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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.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 glazeIn 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 PotteryPottery loses its founderArtus 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 warThe 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 glazeIn 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 PotteryPottery loses its founderArtus 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 warThe 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 glazeIn 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 PotteryPottery loses its founderArtus 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 warThe 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.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 glazeIn 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 PotteryPottery loses its founderArtus 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 warThe 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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French Baccarat Butterfly Paperweight figure. No damage, double signed on base.<br>3 1/8" wide x 2 7/8" tall.<br><br>Baccarat (French: [bakaʁa]) is a French luxury house and manufacturer of fine<br>crystal located in Baccarat, Meurthe-et-Moselle, France. The company owns two<br>museums: the Musée Baccarat in Baccarat, and the Musée Baccarat in Paris on the<br>Place des États-Unis.<br><br>History<br><br>1764-1816<br>After the closure of the Rozières saltworks in 1760 due to a drop in the<br>salt-content of the water, there became available a large quantity of wood<br>floating down to the town of Baccarat. One of the main owners of the Vosges<br>forest where this driftwood came from, namely Monseigneur de Montmorency-Laval,<br>bishop of Metz, that wanted to find another use for it and set a fire pit in<br>Baccarat which became a glassworks. In this way, the Bishop wanted to encourage<br>the creation of this industry in the tiny village of Baccarat. To justify the<br>creation of this enterprise in a request made to the king in 1764 by the owner<br>of the site, Monseigneur de Montmorency-Laval wrote: "Sire, France lacks<br>artistic glassware, which is why the products from Bohemia enter in such great<br>quantity: from which follows an astonishing export of deniers, at a time when<br>the kingdom would need them so badly”.<br><br>In 1764, King Louis XV of France gave permission to found a glassworks in the<br>town of Baccarat in the Lorraine region in eastern France to Prince Bishop<br>Cardinal Louis-Joseph de Laval-Montmorency (1710-1802). Production consisted of<br>window panes, mirrors and stemware until 1816 when the first crystal oven went<br>into operation. By that time over 3,000 workers were employed at the site.<br><br>1823-1870<br>Although the name of the factory was still "Verrerie" (glassworks), in actual<br>fact it was already specialising in crystal. The technique, however, was not<br>that used for Bohemian Crystal, very well known in Europe and originating in<br>Bohemia, but rather the singular rediscovery of the so-called English technique,<br>worked in an original way at the glassworks of Saint-Louis-lès-Bitche between<br>1779 and 1781.<br><br>In order to maintain initial levels of activity Gabriel d'Artigues was forced to<br>hand over the company to three wealthier partners: Pierre-Antoine<br>Godard-Desmarest, a former director of military supplies under the Empire,<br>François-Marie-Augustin Lescuyer-Vespin, a landowner in Charleville, and<br>Nicolas-Rémy Lolot, a trader in Charleville. The full buy-out of shares was<br>completed for the sum of FF 396,000. It was paid by the three partners in 1822<br>and 1823. Prior to 1823, the wealthy Parisian, Pierre-Antoine Godard-Desmarest<br>had also purchased the glassworks of Trélon in the Thiérache region of northern<br>France. This was a small factory near vast forests producing huge amounts of<br>timber, which until then had been manufacturing pane glass.<br><br>In 1824, the crystal glassworks obtained the legal status of a limited company.<br><br>Godard-Desmarest senior entrusted the management of the company to a young<br>polytechnic engineer, Jean-Baptiste Toussaint. This decision gave rise to two<br>family dynasties, one owning the company's capital, the other managing the<br>business.<br><br>Baccarat received its first royal commission in 1823 from King Louis XVIII. This<br>was the beginning of a lengthy series of orders from royal families and heads of<br>state from all over the world. The factory benefited from an extraordinary boom<br>linked to strong international growth on the luxury market. Additionally, the<br>strategic choice of location made by A.G. d'Artigues proved to be ideal: in the<br>Vosges foothills, from Épinal to Blamont, Rambervillers, Lunéville and Moyen, a<br>whole number of busy earthenware factories would buy back even the smallest<br>amounts of glass-crystal waste to manufacture faience tableware.<br><br>In 1841, the arrival of a thirty-year-old engineer, François-Eugène de Fontenay,<br>already an expert at the Plaine de Walsch factory, whose operations had extended<br>to Vallerysthal, launched the production of coloured glass. This researcher had<br>conducted studies into ways to color glass and now, promoted to assistant<br>director, he developed the first multicolored paperweights made of crystal.[12]<br><br>The range of manufactured products using watermarked glass engraved with a B was<br>a great success in France and on the export market between 1846 and 1895.<br><br>In 1855, Baccarat won its first gold medal, at the World's Fair in Paris.