Daum pate de verre bowl, Gingko
Price: £750
This is a beautiful large bowl in pate de verre glass formed as leaves or petals. The design is Gingko. Comes in original fitted box. Model 03570 Coupe Grand Modele
Beautiful Victorian ruby glass scent bottle, circa 1880
Price: £350
This is a lovely ruby glass scent bottle decorated with enamel flowers in a rope twist design. It has a brass top with chain and is fitted with the original stopper which is quite rare.
Art Deco Style Bagley Glass Vase with fin type handles 1930s
Price: £45
An Art Deco style glass Vase made by Bagley Glass, of urn form, the slender ovoid body modelled with a swirling design and finished with a crimped rim, set with two fin shape handles and resting on a squared base, all finished in a mottled blue colour wave. The form clearly reflects pieces from the Art Deco period and coloured glass was not produced by the firm until the 1930s. The shape here is unusual and similar examples are hard to find. This piece was mould made, as can be seen from the base, but probably also finished by hand in common with many other pieces from the firm. Dating has to be assumed. Bagley pieces are not marked and popular designs were sometimes continued long after their introduction.
Daum Crystal Glass Swallowtail Bowl, signed Daum-France circa 1960
Price: £150
A fine quality crystal glass bowl manufactured by Daum in the 'Swallowtail' form with a typical elongated design rising at each end from a narrow hollowed out base and terminating in a stylised beak at one end and a stylised double edged tail at the other, the abstract form intending to represent the bird.
Vases in this form were produced by the well known French maker Daum in the 1950s and the 1960s. The sizes and designs can vary with some examples measuring up to two feet and intended as table ornaments. This piece is rather smaller and perhaps more elegant. The crystal glass is of extremely high quality and reflects the light in a very attractive way. The weight is good and the glass itself is thickly blown and expertly formed, The flat base shows signs of bevelled edging at the exterior and one of the sides bears the typical etched Daum mark with 'Daum' and 'France' separated by a device comprising an upright line with two crosses.
The more petite size and the quality of the manufacture and design make this a most appealing example of Daum's work at its best. Dating can be assumed to be around 1960 if not slightly before. A desirable piece indeed for collectors of twentieth century art glass.
Small art glass bowl, Martin Andrews Glass, C21st
Price: £85
A small bowl with deep curving sides the mottled blue glass above a mass of bubbles which merge into a speckled brown ground also with bubbles in deep blue, each side with stripes in white. This piece comes from the ‘beach’ range produced by Martin Andrews glass in recent years. A selection of these pieces can be seen in image XXXX which is taken from a 2016 Facebook page from the studio.
Martin Andrews (see image XXXX) graduated from West Surrey College of Art and Design with a BA (hons) Glass in 1991. Following this he was based in London until 2000 when he then launched his current workshop at the Ruskin Glass Centre in Stourbridge. His work often draws on the earth's natural forms and patterns and his ‘beach’ range is a prime example of this.
Unusual pear shape art glass vase, possibly Scandinavian, C20th
Price: £25
An unusual art glass vase of a broad pear shape, the very narrow neck with ridged rounded decoration matching the top rim, the interior with an abstract leaf shape object at the base, the glass cloudy and with small flecks. There are no clear parallels for this piece, although it loosely resembles designs by Ingeborg Lundin for Orrefors, Sweden, (see image 9) which perhaps suggests a Scandinavian origin although this is far from certain. Elements of the decoration are clearly organic but the precise function of this vase remains something of a mystery.
A set of three Millefiori Glass Paperweights, possibly Italian Murano, late C20th
Price: £75
A set of three glass paperweights of rounded dome form decorated with a multitude of closely packed flower heads in yellow and red on a dark green ground in the 'millefiori' or 'thousand flower' pattern, the all over design extending right to the base which is slightly concave with traces of the blowing technique. While similar to pieces made by the Murano Glass factory in Italy a clear provenance for these examples cannot be securely given. Dating is probably towards the end of the twentieth century but this does not diminish the decorative appeal. The decoration on each is very similar but not absolutely identical which reflects the hand blowing techniques.
This set is sold with matching contemporary illuminated stands which enhance the decorative effect considerably and provide a modest light display installation for the home (see illustrations 5 and 6).
Art Deco style Amber Glass Rocket Vase, probably Czech Rosice 1930s
Price: £45
An Amber Glass Vase of fluted form, the slender body flaring from the base to form a wide shaped rim and supported by three modelled feet resembling rocket fins. The style of this vase is obvious and it seems to have been made during the period whose ethos it matches. The manufacturing technique is that of pressed glass in which molten glass was pressed into a mould with a plunger and many factories were producing similar pieces from the 1920s to the 1940s. These rocket form vases are generally held to be Czech and made during the 1930s. They resemble pieces made by the 'Rosice' factory which started production in 1920 and continued under various owners, with occasional periods of closure, until 1996. A 'heyday' period was under the proprietorship of Vaclav Hrdina from 1928 to 1931 and Hrdina was known to have promoted the manufacture of pressed glass pieces of which this design is likely to have been one. The colour is excellent and the quality of work perhaps superior to some of the pieces being made in England at that time.
A Blue Glass Icicle Bowl, designed by Tauno Wirkalla for Humppila Finland, late C20th
Price: £150
A blue glass Bowl of shallow form with straight flaring sides modelled with repeating icicle like shards with pointed edges, the base flat and with an indented foot. The design here is very much representative of the Art Deco period but was made much later. The manufacturing technique is that of pressed glass in which molten glass is pressed into a mould with a plunger. This was the most common way to produce inexpensive glass from the middle of the 19th century onwards and enjoyed a great vogue in England in the 1920s and 1930s. But this piece is much later and was designed by Tauno Wirkalla for the Finnish glassworks Humppila probably in the 1960s or 1970s.
Tauno Wirkalla was the brother of the celebrated Finnish designer Tappio Wirkalla and like him favoured an ‘ice glass’ effect in his designs. He was one of the designers for the Humpilla Glassworks in Finland which was founded by the Helander brothers in 1952 and was then subject to various takeovers, finally being acquired by the firm Nuutajarvi (for whom the Helander brothers had originally worked) in 1986. Wirkalla produced many ‘ice glass’ designs for Humppila, some of which are signed and some still surviving with their factory labels, which is not the case here. This bowl is of an exceptionally large size and has miraculously survived undamaged with all its pointed edges intact. A truly distinctive centrepiece recreating the style of an earlier era.
