c1900 Presentation Glass Bohemian Cut Beer Stein. No chips, cracks, or restorations, nice solid lid. 7 5/8" tall with thumblift.

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c1900 American Brilliant Period Cut Glass Bulbous Pitcher 7.5" tall x 7.5"<br>handle to spout. Near mint with no cracks, chips, or restorations. I found one<br>single tiniest chigger bite, some light scratches in base from cleaning.<br>Couldn't find any markings. Nice sized small water pitcher or large juice<br>pitcher.

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c.1890 Coralene Glass Dresser Jar Bohemian. 4" wide x 3" tall. More attractive<br>than the pics suggest. The cabin is very prevalent in person, got washed out in<br>the pics. Minor loss to coralene, hinge is a little wobbly but will outlast all<br>of us.<br>Tw97

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

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Large Orrefors faceted Intaglio Etched Vase with Flower Seller No cracks, chips, dings, or scratches. 9" tall, I couldn't get good pics of this piece, but it's incredible. The etching stands out beautifully and really sets the piece off, it was just difficult to photograph.

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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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No cracks, chips, or scratches. 7.75" tall x 5" wide.<br>B7

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

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

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Andrews - Rollin Karg Art Glass Paperweight no cracks, chips, scratches, or dings. 3.5" wide x 1.5" tall.   As you can see these two names Andrews and Karg are in two different handwriting,  this was made by both artists.   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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No cracks, chips, or scratches. Beautiful bowl 7" wide by 4" tall.<br>B9

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

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1984 Robinson Scott Studio Art Glass Vase. No cracks, no chips, no restorations. 4.5" tall x 4.5" wide

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1950's Howard Pierce Cameo Art Deco Stylized Deer Wall Planter No cracks, chips, scratches, or crazing. 8" x 2" x 3.5"

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Lalique Isabelle Open Footed Candy Dish 3.25" tall x 4.75" wide no cracks, scratches, chips, or restorations. B9

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10.4" c1965 Orrefors Graal Ingeborg Lundin Swedish Art Glass Bowl. 10 3/8" wide<br>x 5 1/8" tall, really big piece, uncommonly large size.<br><br>No cracks, or chips, no cloudiness, and no other issues. Good looking heavy<br>bowl. Expected extremely minor wear on base.<br>b47

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1975 Irving J Slotchiver Tennessee Studio Art Glass Vase. No cracks, chips, or scratches. 6.5" tall x 4" wide Tw47

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20" Daum French Crystal Dolphin Sculpture 7.5" wide and very heavy with no<br>cracks, chips, or scratches. Very heavy for its size, guaranteed authentic<br>French Daum crystal.

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Lalique Twin Angels Figures 4.25" wide x 3.5" tall Top quality authentic Lalique glass guaranteed with no cracks, chips, or other issues. B9

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22" Etched Venetian Glass Centerpiece Blue Artist Signed 3" Deep. Speaks for<br>itself. Too big for me to photograph indoors. No cracks, chips, or scratches.

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12.75" Texas Studio Art Glass Vase Michael McDougal 7" wide No cracks, chips, scratches, or restorations. Inspired by nature and known for his sense of color and elegant whimsy, Glass artist Michael McDougal lives and works in the Texas Hill Country. He was introduced to glass by Jane Duryea, protégé of Robert Willson and went on to study at the Corning Museum of Glass in New York, the prestigious Pilchuck Glass School in Washington State, under Jane Bruce, Claire Kelly & Antony Schafermeyer and Boyd Sugiki. McDougal has spent time in the "fornaces" of Murano, Italy, as well. Today, he works with his friend and mentor Jason Lawson in studios in Fischer, Texas, a small town north of San Antonio. "Glass is an astoundingly versatile medium," says McDougal."It has an inherent music in it. Working with it in molten form is rhythmic… more of a dance than a process.”  Michael Monroe, former curator and director of the Smithsonian Institution's Renwick Gallery describes a pitcher from McDougal's collection as "…capturing the essence of molten glass in a moment of frozen elegance. The handle, with its dynamic but delicate pattern is beautifully integrated to give both a sense of motion and balance to the piece." "Whether appreciating it or creating it, I love art that elicits a sense of wonder, a sense of awe, makes me grin or laugh," says McDougal. "Whether an exploration of beauty, whimsy, or that huge realm of the unknown, it must remind me that all our human stresses and strains are insignificant.” McDougal's work is featured in galleries throughout Texas and California. He has been featured in shows in Dallas, Fort Worth, San Antonio, Houston and Galveston, among other cities.