<br><br>In 1860, Baccarat registered its trademark on all its products (at the time this<br>was a simple label stuck onto each piece). The mark was a label affixed to the<br>bottom of the work. In the period 1846-1849 Baccarat signed some of their high<br>quality glass millefiori paperweights with the letter B and the year date in a<br>composite cane.<br><br>Crystal production expanded during this period into luxury crystalware, where<br>Baccarat built a worldwide reputation for producing high quality glass,<br>chandeliers, vases and perfume bottles.<br><br>1870-1936<br><br>Baccarat crystal chandelier and staircase banister, Dolmabahçe Palace<br>The Imperial Era ended in 1870 with the defeat of Napoléon III. Influences<br>outside France began to have a stronger influence on Baccarat's work during this<br>era, particularly imports from Japan. The world's largest chandelier and a<br>staircase lined with a Baccarat crystal balustrade adorn the Dolmabahçe Palace<br>in Istanbul. Strong growth continued in Asia for Baccarat. Baccarat has become<br>quite famous at the royal houses. The queen of Portugal , for example,<br>commissioned for her private collection decorative pieces and tableware<br>(currently exhibited in the Ajuda National Palace).[citation needed]<br><br>In 1891, 4,189 of the 5,723 town inhabitants worked at the crystal glassworks or<br>lived with its employees. The number of workers increased from 1,125 in 1855 to<br>2,223 in 1900, making it one of the largest factories in France.<br><br>At the end of the 19th century, the Baccarat company built a warehouse, a sales<br>store and a bronze workshop in the area of Gare de l'Est in Paris. This<br>warehouse employed some 246 people in 1899. The building became the Baccarat<br>Museum up until 2003.<br><br>One of the strongest products for Baccarat was perfume bottles, and by 1907<br>production was over 4,000 bottles per day. In 1936, Baccarat began marking all<br>of its works via acid or sandblasting.<br><br>1936–2000<br>The company also produced crystal Francisques for Marshal Phillipe Petain[16]<br>and items honouring Pierre Lavalll.<br><br>Gilbert de La Poix de Fréminville (1886-1941), son of Charles de la Poix de<br>Fréminville, was director of the Crystal Glassworks at the outbreak of World War<br>II with his future son-in-law André Danzin.<br><br>Baccarat created an American subsidiary in 1948 in New York City. They started<br>to produce pieces based on Cylon designs, as the famous Cylon Carrier — Napoleon<br>Hat piece (1958).<br><br>In 1994, Baccarat created a gigantic crystal chandelier with 230 lights for its<br>230th anniversary.<br><br>In 1993, in the midst of a crisis undermining the luxury goods market, Baccarat<br>began selling jewellery. In 1997, it extended its activity into perfumery. It is<br>at this same date that a red tassel engraved with the B of Baccarat hallmarked<br>the chandeliers coming from the factory.<br><br>In 2005, the celebrated designer Philippe Starck created a special "black"<br>collection, "Darkside", which included the Zenith chandelier.<br><br>There are American stores in Costa Mesa, California; Houston, Texas; Greenwich,<br>Connecticut; New York City; Palm Desert, California; Las Vegas; and Miami,<br>Florida. A retrospective was held in 1964 at the Louvre Museum to celebrate the<br>200th anniversary of the crystal works. In 1993, Baccarat began making jewellery<br>and in 1997 the company expanded into perfume.<br><br>2000-present<br>In 2003, Baccarat moved to a new location in Paris. In 2014, to celebrate the<br>company’s 250th anniversary, it introduced the scent Baccarat Rouge 540 by<br>Maison Francis Kurkdjian. The company also held an exhibition at the Petit<br>Palais in Paris.<br><br>In 2016, Baccarat appointed Jim Shreve as the president and CEO of North America<br>operations.<br><br>In April 2021, the company appointed Margareth “Maggie” Henriquez, former CEO of<br>Krug Champagne as its chief executive officer.[24]<br><br>In October 2021, Baccarat debuted the 180th anniversary version of its Harcourt<br>glass at Paris Fashion Week 2022 with designs by Victor Weinsanto, Yoshiki,<br>Imane Ayissi, Benjamin Benmoyal, Tom Van der Borght, Clara Daguin, Honey Fucking<br>Dijon, Kevin Germanier, Mira Mikati, and Charles de Vilmorin. The company has<br>also participated in the Cow Parade in New York City which benefitted the<br>charitable organisation God’s Love We Deliver.<br><br>In 2019, actress Tan Zhuo became the first-ever Chinese brand ambassador of<br>Baccarat.<br><br>Baccarat has supported UNICEF by underwriting their annual Snowflake Ball. The<br>company has also participated in the Cow Parade in New York City which<br>benefitted the charitable organisation God’s Love We Deliver, and The Trifecta<br>Gala benefiting several charities and community organisations including the V<br>Foundation for Cancer Research and the West End School. The company also has a<br>partnership with the Virgil Abloh Post Modern Scholarship Fund. Baccarat has<br>also collaborated with The National YoungArts Foundation, a charity established<br>to identify and support high school artists in their educational and<br>professional development.<br><br>Baccarat has also collaborated with The National YoungArts Foundation, a charity<br>established to identify and support high school artists in their educational and<br>professional development.<br><br>Controversies<br>World War II<br>In 1940, The Baccarat factory was occupied by German troops, all Baccarat<br>employees were expelled, and German troops transformed the factory into a P.O.W.<br>transit camp which held 20,000 French prisoners.