A Pair of Glass Vases or Paperweights, probably Selkirk Glass, Scotland, 1980s/1990s
Price: £25
A pair of Glass Vases of bottle form the pear shape bodies rising to slender necks, each decorated in a complimentary design of swirling ribbons in red white and blue, the bases with a clear smooth slightly irregular circular foot. While obviously with decorative appeal the weight and form of these pieces suggest that they might also have been intended as paperweights. Similar pieces, but with slightly different decoration were made by the Selkirk Glass factory in Scotland and bear their paper label and the provenance of this pair of vases is most likely the same. The business was set up by Peter Holmes and Ron Hutchison in 1977. Peter Holmes left in 2002 and Caledonian Investments bought it in 2004 but the firm was finally closed in 2006.
A Pair of Art Deco Pressed Glass Trophy Form Vases, Davidson, 1930s
Price: £45
A Pair of pressed glass vases of hexagonal form, the rounded body with a lobed rim and standing on a shaped foot, two handles to the sides in the shape of a trophy. These pieces resemble similar designs in clear pressed glass made by the Davidson factory in the 1930s. George Davidson founded the Teams Flint Glass Works in 1867, which later became known as George Davidson & Co. In the 1880s the company began producing pressed glass tableware in a variety of shapes and by the 1920s their designs began to reflect the new Art Deco trends. The firm continued production until the 1980s, closing in 1987. These vases come from their 'Chippendale' range and were probably made in the 1930s. It has been suggested that this and other similar forms were intended to hold celery. Normally sold singly, it is less common to find a matching pair with their obvious decorative potential.
Four Art Deco style small Glass Vases with silver decoration, possibly Murano 1930s
Price: £55
Four Art Deco style small Glass Vases with silver overlay decoration, possibly Murano 1930s
This is a set of four complementary small coloured glass vases (green, blue, amethyst, turquoise) each with applied silver decoration now slightly tarnished. The clean lines of the shapes, two of baluster form and two with conical bodies suggest the Art Deco era and the decoration, which features gondolas and palaces, suggests Venetian origin and therefore manufacture at the Murano glassworks there. This has to remain slightly speculative and the pieces might be slightly later but the group provides a highly decorative ensemble for collectors or decorators alike.
Tall glass vase with orange, grey and black swirls, probably by Carlo Moretti, Italian 1970s
Price: £180
This is a striking glass vase of slender proportions, the ovoid body above a flaring stepped foot, the short ridged neck flaring outwards to the top rim, decorated with a continuous design of black, grey and orange trailing swirls on a white ground. While similar to pieces produced by ‘Vetreria Barbieri’ at Empoli, vases of this type are usually attributed to the Murano based designer Carlo Moretti. Born in Murano in 1934, he founded in 1958 with his brother Giovanni a glassworks named after him which enjoyed great success and was eventually sold by Giovanni in 2013, five years after Carlo’s death, to an Italian fashion company who continue production under the name. Vases in this style were made in the 1970s and this is an exceptionally fine and large example, well deserving a place in a collection of contemporary Italian glass.
Murano bud glass vase with paperweight base, second half C20th
Price: £25
A bud glass vase with a long narrow and very slightly flaring neck above a globular body, the neck deep purple with white streak highlights and the body with a coloured relief sculpture of a flower growing from rocks in the style of a paperweight. This model was produced at Murano in the later years of the twentieth century and was clearly popular from the number of similar pieces which can be found today. Intended to display a single flower it can also double as a paperweight itself making it both decorative and functional as its new owner pleases.
Pair of Glass Candlesticks, Davidson Chippendale, 1930s
Price: £25
A pair of glass candlesticks modelled in a distinctive art deco style with a hexagonal central shaft topped with a nozzle, with angular trophy form handles to the sides and wide flaring bases. This pair comes from the ‘Chippendale’ range produced by the glass manufacturer Davidson in the late 1930s. George Davidson founded the Teams Flint Glass Works in 1867, which later became known as George Davidson & Co. In the 1880s the company began producing pressed glass tableware in a variety of shapes and by the 1920s their designs began to reflect the new Art Deco trends. The firm continued production until the 1980s, closing in 1987.
Chippendale glass was designed and patented in the USA in the early years of the 20th Century and imported into Britain. The moulds were purchased by a Charles Pratt and Davidson’s used them to produce this range of glassware purchasing the exclusive rights to manufacture Chippendale glass when they realised its popularity. Various forms were included in the range and manufactured by the pressed glass technique for which the firm had become famous. The mould marks of this pair can be clearly seen at the bases (see image 4). The clean angular lines are typical of art deco designs and Davidson’s produced here a model which was both practical and decorative.
Davidson Glass Topaz Briar Table Centrepiece, 1930s
Price: £45
A matching glass bowl, flower holder and stand, the bowl with flaring sides with a band of moulded diamond work above a squat circular foot, the flower holder (or ‘frog’) circular with twelve holes and moulded marks reading ‘Made in England’ ‘Pat’ ‘3290’ [?] ‘31’, the circular stand stepped and with three feet.
George Davidson founded the Teams Flint Glass Works in 1867, which later became known as George Davidson & Co. In the 1880s the company began producing pressed glass tableware in a variety of shapes and by the 1920s their designs began to reflect the new Art Deco trends. The firm continued production until the 1980s, closing in 1987. Some of their catalogues still exist and one from the early 1930s shows a piece very similar to this one (see image 11). The colour is known as ‘Topaz Briar’ and the swirling effects resemble other pieces in their ‘cloud glass’ range, a pattern for which the firm was famous.
The colourings and small size of this piece make it an unusual find amongst the Davidson wares which can be seen today and the presence of all three elements (perfect and complete) make it a desirable addition to a collection of twentieth century pressed glass.
Murano White Glass Vase of abstract organic form, 1960s
Price: £55
A white glass vase of abstract organic form with wavy edge sides and openwork panels, the edges finished in clear glass, the interior with a slightly blue finish at the bottom and the base clear glass and flat. While there is no direct comparison, very similar pieces were made by the well known Murano factory in Venice and some of them carry its name on an affixed paper label. Murano experimented with many abstract organic shapes and, as with other pieces, dating here seems to be to the mid twentieth century. This piece certainly has a feel of the 1960s and given the complexity of the design, it is remarkable that it has survived unscathed.