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

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4.5" wide x 4.25" tall. Speaks for itself. Mint condition with no cracks, chips, scratches, or wear. Guaranteed late 19th century, unknown maker. Tw98

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I couldn't find a signature on this piece, but I guarantee it to be early 20th<br>century art glass, most likely French. Most likely Degue or Schneider. The<br>holder measures 17.5" wide x 9.5"tall. The bowl is 9 7/8" wide x 2 5/8" deep.<br>There are three very small flakes on the bowl rim, not noticeable on such a<br>stand out piece. Looks to be cased with Vaseline in interior and mottled<br>exterior.

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4.25" tall x 3.5" wide with no cracks or chips, no loss of enamel or other issues. Some wear to Gilding on rim. Guaranteed circa late 19th century. Selling both for one price. Tw98

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3 5/8" tall x 2.75" wide with no cracks or chips, no loss of enamel or other<br>issues. Guaranteed circa late 19th century. Selling both for one price.<br><br>Burmese glass is a type of opaque colored art glass, shading from yellow to<br>pink. It is found in either the rare original "shiny" finish or the more common<br>"satin" finish. It is used for table glass and small, ornamental vases and<br>dressing table articles.<br><br>It was made in 1885 by the Mount Washington Glass Company of New Bedford,<br>Massachusetts, USA. Burmese glass found favor with Queen Victoria. From 1886,<br>the British company of Thomas Webb & Sons was licensed to produce the glass.<br>Their version, known as Queen's Burmeseware, which was used for tableware and<br>decorative glass, often with painted decoration. Burmese was also made after<br>1970 by the Fenton art glass company.<br><br>Burmese is a uranium glass. The formula to produce Burmese Glass contains<br>uranium oxide with tincture of gold added. The uranium oxide produced the<br>inherent soft yellow color of Burmese glass. Because of the added gold, the<br>characteristic pink blush of color of Burmese was fashioned by re-heating the<br>object in the furnace. The length of time in the furnace will determine the<br>intensity of the color. Strangely, if the object is subjected to the heat again,<br>it will return to the original yellow color

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

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Total weight 10.6 pounds. 19.5" total height, the flawless tray is 10.75" wide.<br>The cameo glass vase has one small chip on the inside rim that's not at all<br>noticeable when displayed. A few chips on prisms. The holder is immaculate, no<br>scratches, no bends, appears unused even though it's over 100 years old.

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

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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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5.25" tall. Nice large scent bottle with no markings that I could find.<br>Guaranteed baccarat from the turn of the last century. Minor cloudiness and tiny<br>nicks off base shown in last pic. Unusual with this lid. Lid fits like a glove,<br>both vapor and liquid tight.<br>Tw97

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Measures 5.5" wide x 4" deep. Guaranteed right around 100-120 years old and wonderful. No cracks or chips, or wear to enamel, a little play in the hinge, snaps shut tightly. The lid has some glass beaded decoration under the heavy Gilding similar to Coralene. Tw97

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These are usually 12", maybe 14", this one measures 17 7/8" wide x 4" tall. It's unmarked, originally bore a paper label. Guaranteed c.1930-1950 WMF Ikora. Pretty much speaks for itself. No cracks or chips. No scratches on upper surface, but it does have wear on base and a few scuffs right next to the base. Developed by Karl Wiedmann and manufactured by the Württembergische Metallwarenfabrik (WMF) company in Germany.

