazes perfected by Artus was the matte blue glaze, based on an<br>ancient Chinese process that had long been lost to history.<br><br>Artus opened Van Briggle Pottery in 1901 and was joined by Anne Gregory, who<br>took a position as a high school art teacher in Colorado Springs. In 1903, Artus<br>Van Briggle was appointed First Director of the Department of Art and Design in<br>Colorado College, succeeding Louis Soutter, a Swiss artist (born in Geneva,<br>Switzerland) he met in Paris in 1895.<br><br>In 1902, Anne and Artus were married, and she devoted herself to their pottery;<br>she created designs and collaborated in all aspects of the enterprise with her<br>husband. Late 1902 brought Van Briggle awards for his glazes and designs in Art<br>Nouveau from the prestigious Paris Salon; he was now an accepted artist. During<br>their early years, Artus and Ann established hundreds of Art Nouveau styles of<br>pottery under the Van Briggle name. The Despondency vase won Van Briggle wide<br>acclaim and first place at the Paris Salon in 1903. A display at the 1904<br>Centennial Exhibit in St. Louis won Van Briggle more awards and greater<br>international fame.<br><br><br>Van Briggle Memorial Pottery<br>Pottery loses its founder<br>Artus Van Briggle died in July 1904, at the age of 35. Anne continued the<br>pottery using the forms created by Artus as a foundation and adding more designs<br>of her own. In 1907, Anne and pottery stockholder and city-founder William<br>Jackson Palmer began construction on a new pottery on Uintah Street. The Van<br>Briggle Memorial Pottery — designed by Dutch architect Nicholas Van den Arend —<br>was opened in 1908 and stands today as an historic landmark noted for its<br>architecture and use of ceramics in the facade.<br><br>Having remarried in 1908, Anne Louise Gregory Ritter leased the pottery in 1912<br>to Edmund deForest Curtis, who ran it until 1916. She sold the company in 1922<br>to J.F. and I.H. Lewis and moved to Denver the following year, where she would<br>concentrate on painting and where she remained until her death in 1929. In her<br>absence, the pottery fell under financial hardships and was sold at sheriff's<br>auction; later it was re-sold, once more becoming the property of Mr. Curtis.<br><br>Surviving disaster and war<br>The pottery was sold twice more in the ensuing decade and survived a fire in<br>1919 that gutted the interior but left the brick shell and kilns. New owners<br>I.F. and J.H. Lewis took the opportunity to modernize and expand the facility<br>beginning in 1920 and stabilized the production and financial aspects of the<br>pottery for the first time. Despite damage from the flood of 1935—the most<br>destructive flood in Colorado Springs history — that destroyed much of the<br>company's records and molds, the pottery continued to enjoy success up to World<br>War II, when they closed for approximately three years as the United States<br>focused its resources on the war effort.<br><br>With the increase of interstate travel in the United States a freeway was<br>planned in 1953 for Colorado Springs which J.H. Lewis estimated would run<br>through the Memorial Plant site. Although the freeway eventually was planned to<br>avoid destroying the historic pottery, Mr. Lewis nonetheless put into action<br>plans to relocate the pottery to a higher-traffic area of Colorado Springs. In<br>1955, Mr. Lewis and Clem Hull brought a new facility on line at a renovated<br>railroad roundhouse on Midland Road. The new facility, known as the Midland<br>Plant, had a smaller capacity but enjoyed quick success due to its location on<br>the main highway to the Garden of the Gods and other tourist locations.<br><br>In 1968, Mr. Lewis sold the Memorial Plant to Colorado College, and it fell into<br>disrepair for the ensuing 40 years, being used variously as offices and storage.