Cranberry Glass Vase circa 1900
Price: £30
A cranberry glass (the name obviously deriving from the colour) vase the globular almost spherical body with impressed dimple effect large roundels and rising to a slender round neck with a ‘squared’ top, the flat base densely dimpled. Cranberry or 'Gold Ruby' glass is a red glass made by adding gold salts or colloidal gold to molten glass. It was produced in relatively small quantities due to the cost of the raw materials. Known from Roman times the most famous period of production was in 19th century Britain during the Victorian Era. Many pieces from that era are known with similar ‘dimple’ effects and this is clearly what we have here. The workmanship is high quality, the richly coloured glass with many interesting glaze effects (see image 4) and skilfully modelled. Perhaps just an ornament or possibly a small table decanter but either way an attractive addition to any glass collection.
Black and Gold Copper Glitter Art Glass Scent Bottle, probably Murano late C20th
Price: £55
This is a very stylish scent bottle and stopper with a bulbous body, a concave neck with a flat top rim and a fitted stopper with a ball and pointed top and a long interior seal, the black glass with gilt flecks made from copper in globular and swirling patterns. Almost all the pieces with similar form and decoration are attributed to the Murano glassworks in Venice although none seem to exist with labels which would authenticate this. But the high quality of the glass blowing certainly suggests Murano work and the attribution seems reasonable. This example is particularly pleasing and is in excellent condition with the stopper original and intact.
Art Glass Vase probably designed by Joanna Jellinek for IKEA, Swedish early C21st
Price: £35
An art glass vase of ovoid form, the encased white glass body with a ‘sommerso’ base, blue streaks dripping from the top and scattered irregularly shaped ovoid black ‘pebbles’. Similar designs can be found on pieces from Orrefors, Sweden, Tarnowiec, Poland and Italla, Finland, as well as from some of the Italian glasswork studios. But the closest parallel is with vases designed for Ikea around twenty five years ago by Joanna Jellinek who joined the firm in 2002. These striking designs are collectors’ items now and this is a particularly attractive example.
Purple art glass bowl with a streaky wave design, probably Italian late C20th
Price: £75
This is an unusual glass bowl of irregular ovoid form, the purple glass thickening at the rim and merging with a polychrome streaked wavy design at the base. There are no exact parallels for this bowl although it clearly required considerable skill in its construction. Slightly similar designs can be seen in a series of bowls, ‘Contrast’, designed by Anna Ehrner for Kosta Boda, and slightly similar shapes in the ‘folded’ bowls made at Murano; indeed the streaked wave design is also very similar to effects found in Murano pieces. While neither of these are close matches, an Italian provenance seems the most likely but perhaps not one of the Murano workshops. More research is needed but for the time being this interesting bowl well deserves to be enjoyed on its own merits.
Purple and white glass Jack in the Pulpit Vase, Elan Glass Studio, second half C20th
Price: £25
The distinctive form of this vase with its wide conical base narrowing towards the top and flaring outwards into a broad turned over leaf resembles the plant named ‘Jack in the Pulpit’ and was adopted by various glass manufacturers from the Art Nouveau period onwards. There are examples by Tiffany and Loetz and the shape was later produced at Murano and by some of the British glass studios. An example by Alum Bay Glass, Isle of Wight, can be seen elsewhere on this site. As the label indicates, this piece was made by the Elan Glass Studio in Wales but little is known now about this studio which was, perhaps, rather short lived. Although the stouter form suggests the 1960s or 1970s, this has to remain a guess but with its swirling designs and contrasting colourings of purple and white it is an attractive variation of the type.
Aseda Glasbruk Art Glass Vase by Bo Borgstrom, Swedish, 1960s/1970s
Price: £75
An art glass vase of slender bottle form, the lightly flaring rim resembling a spout, the black body encased in clear glass with irregular modelled shapes often held to resemble thumbprints. This vase was made by the firm Aseda Glasbruk which was a Swedish glass factory located in Åseda, Kronoberg County. It began production in 1947 and continued through until 1975 when it was incorporated into the Royal Krona group, which unfortunately then went into liquidation in 1977. Åseda Glasbruk's chief designer was Bo Borgstrom, who graduated from Stockholm's Swedish School of Arts and Crafts in 1951. Known as an artist in ceramics Borgstrom joined the firm in 1961 and perhaps his earlier work influenced his later creations for his new employers and can be seen here in what is certainly rather a sculptural piece. The design shows the influence of other pieces produced in the 1960s and early 1970s allowing us to place the date of
manufacture at around that time. It is a fine example of clean Scandinavian elegance.
Murano Art Glass Dish, 1960s
Price: £55
An Art Glass dish made by the well known firm of Murano, based in Venice, Italy, the flowing triangular form with turned over sides indented to the centre and joining at three complementary 'lips', the blue glass skilfully combined with clear glass and shades of brown. Just possibly intended as an ashtray, the design is striking and appealing and representative of the best Murano work. A circa date in the 1960s is likely and the style matches other designs from that era.
Art Glass Doorstop with Starburst and Bubble designs, perhaps British, late C20th
Price: £45
An Art Glass Doorstop of near spherical form with a flat foot, the crystal style glass incorporating starburst effects in light maroon and blue above a purple ground, all interspersed with bubbles. Similar pieces in a slightly smaller scale are usually described as paperweights, but the size and weight of this item suggests rather a doorstop or 'dump'. High quality paperweights in a variety of rounded forms were made by various studios in Scotland in the mid to late twentieth century and perhaps this is what we have here but no firm attribution is possible. The skill of the maker, though, is self evident.
Iridescent art glass Vase with loop handles, possibly continental 1950s
Price: £45
A fine quality art glass vase, the broad pear shape body flaring to the neck which turns over to form two large loop form handles, the cream iridescent glaze skillfully combined with an iridescent green highlighting the inside of the neck and the handles. The quality of manufacture here is self evident but a provenance hard to determine. The flowing lines employed can reflect pieces form Czechoslovakia or Italy and the general finish some of the productions of the Orrefors factory in Sweden. Dating is equally problematic but the mid twentieth century seems a reasonable attribution.
Golden Amber Webb Glass Vase, marked, 1950s
Price: £45
An amber glass vase, the broad body flaring out slightly to the neck and above a wide spreading foot, decorated with bands of raised roundels and marked to the base 'Webb England'.
Thomas Webb began his glass career in 1829, when he became a partner in the Wordsley Glassworks. Various career changes followed and in 1859 he was joined by his sons Thomas Wilkes Webb and Charles Webb and began trading as Thomas Webb & Sons based in Stourbridge. The firm was run by various family members until mergers started to occur in the early twentieth century and Sven Fogelberg, previously from Swedish glassworks Kosta, became manager in 1932. Production continued with more mergers in the 1960s and 1970s until the firm closed in 1990. This vase was made by Thomas Webb during the 1950s as part of their 'Gay Glass' range in a design called 'Old English Bull's Eye' and has the typical 'Webb England' mark to the base.