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No scratches, dings, cracks, or chips. Dated January 1978 and numbered 887<br><br>Bio<br><br>Randy Strong<br><br>Winner of the juried 2005 and 2008 Niche award for blown glass and finalist for<br>2010 – awarded by Niche magazine for the best of blown glass in the United<br>States – Randy Strong – artist and designer in hot glass for 40 years, has<br>worked continuously throughout his career producing innovative designs in glass<br>that continually influence the ever changing and growing community of studio<br>glass artists.<br><br>Randy is one of a handful of the early pioneering American Glass Artists to help<br>define American Studio Art Glass.  Before he was to enter the world of glass<br>however, he began his broad education in the arts by working in and collecting<br>photography.  In the late 60’s he was working as an events photographer for the<br>Oakland Tribune, and for a brief period, was privileged to work with and learn<br>from photographer Ansel Adams.  His first taste of working in glass came in 1969<br>at the California College of Arts and Crafts in Oakland, Calif. where he began<br>by studying ceramics and was fortunate to have as his mentor, the renowned<br>ceramicist, Peter Voulkos.  Upon graduation in 1970 he received one of the first<br>scholarships to the University of Art in Osaka, Japan as one of the first<br>exchange students between the Universities of Calif., Calif. College of Arts and<br>Crafts, and Osaka, Japan.  That grounding in ceramics led him into the largely<br>unknown (at that time ) frontier of studio art glass.  In 1970, he was with Dale<br>Chihuly when Dale and the Haubergs selected the location for the now renowned<br>Pilchuck Glass School in Seattle, Washington – and the journey into that<br>frontier was well underway.<br><br>Many of today’s successful, working glass artists are either former students, or<br>have worked with or  for him at one time.  His work, ranging from his<br>distinctive crystal and gold goblets and his ground-breaking work with dichroic<br>glass, to his imposing cast sculptures, and now his seemingly gravity defying,<br>color saturated, multi-piece sculptures, have been acquired by collectors<br>internationally and are a part of collections ranging from The Corning Museum in<br>New York, to the Louvre in Paris.<br><br>Randy’s work through the last 4 decades has been characterized by the use of<br>difficult, defining techniques, materials, colors and forms. His newest<br>sculptural work again breaks new ground by challenging the concept of solid form<br>in glass by further expressing its personality in lightness and movement.<br><br>In 1970, he built and established his own studio and gallery in Northern<br>California, where he continues to create, design and teach.  After 45 years of<br>making distinctive work in glass, he is continuing to make a limited number of<br>pieces a year while he compiles his book “The Glassmakers”, spotlighting and<br>detailing<br>the history of the pioneers in glass responsible for creating what now exists as<br>the American Glass Movement.

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Buying one with multiple available 4 5/8" wide x 1 1/8" tall. No damage or wear, no scratches, scuffs, cracks, chips. Guaranteed circa 1930's, I believe this color was only produced for two years, 1938 & 1939. These are extremely rare and I have more of this pattern available.

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Buying one with multiple available 3 13/16" tall x 3.75" wide at rim. No damage<br>or wear, no scratches, scuffs, cracks, chips. Guaranteed circa 1930's, I believe<br>this color was only produced for two years, 1938 & 1939. These are extremely<br>rare and I have more of this pattern available.

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Mid Century Venetian Latticino Glass Ewer 10" tall with labels intact, no damage.

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French Baccarat Marcel Franck Escale Silver Overlay Atomizer perfume bottle. Extremely high quality bottle with a complex atomizer mechanism that appears functional. No tube, short stable crack in top of jar that stops before the shoulder of the jar. Still will hold liquid. Bottom Acid stamped Marcel Franck Made in France in circular logo. There is no Baccarat mark but it's obviously Baccarat. perfumedrawer.

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French Lalique 1976 US Bicentennial patriotic trinket dish 4" wide and tall,<br>signed Lalique France center of base. No scratches, damage, or wear. No issues.<br>b1

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

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c1910 Quezal Iridescent American Art glass diminutive bowl 4.5" wide x 1.75" tall with great  ridescence, no cracks, chips, or restorations.<br><br>toothpickdrawer<

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9 Venetian hand painted art glass wine goblets 6 7/8"h, 3 5/8" wide, extremely<br>high quality glasses from the first half of the 20th century with no damage or<br>significant wear. Hand blown, hand painted in Italy. Selling the exact 9 glasses<br>shown thoroughly examined, packed and shipped with experience.

