c1960 Ercole Barovier & Toso Striato Murano Art Glass Vase. A large 11", complex<br>and uncommon(Documented) form from the mid 20th century. Incredible piece of art<br>glass. Unsigned with no cracks, chips, dings, or restorations. Estate fresh<br>piece.<br>B20

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1950's Murano Hurricane Lamp Candlestick Gold flecks and Controlled Bubbles. Rare and unusual item from the mid 20th century. The pontil is open at the bottom for ease of making it into a lamp but there are no holes in the metal. It's a candlestick fashioned to look like an early oil lamp. No damage, extremely heavy. tw100

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c1920 Art Deco Silverplate Mounted Cut Glass Pitcher 11" tall. I would be tempted to date this closer to 1900, but I feel the geometric design on the mounting dates it to the art deco period. It's a great big pitcher with no cracks and only some small expected flakes that are only detectable upon close examination. I could find no markings on the lid or the base. tw96

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Signed Art Glass Vase with controlled bubbles. No cracks, chips, dings, or scratches. I'm unsure of artist but the quality is incredible. 4.5" tall tw75

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

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c1900 Large French Cut Glass Perfume Bottle Etched Eau De Cologne. Great large sized bottle with original stopper. No chips, flakes, or cracks on base. A few small chigger bites on faceted stopper top and bottom. TW72

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Vintage Murano Vase Black gold flecks with Daisies. Nice guaranteed Murano made Italian Art Glass vase from the third quarter of the 20th century. No identifying marks I could find. No cracks, chips, or restorations. TW80

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Erickson Green Controlled Bubble Glass Shrimp cocktail Or Chip and Dip. I'm assuming that's what it's inteneded use was, obviously once it's yours the opportunities are endless. No cracks, chips, or other issues. tw78 Erickson Glassworks Bremen, Ohio 1943-1961 Established by Carl Erickson in Bremen, Ohio (1943-1961) produced world famous handmade art glass. Carl Erickson and his brother Stephen, Swedish immigrants from Reijmre, Sweden, a famous glass center, descended from master glass blowers. Carl learned his trade at Pairpoint Manufacturing Company in New Bedford, Massachusetts where he worked for 20 years. From there in 1932, he went to Libby Glass in Toledo for four years, then a brief stay in Hollywood where he designed the chandelier for Greta Garbo's "Camille". The Blenko Glass Company in Milton, West Virginia hired him as a designer and teacher of apprentices. In 1943 Carl and Stephen Erickson bought a defunct glass factory in Bremen, Ohio. Erickson's glass patents involved what he called a "flame design" . His trademark was the extensive use of controlled bubble design which was incorporated in a heavy glass ball which served as a base for many different pieces. Carl Erickson personally designed most of the pieces manufactured at his glass works. His honors include: U.S. Parks Commission chose him to blow the first piece of glass at "Glass House Point" near Jamestown, Virginia commemorating the first U.S. glass factory The Museum of Modern Art, New York - award for good design Smithsonian Institute of Washington, D.C. commissioned him to duplicate complex old glass fixtures. Old Sturbridge Museum, Sturbridge, Massachusetts - old glass fixtures as above Metropolitan Museum of Art - produced glass pieces Corning Museum of Glass, Corning, New York - produced glass pieces Senate of Ohio - resolution stated "A craftsman who has brought to his community and his state well deserved fame for his singular and rare skill."

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c1950 Cranberry Art Glass Swans with Ground Pontil Pair. Selling the pair very high quality, not sure who made them but I believe they are mid 20th century. No cracks, chips, or restorations.

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c1880 French Art Glass Crystal Dresser Jar with Gold Enameling. No cracks,<br>chips, or restorations. Snaps shut and good hinge. 3.75" wide x 3.5" tall.