Green pressed glass Coronation Plate, Edward VIII, 1936
Price: £75
A commemorative ware green pressed glass dish with a ruffle edge, the centre with a medallion portrait of the prospective King Edward VIII surrounded by lettering naming him and his proposed coronation day, 12th May 1937. After the death of George VI in January 1936, many manufacturers began making commemorative wares in anticipation of the coronation of his eldest son, David, in May the following year. They were then famously wrong footed by the new (uncrowned) King’s abdication in December 1936 and left with merchandise which was no longer relevant or appropriate. Some of these pieces still survive, but this glass dish is one of the much less common ones. A desirable item, then, for collectors of commemorative memorabilia and a memento of a troubled time in the history of the British monarchy.
As he did in so many other respects, Edward VIII broke with tradition and demanded that his face look in the same direction as his Father’s, in order to show his hair parting. The custom was for the direction of the head to alternate. His brother George VI, though, chose the same orientation on the grounds that he ought to have been following a predecessor facing the other way!
Mdina glass globular bottle vase, Earthtones pattern, second half C20th
Price: £25
A small but heavy globular glass bottle with a ‘button’ rim decorated with a swirling design in tones of beige, brown and ochre. While not signed but quite possibly lacking an original paper label, the finish of the base and the stoutly blown glass have all the hallmarks of Mdina glass and the pattern has direct parallels with other pieces which are signed. It was called ‘earthtones’ and later just ‘earth’ and introduced in the mid 1970s, probably a design by Michael Harris who founded the glassworks at Mdina in Malta in company with Eric Dobson in 1968. Harris left in 1972 to set up Isle of Wight glass but his designs continued to be made and perhaps this piece dates to the 1980s. It is sometimes called a scent bottle, but, if so, would have needed a stopper and there few if any examples which have a clearly matching one. Perhaps just a decorative piece then and certainly a collectible example of this popular Mdina pattern.
Pair of copper lustre Goblets decorated birds and flowers, Staffordshire, C19th
Price: £55
A pair of ceramic goblets of typical form, the flaring straight walled bowls with beading at the top and supported by a shaped stem resting on a spreading foot, the exterior with a copper lustre glaze interrupted by pink ground panels of birds and flowers, the interiors also glazed pink. Copper lustre glazes are created by suspending metal particles in a liquid solution which is then applied by a brush and fired. They were a favourite choice of the Staffordshire potters who used the effect on a wide variety of forms and in particular goblets, as here. Dating is to the nineteenth century and the form here, which recalls Georgian shapes, may indicate an earlier rather than later period. The decoration is extremely pleasing and the combination of gold and pink, which is also found on Sunderland lustre wares, is highly attractive.
Pair of Bohemian Harrach Glass Vases, Morocco pattern, second half C19th
Price: £95
A pair of opaque glass vases of flattened pear shape, the necks spreading slightly outwards towards the top with a cup shape rim, the white ground glass heavily enamelled with polychrome decoration, a variety of bead bordered shaped panels with yellow, blue and pink grounds dotted with stylised floral blooms. The pattern of these pieces is known as ‘Morocco’, presumably a nod towards the decorative items produced there, and can be found in the nineteenth century pattern books of the Harrach factory situated in Bohemia, now part of the Czech republic.
The Harrach glassworks is named after Alois Raimund von Harrach (Count Harrach), on whose estate it was founded in Bohemia, in the early eighteenth century. Managed at first by one Elias Muller, the firm traded under a variety of names becoming known as Harrach in the nineteenth century and Harrachov, the name eventually given to the town where the factory was situated, in the twentieth. These opulent vases were a popular part of its range in the nineteenth century, the pattern being produced in a variety of similar shapes and always as shelf ornament pieces. The decoration here is particularly lavish with an attractive use of colour and has survived in excellent condition making these a desirable addition for collectors of Bohemian glass or admirers of nineteenth century glass style generally.
Murano Style Calla Lily Trumpet Shape Vase, second half C20th
Price: £75
A delicately blown glass vase of trumpet shape, the squared cylindrical body flaring towards the base and top with four fins, the neck spreading outwards with a deeply scalloped rim resembling flower petals, the glass in a variety of colours, green merging into cream with red at the top. The artistry of this piece is quite clear and the form would have required skilful glass blowing techniques. The work is similar to that of Murano pieces, made in Venice in the 1960s and 1970s but there is no proof of manufacture there. Often termed ‘Jack in the Pulpit’, from a supposed resemblance to that flower, this vase is actually modelled on the Calla Lily. (‘Jack in the Pulpit’ has a raised petal at the back whereas here the petals are all similar.). Despite the uncertainties we certainly have here a striking piece of C20th Italian art glass with considerable decorative appeal.
Swirl design Cranberry glass Decanter and Stopper, probably Italian mid C20th
Price: £45
An unusual decanter and stopper set, the broad pear shape body narrowing towards the neck which has a curved lip at the front and a loop handle at the back and is fitted with a flattened ovoid stopper. Both pieces have moulded decoration and the handle has repeating circular indentations, the clear glass with swirling ribbon highlights in cranberry glass. While cranberry glass decanters are seen with a combination of clear and coloured glass there is no close parallel to what we have here. Similar pieces were made in England (for example Fenton glass) and by the ‘Bohemian’ workshops (Bohemian glass was made in the regions of Bohemia and Silesia, now parts of the Czech republic). There are also a few Italian pieces, some made on the island of Torcello near Venice. But none of these is exactly the same and the form of the stopper is very rarely found. The rather ‘open’ decoration with the trails of Cranberry coloured glass suggests most of all though the last of these with a dating, perhaps, to the mid C20th. While something of a mystery this remains an attractive and appealing item in particular for collectors of Cranberry glass wars.
Aseda Glasbruk Blue Glass Bottle and Stopper by Bo Borgstrom, 1960s
Price: £55
This is a glass bottle, or possibly decanter, and stopper, the pear shape body heavily formed from blue glass with a stepped shoulder and a turnover rim and with irregular modelled shapes often held to resemble thumbprints, the ovoid stopper in clear glass with heavily indented ribbing. This piece was made by the firm Aseda Glasbruk which was a Swedish glass factory located in Aseda, Kronoberg County. It began production in 1947 and continued through until 1975 when it was incorporated into the Royal Krona group, which unfortunately then went into liquidation in 1977. Aseda Glasbruk's chief designer was Bo Borgstrom, who graduated from Stockholm's Swedish School of Arts and Crafts in 1951. Known as an artist in ceramics Borgstrom joined the firm in 1961 and perhaps his earlier work influenced his later creations for his new employers and can be seen here in what is certainly rather a sculptural piece and which appears in the firm’s catalogue with the number 991/1. As with another of Borgstrom’s pieces also in this sale dating is to the 1960s or early 1970s.