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Vetro Artistico Murano Heart. Blown glass high quality, hollow, no damage, made<br>in Italy. 3.5" tall.<br>pwdrawer

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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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c1900 McKinley Roosevelt paperweight 3" wide 1 1/16" deep. Some expected surface wear. very tiny nick out of bottom rim shown in last pic.

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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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French Lalique Bird paperweight 3.25" tall x 2 1/8" wide at base, no damage or<br>wear, no scratches even on base. Signed in center by 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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Russian Gilt Cut Glass paperweight. Nice older piece, not sure how old. Very good quality. 3.75" x 3" with no damage.hallshelf

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c1970 Joe St Clair Ring Holder Teapot shaped paperweight. Hot stamped "JOE ST.<br>CLAIR" on the bottom. This probably dates from the 1960s or 1970s, but may be<br>earlier. Joe St. Clair died in 1987. No damage or wear 5 5/8" handle to spout x<br>4.5" 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 sand.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" tallisshelf

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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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Lundberg Studio 1976 Iridescent Art Glass paperweight. No cracks, chips, or restorations, shelf wear on base from 46 years of use as a paperweight. 3" wide.B70

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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 orexterior 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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Adelmo (Delmo) Tarsitano (1921-1990) Lampwork Bee on Honeycomb paperweight.<br>3.25" wide x 2.5" tall in mint condition with no damage or wear of any kind. The<br>signature cane can be seen on the base but appears to be covered by the Beehive.<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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