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Pizzichillo & Gordon Studio Art Glass Vase 7.25" tall x 6.5" wide.<br>No cracks, chips, or restorations.<br><br>Bruce Pizzichillo and Dari Gordon are internationally known artists who create<br>large, colorful handblown glass vases, sculptural vessels and bowls as well as<br>intriguing glass and mixed media sculptures. Using glassmaking techniques that<br>are thousands of years old, along with many of their own invention, Bruce and<br>Dari melt glass in furnaces that are designed for work in multiple colors. They<br>achieve a palette of distinctive colors by mixing various metallic oxide<br>formulations containing gold, silver, cobalt and others, into the molten glass.<br>They heat the raw materials in large ceramic pots inside a glass furnace at<br>temperatures in excess of 2400 degrees Fahrenheit. As the molten liquid glass<br>achieves a working temperature, the artists gather the fluid substance onto the<br>end of a five foot long steel pipe or rod. They blow, manipulate and shape the<br>mass of molten glass, constantly spinning it and dipping it back into the pot<br>for additional gathers if the piece is exceptionally large. For decoration, they<br>apply shards, frit, bits and strings of colored glass that they have pre-made to<br>the hot surface of the glass, and then reheat the piece to fuse the elements to<br>the surface. When they complete the blowing and shaping process, they remove the<br>piece from the pipe and place it into an annealing oven, where it will cool<br>slowly over a specific period. In general, the larger and thicker the piece, the<br>longer the time required for it to anneal. If not properly annealed, the piece<br>will shatter when exposed to room temperature. Finally, the artists inspect each<br>piece to determine if it meets their standards for first quality. They then<br>proceed with the finishing work, which can include cutting, grinding and<br>polishing before signing the completed piece. Depending on the size and<br>complexity of the piece, the artists may reject half the pieces they make, or<br>more, for lacking the requisites of first quality. Bruce studied at the<br>University of New Mexico and earned a Bachelor of Fine Arts degree in glass from<br>the California College of Arts & Crafts, where he studied with world-renowned<br>glass artist Marvin Lipofsky. Bruce has worked with glass since 1976. <br><br>TW9

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Lalique Roses Large Centerpiece Bowl French Crystal. 13 3/8" diagonal x 3" tall.<br>No cracks, chips, or restorations, expected scratches on base because it's very<br>large and heavy. Not noticeable unless held to light.<br>B9

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c1900 Cut Crystal Snack/Relish Serving Dish With Original Inserts. Guaranteed late 19th to very early 20th century. No middle tray Amazing condition with only one of the inserts having a chip and only a few of the tiniest near invisible chigger bites on the outside rim upon the closest inspection. Very unusual item likely english, possibly french or bohemian. No cracks, no scratches other than the expected ones on the base where it's sat for over 100 years. 12" wide.

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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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Measures 4.75" tall x 4 1/8" wide. No cracks, chips, or other damage, tight<br>hinge with no play. It looks like tiny beads of clear glass like Coralene all<br>over except for the decorated areas. Guaranteed circa late 1919th century.

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

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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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Saul Alcaraz Studio Art Glass Vase 10.5" tall, signed and dated 2009, no damage<br>or wear. An amazing piece of glass with rich blues and purples that I couldn't<br>capture with the time/resources available.<br><br>Saul Alcaraz's fine art glass has been featured in galleries and museums<br>throughout the world. His visionary designs have literally pushed the art of<br>glassmaking to the edge of creative expression. His passion for his work is<br>inspired by the amazing works of Lois Comfort Tiffany, Steuben and Duran.<br><br>Saul's symbiotic relationship with fire has been a tenuous partnership over the<br>years. With the quest for a translucent form of perfection, Saul feels he has<br>captured the power of the sun and he brings this to tangible objects of pure<br>light and beauty. His style is reminiscent of the art nouveau glass being<br>produced in France by Galle and in Ausrria by Loetz. Saul has had but one ideal<br>- to make the finest glass the world has ever known, with strict adherence to<br>distinctive design.

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

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c1920's Bohemian Loetz Richard Cameo art glass perfume atomizer 10.5" tall, no<br>damage to glass, damage to bulb and hose, also broken inner glass tube, possibly<br>wrong top altogether as the threads barely catch.<br>Loetz produced cameo glass under the name 'Richard' in the 1920’s to satisfy<br>demand for cameo glass within the Parisian market. The French company Etling<br>sold Richard cameo glass in Paris in the 1920's. Richard was a retail outlet in<br>Paris owned by Edmond Etling. Etling commissioned Loetz to create French style<br>cameo glass that they could sell in their Richard boutique.<br><br>tw212

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

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

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

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

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

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

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

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

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

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

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