Tall glass swirl design Vase, Herner Glas Germany, late C20th
Price: £35
A tall glass vase, the body of tapering form with a short concave neck and flaring rim, decorated in mustard and brown colourings and traces of white with a trailing swirl pattern, a small label to the side reading ‘Herner Glas’. The firm ‘Herner Glas’ was founded in 1986 at Herne, a town in the Ruhr area of Germany. It specialises in hand blown art glass and marble effect pieces, as here, are one of its particular specialities. Many of its pieces survive with the original maker’s label containing the distinctive red ace of spades and some also include the model number.
Tall Murano style bottle vase, second half C20th
Price: £150
This is an exceptionally tall art glass bottle vase, the pear shape body rising to a tall, slender neck very slightly tapering inwards and then flaring gently outwards to the uneven profile top rim, the base flat and the decoration with trails of gently spiralling mottled and feathered orange glass on a black ground heightened with gilt speckle. The techniques used here have all the hallmarks of the Murano glassworks and the form, while unusual, is not inconsistent with the work produced there but, while these vases are often described as ‘Murano’ there is no proof of this and ‘Murano style’ is perhaps a safer description. But this does not detract from the grand magnificence of this piece, which would have been a striking decorative accessory when it was made, probably in the 1960s or 1970s, and remains so today.
Cranberry art glass Vase, probably Chřibská, Josef Hospodka, Czech late C20th
Price: £55
A heavy art glass vase the pear shape body with a wide neck and a flaring rim notched at the top, the cranberry glass twist fluted and with ‘ombré’ or shading effects with the coloured glass blending into clear glass, the base flat.
This design is generally attributed to the designer Josef Hospodka (1923-1989) who worked for the Chřibská glassworks in Czechoslovakia from 1950 to 1970 and again from 1985 to 1989. His organic, sculptural blown glass designs enjoyed great popularity and some remained in production after his death until the factory closed in 2007. There are catalogues from the factory and some of the pieces were also illustrated in the Czech Glass Revue where they were directly attributed to Hospodka. There does not appear to be either a catalogue entry for this vase or any mention of it in the journal, but the general style is extremely close to known works by him and the attribution is reasonably safe. Chřibská pieces were distinguished by their vibrant colours, flowing forms, weight and a smooth polished base, all of which are present here making this a fine example of their productions.
Murano style Art Glass Paperweight, second half C20th
Price: £45
An art glass paperweight of tapering ovoid form with a flat base, the clear crystal glass enclosing a cluster of bubbles emerging from a dark grey rock like formation below. This design of ‘controlled’ bubbles occurs on paperweights from a wide variety of sources including the glassworks at Murano, Venice, a few of them retaining the original label with wording including ‘Made in Italy’ ‘Murano’ ‘Venezia’. The marked examples tend to have a crisp flat bottom, as here, sometimes with a distinct inner roundel to the centre of the foot, again as here. A Venetian provenance, then, is a possibility but no more than that. But, whoever the maker, this is certainly a piece demonstrating a high quality of both manufacture and design. Dating is most likely to the 1960s onwards when ‘organic’ and rounded forms were very much in fashion.
Uredale Glass Vase, late C20th/early C21st
Price: £55
This is a typical example of one of the range of pieces produced by the Uredale Glass Studio, set up in 1981 by Tim Simon in Masham, North Yorkshire. Simon had studied with a Master glassmaker from Stuart Crystal in the 1960s and his enthusiasm and interest in this craft led him on to start his own business with his wife, Maureen. Now trading for over forty years it is one of the longest running studio glassmakers in the United Kingdom. Their premises at Masham include a shop where a selection of their wares can be seen and purchased and there is also the opportunity to attend demonstration glass making courses. This round beaker like vase employs mottled and swirling glass effects in a range of purple tones and is very close in style to the ‘autumn’ hot glass range which can be seen on the studio’s website today. As with other Uredale pieces, the vase has a distinctive label with its maker’s name. Any collection of late twentieth century studio glass should include at least one piece from this well known maker and the vase shown here would be an ideal addition.
Purple Art Glass Vase by Anthony Stern, late C20th
Price: £150
This is a strikingly bold art glass vase heavily blown with thick walls, the simple ovoid body with a small concave aperture at the top and a rounded spreading foot below. The light purple of the body is contrasted with the clear glass base and the underneath contains the incised signature of Anthony Stern. Born in Cambridge in 1944, Anthony Stern (see image 7) was initially known as a film maker working with many of the pop stars and media personalities of the 1960s and 1970s including Pink Floyd and the Rolling Stones. By 1976 he had begun to tire of this and went on to complete an MA at the Royal College of Art in Glass then becoming a highly successful glass maker whose work eventually found its way into the collections of Queen Elizabeth II, Sir Elton John, the Saudi Royal Family (Red Sea Palace), the Victoria & Albert Museum, Barclays Bank, Morgan Stanley, the Nomura Group, Sir Derek Jacobi, and the Broadfield House Glass Museum amongst others. To Stern, there was a firm link between the two disciplines once saying that ‘Glass and film are identical, they’re both translucent materials through which light passes.’ Eventually succumbing to Parkinson’s, after which he made a brief return to the world of film, Stern died in 2022. His work was mainly sculptural and often employed an imaginative use of colour effects (see image 8 showing his glass studio). The form here is much simpler and seems also to have been made in much smaller white glass examples. His pieces are signed with an etched, slightly dotted inscription bearing his name as here. The size and colour of this piece appear to make it unique and a desirable acquisition for collectors of C20th art glass or perhaps devotees of the pop culture which flourished at the time.
Bohemian Green Glass Moser style Ewer, late C19th
Price: £35
A small green glass ewer, the slender body of rounded inverted cone form above a rounded spreading foot, the narrow cylindrical neck with a deeply scalloped rim forming the spout and to the side a tall loop handle, decorated with beaded gilt bands and flowers, the top rim and handle with traces of gilding. The form and decoration here is typical of the so called ‘Bohemian’ glass produced for export in the nineteenth century by the workshops from the regions of Bohemia and Silesia, now parts of the Czech Republic. With its origins in the renaissance, Bohemian glass in elaborate forms and with colourful decoration of thickly enamelled floral subjects was made in substantial quantities in the second half of the nineteenth century satisfying an eager demand in both Europe and America. This ewer resembles pieces made by the well known factory Moser but is unlikely to be one of their productions, more a modest version for a mass audience. But it is highly representative of the style and attractive in its own right.