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Antique Pink Cut Velvet art glass vase 7" tall with no cracks, chips, or<br>restorations.<br>tw106

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

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c1890 Bohemian Crackle finish Peachblow art glass vases. 3 3/8" tall x 3.75"<br>wide with no cracks, chips, or restorations. Most likely Kralik. Selling both<br>vases for one price.<br>tw154

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1920's French Legras Cameo Art Glass Vase. 9" tall with no cracks, chips, or restoraitons.The Legras glassworks – ultimately a multi-centred concern employing hundreds of people across several manufacturing centres – produced enough highly-distinctive pieces to be considered an art-glass movement in its own right.It’s more accurate, of course, to consider the name one of the foremost in the panoply of innovative, experimental and overtly artistic producers who revolutionised decorative glassware from the mid 1860's, throughout the fin de siècle, across the duration of the Great War and beyond The founding father of the company, François-Théodore Legras, came from humble stock, having be life as a woodsman in the Vosges department south of Strasbourg. In 1859, Legras determined that there was potentially more to life than trees and leaves, and secured himself a clerical apprenticeship at the glassworks in Clairey, a long-established manufactory producing drinking glasses and tableware which – crucially for Legras – included the manufacture of crudely-frosted pieces. After learning his trade for five years, Legras moved to Paris and took a job at the Plaine St Denis factory, securing a senior managerial role by the age of 27. He was director of the works when, underwritten by expat-philanthropist Sir Richard Wallace, it was significantly extended and modernised; the duo also took over another factory at Pantin, on the northern fringes of the city. Unrestrained by the financial strictures of facilities lacking patrons such as Wallace, Legras was able to encourage an experimental approach to glass production, harking back to his childhood in the Darney Forests and using opaque glass – based on Clairey’s frosted material – as a canvas on which designs could be created. The businesses were also underwritten by the production of utilitarian glassware for industry – distilleries and pharmacies – and this security gave François-Théodore the freedom to develop his art-glass production techniques. Intricately cut cameo glass pieces, acid-etched and enamelled imagery – requiring up to five separate firing processes to achieve the desired effect – became the Legras hallmark, with many pieces featuring forested landscapes and the favoured themes of the artistic director - irises, orchids and chrysanthemums.Additional members of the Legras family were apprenticed in to the company, notably a nephew – Charles – whose expertise in the chemical treatment of glass to produce marbled, opaline surfaces on which designs could be overlayed, was to prove a valuable commodity. Charles was ultimately to take over the running of the businesses in 1909, seven years before the death of his uncle. He was able to maintain a level of innovation which sustained the company for another decade – achieving notable successes in developing synthesised “gemstones” which could be ground up and incorporated in to the glass melt to give an extraordinary depth of colouration which provided the base for the production of striking cameo vessels.tw108

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Sterling/Art Glass Barbie Koncher California Artist belt buckle 3.75" x 2.5", takes a 1.5" belt. 141.8 grams, no damage, minor wear to silver could easily be polished out.

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c1930 Bohemian art glass Buddha liqueur set. Ultra rare and cool, most likely<br>Czech made from the 20's or 30's. No damage to buddha, shot glasses and small<br>decanter are super clean with only the tiniest roughness to ground rims and tip<br>of stopper. No large chips, slight wear to gilding. Buddha is 14.25" tall x 9.5<br>" wide. This set is fully functional, hinge is good, snaps shut and stays<br>shut...but it is pushing 100 years old and if I personally were to actually use<br>this which I think would be great as it's extremely fun.. Still I would put<br>something behind it for Buddha's head to rest on while it's open or put it close<br>to a wall as I had it for the pics just to not put too much stress on the 90 or<br>so year old hinge as the top is rather heavy.<br><br>These were also made in pink in green, this is the most rare and desirable<br>color.