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1994 Maytum Studio Art glass paperweight. 3 5/8" tall with no damage.<br><br>Maytum Studio, Colorado.<br>Brian Maytum; 1979-1999

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Featuring a Grizzly Bear, this beautiful high relief, antique finish, sterling<br>silver medal was produced in the early 1970's by The Wittnauer Precious Metals<br>Guild for the America's Natural Legacy series sold by the Longines Symphonette<br>Society . The medallion measures approximately 40mm and contains 525 grains<br>(approximately 1.09 troy ounces) of sterling silver. Edge marking reads:<br>LONGINES SYMPHONETTE STERLING.<br><br>silverdrawer

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c1963 JFK Sterling Silver Memorial Medallion in Spanglish. The John F Kennedy in<br>front is in English, rest in Spanish, hence Spanglish.<br><br>John F Kennedy Memorial Silver Medal. It measures 40mm in dia and weighs in at 1<br>oz. On the back it says " recuerdo inmortal al presidente del los estadosunidos<br>de norteamerica sacrificado en la plenited de su carrera consagrada en lograr la<br>paz mereciendose la estimacion de los pueblos del mundo 1917-1963" Translated it<br>says immortal memory of the United States president of North America in the<br>Plenitas sacrificed his career dedicated to achieving peace deserves the esteem<br>of the people of the world 1917-1963<br><br>Tested and guaranteed solid sterling silver.<br>silverdrawer

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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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French Sabino Opalescent Fish paperweight 4" long x 3" tall, no damage or<br>restorations whatsoever. Signed under label .

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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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Vintage Signed art crystal prism paperweight. Top quality with illegible signature, equal quality to Steuben, Baccarat, etc. 3.75" wide x 2.5" tall with no cracks, chips,, or surface scratches. Some minor expected shelf wear to base. pwdrawer

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Large Amazing Crystal paperweight. Best of the best quality, weighs a ton,<br>illegible signature. No flaws, scratches, etc. 4.5" wide x 3.5" tall. It's<br>flawless but loves fingerprints, tried to be careful but there's a few in the<br>pics.<br>pwdrawer

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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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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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c1900 National Cash Register Cast Iron Reciept Spike. Very cool.<br>isshelf

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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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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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Large David Lotton Art Glass Paperweight. 3 5/8" wide x 3" tall with no cracks,<br>chips, restorations, or scratches. Signed and dated David Lotton 1995<br><br>DAVID LOTTON<br>David Lotton is a second generation American glassblower. He is the oldest son<br>of Charles Lotton and was introduced to the world of glassblowing at a very<br>young age. In 1970, Charles started building a furnace and began blowing pieces<br>of glass from melted down pop bottles in a shed behind their house. David was<br>there in this infancy and he was Charles first assistant at the age of ten.<br>David has vivid memories of his childhood working in the shop with his father.<br>When most children were playing childhood games he was spending time after<br>school and on the weekends helping him at the bench. By the age of 14 he started<br>learning how to do finishing work, polishing the bottom of the glass flat. David<br>eventually followed in his fathers' footsteps and by the age of 15 began making<br>paperweights. That ignited a passion to begin glass blowing.<br><br>David has been creating his one of a kind vessels since 1978. His unique<br>handcrafted works are designed with precise attention to detail. Developing his<br>own glass formulas, David has created a complex palette of colors, giving him<br>the ability to create his multi-layering and sculpting style. Each year David<br>continues to study and refine the techniques he uses in creating his art.<br><br>David's Clematis Reflection Series, Hollyhock Paperweight Series and Mixed<br>Bouquets Series all reflect his floral patterns which capture his love for<br>detail. He combines color and layering to create depth and beauty. His Organic<br>Sculptures reflect movement and rich hues of a summer sunset. David is inspired<br>by all nature. He has a successful ranch in the hills of Kentucky where he is<br>inspired to evolve, change, and grow continually. He commutes back and forth to<br>fulfill both loves.<br>b48

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Casa Del Regalo Bortoli Mid century Alabastro Murano Apple paperweight 3.5" wide x 3" tall with no cracks, chips, or restorations. pwdrawer

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c1920's Austin Texas Advertising leather paperweight. 2 7/8" x 1.75" filled with<br>sand.<br>tw233

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1989 Freeform Art glass paperweight. Dated 89 on one side and illegible signature on the other. 3.75" long x 2.5" tall with no damage or detectable wear. pwdrawer