Phoenician Glass Vase, signed, late C20th
Price: £45
A glass vase of slender bottle form, the globular body rising to a tall cylindrical neck flaring outwards to the top rim, the vertical banded decoration employing a mixture of yellows, mustard and greens on a blue ground and possibly intended to represent seaweed, the base with etched script marks ‘Phoenician’ and ‘Malta’ and the body with a diamond shape affixed paper label reading ‘PHOENICIAN GLASS’ ‘MALTA’
Phoenician Glass was founded on Manoel Island, Malta in the 1980s by Leonard Sullivan, who had worked previously at Mdina Glass and many of his designs resembled those of his old employers. Certainly, the influence of Mdina and perhaps that of one of its founders, Michael Harris, can be seen here. Phoenician Glass took its name from the ancient Phoenician civilisation, which colonised Malta during the first millenium BC.
Pink pressed glass dressing table set, Libochoviche, Czech, 1950s
Price: £35
A five piece dressing table or trinket set made from press moulded pink glass and comprising a tray, a pair of candlesticks, a covered pot and a ring stand, all elaborately modelled with repeating ball borders. The designs for this set can be found in a pattern book for the Libochovice glassworks in Czecholslovakia which apparently dates to some time before 1958. The tray is pattern number 3020 and the other pieces have numbers between 3021 and 3024, there being two numbers for the covered pot which was made in different sizes. The Libochoviche factory was founded in 1912 by H. Feigl and J. Moráve and after an initial period of producing mainly utilitarian pieces turned to the creation of innovative decorative items, mostly in pressed glass for which it had perfected the techniques and in combination with professional artists of the day, maintaining a highly popular output of designs until its closure in 2006. In 1945 it became part of the Sklo Union cooperative along with other manufactures of pressed glass such as Rosice and Hermanova Hut whose work can be seen elsewhere on this site.
Iridescent glass spill vase, Isle of Wight Glass, second half C20th
Price: £55
A spill vase of cylindrical upright form with a slightly flaring rim, the iridescent glass with a stylised naturalistic rocky mineral design, the black ground heightened with gold flecks. While lacking the original label (and box), the decoration here is indisputably from the ‘Azurene’ range produced by Isle of Wight Glass from 1978 to 2012. The original award winning ‘Black Azurene’ finish was developed by Michael Harris in collaboration with RCA student and glassmaker William Walker in 1978. 22ct gold and sterling silver were applied to the surface of hot glass producing a range of abstract designs inspired by nature and landscape. At various times the range was produced in a variety of colours which included black, white, pink, blue, red, azure, green, gold (on black) and turquoise (the rarest colour). We have here gold on black, without the addition of silver, which was made from 1982 to 1996, an attractive example of the studio’s most popular design range.
Loetz green glass jug, Neptun pattern, early C20th
Price: £150
An iridescent green glass jug of plain form, the globular body below a wide cylindrical neck with a short curved spout and opposite an angular loop handle, the whole with a modelled design of repeating stylised leaf forms, often held to be seaweed. This well known design is from the ‘Neptun’ range produced by the celebrated Bohemian glassmakers, Loetz. A variety of shapes were produced of which this small pitcher is perhaps the most pleasing. The pattern was first produced in 1903 and this jug doubtless dates to the early years of the twentieth century.
The Loetz glass factory has its origins in the nineteenth century, when the widow of Johann Lötz, Susanna, remarried after his death in 1844 and with her new husband bought in 1851 the glassworks firm Klastersky Mlyn which was henceforth named Johann Lötz Witwe (the widow of Johann Lötz). The factory was situated at Klostermühle (Klášterský Mlýn, now part of Rejštejn) in southwestern Bohemia, Austria-Hungary and then Czechoslovakia. Johann’s grandson, Max Ritter von Spaun took over the business from his grandmother in 1879 and continued to run it under the old company name, ‘Joh. Lötz Witwe’, which was later changed to ‘Lötz’ and around 1900 changed again to the anglicised version of this ‘Loetz’. Around this time, the firm began producing the range of iridescent lustre finish glass in the Art Nouveau style for which they are now so famous. Production continued until the closure of the factory in 1947.
Wylde Green Perfume Bottle, Lesley Ann Clarke Glass, signed and dated 2019
Price: £75
A glass perfume bottle and stopper, the bottle of flattened ovoid form with a flaring oval dished rim, the stopper ovoid with a rounded knob and tapering below, the base flat with an etched signature and date, the bottle decorated with a swirling design in greens, blues and white with gold flecks, the stopper white with swirling ribbon streaks.
The signature at the base is for Lesley Ann Clarke, a glassmaker based in St Ives, Cornwall (see image 8). She writes herself “Over the years many artists and craftspeople have come to live in Cornwall for its light and wondrous views. I was born here and knew no other. My work with blown glass makes full use of the light and the flowing nature of hot glass. To grow up in St Ives is an art lesson in itself.” Her work is exhibited at various galleries in the UK and all her pieces employ individual naturalistic designs in variety of shapes and colours of which this perfume bottle from the ‘Wylde Green’ range, dated to 2019, is an excellent example.
Pair of Chinese Dalian Glass Co. Ltd Vases, second half C20th
Price: £45
Distinctively Italian in style and resembling closely pieces made by the glassworks Vetreria Barbieri, based at or near Empoli, this pair of vases was, in fact, made in China in the mid to late twentieth century by the manufacturer ‘Dalian Glass Co. Ltd’, one of many glass factories on the Dalian headland, often known as the ‘crystal coast’. Just a few pieces still carry their factory label and an example of this from another vase is shown here (see image 9) which not only identifies the maker but also the pattern design used which was called ‘snowflakes’. Dalian Glass was not blown by hand but rather made using moulds and factory production techniques. But the quality is still there, leading many of their pieces to be confused with those made at Murano and the swirl decoration varies from piece to piece. With their shaped ovoid body and crimped rim set off by the multicoloured ‘trail’ decoration on a variegated yellow ground, this pair of vases is an excellent example of the Dalian Glass factory’s work, well able to stand comparison with the originals from which they took their inspiration.