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c1900 Uranium glass applied lamp shade with 2.25" fitter. 5" tall x 4.5" wide, small chips to factory ground rim that fits on lamp, no cracks or other chips. Unusual lamp shade from the turn of the century, likely Bohemian. TW105

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

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1994 David Lotton Shot Glasses Alpha and beta. Selling the two vessels for you to use for whatever. Tallest is about the size of a typical shot glass or cordial 2" tall x 1.5" wide, the other is 1.25" tall x 1.5" wide. Smaller is inscribed as a gift from David. No damage to either. DAVID LOTTON David Lotton is a second generation American glassblower. He is the oldest son of Charles Lotton and was introduced to the world of glassblowing at a very young age. In 1970, Charles started building a furnace and began blowing pieces of glass from melted down pop bottles in a shed behind their house. David was there in this infancy and he was Charles first assistant at the age of ten. David has vivid memories of his childhood working in the shop with his father. When most children were playing childhood games he was spending time after school and on the weekends helping him at the bench. By the age of 14 he started learning how to do finishing work, polishing the bottom of the glass flat. David eventually followed in his fathers' footsteps and by the age of 15 began making paperweights. That ignited a passion to begin glass blowing. David has been creating his one of a kind vessels since 1978. His unique handcrafted works are designed with precise attention to detail. Developing his own glass formulas, David has created a complex palette of colors, giving him the ability to create his multi-layering and sculpting style. Each year David continues to study and refine the techniques he uses in creating his art. David's Clematis Reflection Series, Hollyhock Paperweight Series and Mixed Bouquets Series all reflect his floral patterns which capture his love for detail. He combines color and layering to create depth and beauty. His Organic Sculptures reflect movement and rich hues of a summer sunset. David is inspired by all nature. He has a successful ranch in the hills of Kentucky where he is inspired to evolve, change, and grow continually. He commutes back and forth to fulfill both loves. toothpickdrawer

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

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c1890 Mt Washington Burmese vase hand painted with rigaree. Absolutely perfect with no damage or restorations whatsoever, amazing piece 3" tall and wide. MT. WASHINGTON AND PAIRPOINT GLASSMt. Washington and its successor, the Pairpoint Corporation, was one of America’s longest-running luxury glass companies (1837-1957), one that rivaled its better known contemporaries, Tiffany and Steuben. It constantly reinvented and re-invigorated its business through creativity in texture, decoration, pattern, and color - developing a variety of styles and decorating techniques which were so technically complex that few are even practiced today.The Mt. Washington Glass Company was founded in South Boston in 1837, and moved to New Bedford, Massachusetts, in 1870. In 1880, Thomas J. Pairpoint, an English silversmith, was hired to run the Pairpoint Manufacturing Company, another company in New Bedford which Mt. Washington’s owners established to produce ornate silver-plated mounts for Mt. Washington glass.In 1894, the Pairpoint Manufacturing Company absorbed Mt. Washington, and the company was renamed the Pairpoint Corporation in 1900, which remained the company’s name until it went out of business in 1938. It was revived briefly as the Gundersen-Pairpoint Glass Company but closed permanently in 1957. The company’s most successful years were from 1880 (in the height of the opulent Gilded Age) to 1930 (the end of the exuberant Roaring Twenties).MT. WASHINGTON ART GLASS AND CUT GLASSEnglishman Frederick Shirley was hired in 1872 to run Mt. Washington’s chandelier department, and two years later was put in charge of the entire company. Shirley was entrepreneurial and litigious, quick to adopt new designs and quick to complain if he thought any other firm was copying his wares. By the time he resigned in 1891, he had amassed a total of 27 patents and five design patents for various types of glass, most of which were quite successful.In 1885, Shirley introduced Burmese glass, a translucent glass that shaded from yellow to pink, which was highly decorated in the elegant and sophisticated style characteristic of the day. It became an immediate success on the Art Glass market. Shirley was a good businessman and took advantage of the dawning age of advertising to promote Burmese glass extensively.Mt. Washington’s large decorating shop specialized in enameling. The decorators who worked on Burmese glass also applied their skills to a variety of other decorated glasses with exotic names like Royal Flemish, Crown Milano, Colonial, and Pearl Satin Ware. By 1890, the company was advertising itself as “Headquarters in America for Art Glass Wares.” isshelf

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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