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1977 Libra Paperweight. Very cool with no issues or damage 3.25" pwdrawer

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Swedish Art Glass Owl Paperweight. Last quarter of 20th century with no damage. No markings, just paper label. 4.25" tall isshelf

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Vintage Fenton Ohio Bell Telephone company paperweight. Not 100% sure when these were put out but I think it was mid 20th century, I've seen it attributed to Fenton. Two miniature flakes on the mold seam shown in the last pic, no other chips, cracks, or other issues. 2.5" wide and tall. TW153

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Vintage .999 Silver Paperweight handmade arrowhead form. Very cool, likely one of a kind functional bouillon paperweight with value. 86.3 grams. silverdrawer

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1930's Hines Advertising Puppy Paperweight Griswold?. I know some of these were made by Griswold, some Hubley. I also Heard Hines was a flask company. I don't know everyone seems as confused as I am. I know it's 80+ years old, I'm 100% sure. 1.75" tall, very heavy for it's size, original paint. isshelf

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Joseph Morel Zellique Fish Deep Sea paperweight 1995. 3 1/8" wide x 3" tall with no damage or wear of any kind.

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Adelmo (Delmo) Tarsitano (1921-1990) Lampwork Faceted Spider and flowers<br>paperweight. 3.5" wide x 2.25" tall in mint condition with no damage or wear of<br>any kind. The signature cane can be seen on the bottom. Guaranteed Authentic<br>c1980's Delmo Tarsitano Paperweight.

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1950's Seguso Alabastro Art Glass Green and Opalescent Swirled Art Deco Paperweight. No cracks, chips, dings, or scratches. The foil label is illegible other than San Antonio Texas at the bottom, so likely it's a retailers label. TW249

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Robert Eickholt Studio Art glass paperweight No cracks, chips, restorations, or scratches, 4.5" tall x 3 5/8" wide. dated 2001. very special difficult to photograph paperweight. 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. tw246

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1960's Kosta Boda Zoo Animals Glass Lion, elephant, and dog. Elephant is 6.5" long x 5.5", Dog is 7" long x 5.25" tall, Lion is 4" tall x 5.5" long no cracks, chips, or dings. Selling all three shown. Tw235

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Robert Eickholt Heavy Large Studio Art glass paperweight. No cracks, chips, restorations, or scratches, 4 3/8" tall x 4 7/8" wide. dated 2000. very special difficult to photograph paperweight.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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Huge Rick Satava Sea Anemone paperweight 4 5/8" tall x 5" wide with no damage or exterior blemishes, slight wear on base that rests on the table as expected from a paperweight that weighs over 2 kilograms.Richard Satava, a master glassblower, was introduced to glassblowing in 1969 while attending Ocean High School in Pacifica, CA. He was then educated at the College of San Mateo and California State University, Chico and eventually opened Satava Art Glass Studio in Chico in 1977.Using ancient techniques to create original designs in handblown glass, Satava creates works of art, individually crafted, by carefully combining the highest degree of technical skills and artistic creativity. Well known for his vivid colors and unique portrayal of nature, Satava's works are included in numerous public and private collections throughout the world.

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Adelmo (Delmo) Tarsitano (1921-1990) Lampwork Insects and flowers paperweight.<br>3.5" tall x 2 7/8" square in mint condition with no damage or wear of any kind.<br>The signature cane can be seen on the top close to dragonfly. Guaranteed<br>Authentic c1980's Delmo Tarsitano Paperweight.

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Adelmo (Delmo) Tarsitano (1921-1990) Lampwork Salamander paperweight. 3.5" wide<br>x 2.25" tall in mint condition with no damage or wear of any kind. The signature<br>cane can be seen on the top on the opposite side of the salamanders tail.<br>Guaranteed Authentic c1980's Delmo Tarsitano Paperweight.

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Antique French Armorial Inkwell. Nicely hand painted, no damage, insert intact. Minor wear to gilding. 5.75" wide x 3.75 tall, great piece from the first quarter of the 20th century. isshelf

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