Two Carnival Glass Vases, Marigold, probably Fenton USA, early C20th
Price: £55
These are two fine examples of so called ‘carnival’ glass. The forms are similar, a tall columnar like body, slightly tapering inwards to the spreading base and flaring outwards to the broad crimped rim, but one has a plainer panelled body and the other is fluted. Carnival glass is moulded or pressed glass to which an iridescent surface shimmer has been applied, which can be seen very clearly here. The technique was developed by the American firm, Fenton Art Glass Company, in 1908. Sales were initially sluggish but when the wares were discounted in price they rapidly gained in popularity and were then manufactured in great numbers over a period of approximately twenty five years. The aim was to recreate the effects of the much more expensive blown iridescent glass by makers such as Tiffany, leading to the unfortunate designation ‘poor man’s Tiffany’, but the modest purchase price allowed a wide circulation amongst the enthusiastic buyers. Various American firms produced these pieces which were then mass produced around the world. The term ‘Carnival’ was adopted in the 1950s and derives from the fact that these pieces were often given out as prizes at carnivals, fetes, and fairgrounds but originally the majority of them were bought as decoration for the home. Few pieces are marked, but the colourings here match the ‘Marigold’ tones produced by Fenton in the 1920s and these vases were most likely made by them.
Spatter Glass Basket with thorn rope twist handle, probably Stourbridge, late C19th
Price: £75
A glass basket or bonbonniere of rounded sack like form with a diagonally fluted base and a fluted neck below a crimped rim fitted with a looped thorn rope twist handle. The white body is decorated in the ‘spatter’ technique whereby hot blown glass is rolled over small pieces of crushed or powdered glass and then blown into shape or formed in a mould. The yellow and maroon colourings here contrast with the clear glass of the modelled handle.
The 'spatter’ technique was known from Roman times but enjoyed something of a renaissance in the Victorian era when there was a general revived interest in the glass making techniques of the ancient world. Similar baskets are normally associated with the glassmakers at Stourbridge, Worcestershire, a centre of glass production since the 1600s, and this seems the most likely source of this piece, with a dating to the late nineteenth century. It is an excellent example of the type and remains in fine condition.
Mdina Earthtones Pattern Vase, late C20th
Price: £85
While lacking a signature at the base, this vase is almost certainly from the glassworks at Mdina, Malta. The body is an upright cylinder with a protruding band at the top below the concave neck and flaring rim. The finish of the base and the stoutly blown glass have the hallmarks of Mdina but the pattern has direct parallels with other pieces which are signed. It was called ‘earthtones’ and later just ‘earth’ and introduced in the mid 1970s. One example in this shape (but not signed either) comes with a large ball shape stopper, implying that we may have the base of a decanter here. If so, the form is still complete in itself to the eye and there are various other similar examples.
Mdina Glass was founded in the Maltese town of Mdina in 1968 by Michael Harris and Eric Dobson. The town had no history of glass making but the venture proved to be a success. Its wares, free formed organic glassware, often in colours inspired from the sea, sand, earth and sky, proved very popular with tourists visiting Malta. Michael Harris left Mdina in 1972 and formed a new company, Isle of Wight Studio Glass, on the Isle of Wight, UK, leaving Eric Dobson in charge, but many of the designs he created continued to be made at Mdina Glass after his departure although new designs and patterns were added as well of which this vase is an example. Ownership of the company later changed but it is still producing a popular range of glasswares today.
Pair of slender red glass bottle Vases, probably Joska Kristall, Germany, late C20th
Price: £85
A pair of elegantly blown vases of slender bottle form, the pear shape body rising to a long, narrow slightly concave neck with a wavy rim, the red glass with speckle effects and inset multicoloured decoration at the base. The style of the work here, in particular the red colourings and the multicoloured decoration at the base, has parallels with pieces made by the Joska Krystal glassworks at Bodenmais, Germany and similar pieces can be found with their label attached. Dating is most likely to the 1970s and it is unusual to find this form as a pair which considerably enhances their decorative appeal.
Murano bullicante glass swan dish, second half C20th
Price: £25
A glass dish in the form of a stylised swan, the heart shape body hollowed out in the centre, the two ‘wings’ with a small lip opening at the rear, the front with a clear glass curved neck and head, a black streak to the interior and the crest and beak modelled, the almost circular base flat, the deep purple glass with trapped bubbles in the ‘bullicante’ effect. ‘Bullicante’ is the Italian word for ‘boiling’ and the process for creating small bubbles encased in the glass surface so named was developed and perfected at Murano during the 1930’s by Archimede Seguso. But its use continued and this swan dish, which bears all the hallmarks of Murano work, probably dates to the 1960s or 1970s. Most likely intended as a trinket dish or possibly an ash tray, it can also be enjoyed as miniature sculpture in itself.
Blue art glass bud vase, Hjorts Glasbruk, Sweden, second half C20th
Price: £35
An art glass vase, probably for the display of a single flower, the slender ovoid blue glass body supported by a ribbed clear glass circular foot. Towards the top is a label reading ‘Swedish Art Glass’ with a monogram ‘GH’ within a stylised crown which points to the Swedish glassmakers ‘Hjorts Glasbruk’, rather less well known than some of their competitors. Dating is most likely to the later years of the twentieth century.
Pair of Maltese Mtarfa Vases, one signed, late C20th
Price: £35
Closely resembling the work of the Mdina studio, this pair of vases derive from another of Malta’s glassworks, Mtarfa. Founded in 1979 by Paul Said, the brother of Joseph Said who was at the time the owner of Mdina Glass, the studio produced pieces which were similar in both form and decoration to those made by its more famous rival. Indeed, both brothers were originally trained by Michael Harris, the founder of Mdina Glass, where they both worked. As with the Mdina pieces the glassmakers at Mtarfa took their inspiration from the colourings of the sea and landscape of the Mediterranean which surrounded them. The form here was distinctive to them though, a bottle shape with a squat globular body below a narrow cylindrical neck with a broad flat top rim. The purple and white glass is in a distinctive ‘pulled feather’ design with broad swirling bands to the body and narrow ones to the neck. The signature on one can be made out (with a little imagination) as reading ‘Mtarfa’ and is very similar to other signatures, equally slightly indistinct, found on other pieces which also bear the Mtarfa paper label confirming the identification. This pair of vases was almost certainly made in the 1980s or early 1990s before the rebranding of the firm as ‘Valletta Glass’ which still produces pieces today.
Art Deco Flower Vase, Frog and Stand, Bagley Glass, Spinette Range, 1930s
Price: £45
A flower vase and stand of angular form, the green glass diamond shape body with a spreading foot and fitted with a matching black glass stand below, the interior of the vase with a removable display stand or 'frog' with diamond shape apertures for the presentation of flowers and the body of the vase with pressed glass decoration of stylised fans. The form of this piece appears in the catalogues of the Bagley glass factory in the 'Spinette Range' and with the model number 3180 allowing a secure dating to the 1930s which is fully consistent with the Art Deco inspired design of the piece.
Bagley Glass was established in Knottingly, England (south east of Leeds) in 1871. Bottle makers at first they branched out in 1912 and opened a department 'The Crystal Glass company' which made crystal and pressed glass. But it was for the latter that Bagley were to become famous and they became the biggest manufacturer of pressed glass in England in the years before and after the war. Many of their designs were influenced by the Art Nouveau styles and this flower vase, unusually presented complete with its frog and stand, is a classic example of their range.
Hula Pattern glass Vase by Bob Crooks, signed by the artist, modern
Price: £110
This is a striking vase by Bob Crooks, one of Britain’s most highly respected contemporary glassmakers (see image 8). Born in 1965, Crooks studied at the Humberside College of Higher Education and the West Surrey College of Art & Design where he took a BA (Hons) in 1989. After working with other studios, he set up his own in 1990, moving to Devon in 2002 where he has since been producing his distinctive pieces of art glass under the name ‘Bob Crooks: First Glass’. The vase here is from the range in the ‘hula pattern’ (the name deriving from the well known brand of crisps) and can be seen in a variety of forms and colours on his website. The version here is particularly pleasing, the irregular flattened ovoid shape enhanced by the bright blue of the body set with scattered yellow ‘hula hoops’. This is, in fact, a unique creation since each of Hobbs pieces are designed, handmade and finished by him without the use of moulds. His signature appears etched on the base in common with all his other works. The appeal is obvious and an excellent example of the skill and artistry of the maker.
Chřibská Glass bowl, Josef Hospodka, Czech 1970s
Price: £55
An organically formed sculptural glass bowl or ashtray, of trefoil form with an undulating rim and three projecting ‘knobs’ above the flat base, the colourings merging from green to amber with clear glass at the base. This piece was made at the Chřibská glassworks in Czechoslovakia and can be seen in their 1970s catalogue with the pattern number 240/5/20. An entry in issue 12 of the 1964 Czech Glass Review confirms the designer as Josef Hospodka who was chief designer at Chřibská from 1958 to 1970 and again from 1985 to 1989. His organic, sculptural blown glass designs enjoyed great popularity and some remained in production until the factory closed in 2007. The colourings here are particularly pleasing and this is an excellent example of his work.
Swedish Kosta Glass Vase designed by Vicke Lindstrand circa 1960
Price: £95
A Swedish Glass Vase of flattened ovoid form very thickly blown with a hollow interior and an interior bubble, the flat base with a slightly concave roundel to the centre etched 'Kosta LH 1616'. The Kosta Glass factory was founded in 1742 and while subject to various amalgamations and takeovers continues to make glass to this very day. Vicke Lindstrand was one of the many designers who have worked with the firm and other pieces by him with the same pattern mark 'L H 1616' are known. This piece was designed in the early 1960s and reflects the general style of pieces at that time.
Davidson Green Cloud Glass Vase, 1930s
Price: £55
A green glass vase with a bulbous ovoid body below a concave stepped neck widely flaring at the rim, the surface with a swirling design known as the 'cloud' pattern. While not marked, this vase can be firmly attributed to the Davidson glass works, well known glass manufacturers in England in the late C19th and C20th
George Davidson founded the Teams Flint Glass Works in 1867, which later became known as George Davidson & Co. In the 1880s the company began producing pressed glass tableware in a variety of shapes and by the 1920s their designs began to reflect the new Art Deco trends. The firm continued production until the 1980s, closing in 1987. This vase is typical of their Art Deco inspired designs although is rather less commonly found today. It has the pattern number '34 'SVF', 'S' standing for 'small', 'V' for 'vase' and 'F' for 'flared rim' and was produced from 1934 to 1942 (see www.cloudglass.com). A slightly larger version was made as well with the pattern number '34' 'VF'. The swirling effect was typical of Davidson's 'cloud glass' designs, one of its most popular ranges. In mint condition, this vase might well fill a gap in a collection of Davidson pieces or pre war British glass generally.
Murano blue glass star shape Bowl, 1960s
Price: £25
A small deep bowl of shaped square form with pointed edges and incurving sides, the blue glass combined with clear glass in a technique known as ‘sommerso’ (Italian ‘submerged’) whereby two or more layers of contrasting glass are created without the colours mixing together. Sommerso pieces are formed by dipping coloured glass into molten glass of a different colour before blowing the glass into the required form and the technique was developed by the Murano factory in Venice. The colour range here is typical of their work and other pieces can be found with similar and even identical designs. Dating is probably to the 1960s and the flowing organic form is charcteristic of pieces from that time.
Peach colour pressed glass Bowl, Walther & Söhne, Wilhelm pattern, 1930s
Price: £35
A pressed glass bowl of rounded octagonal form with a stepped concave foot and a wavy edge rim, the peach colour glass with a design of repeating leaves on a micro dot ground, the rim with rope twist edging. The design, pattern and technique here all point to the German manufacturer Walther & Söhne, or more correctly August Walther & Söhne AG, founded by August Walther in 1888. In 1932, the firm merged with Saxonian glass and began producing a wide range of Art Deco inspired pieces including centrepieces, figurines, bowls and vases. After the war, the firm was nationalised and was renamed VEB Sachsenglas, continuing production of its Art Deco designs until its closure in 1990. This bowl comes from the ‘Wilhelm’ range which was made in a variety of shapes and colours including green ‘uranium’ glass. The Art Deco influence is clear, particularly in the clean lines of the stepped foot. Dating is most likely to the 1930s, but, as indicated above, this model may also have continued in production been produced in the years following.
Wave shape glass Vase, probably Murano, second half C20th
Price: £95
This is a dramatically modelled sculptural vase representing a cresting wave, the variegated blue glass with minute bubbles imitating water and blending into clear glass imitating the foam atop. It stands on an irregularly circular base, similarly finished. There are similar wave shape glass sculptures made by British artists such as Alison Vincent or David Wight but this piece resembles more closely the marine inspired designs made at Murano, Italy, in the later part of the twentieth century, some of which are attributed to Cristiano Toso. The maker here must remain anonymous but has created a dynamic piece which successfully recreates the sense of an ocean swell.
Mdina Art Glass vase, signed and numbered 1979, late C20th
Price: £95
A heavy art glass vase with a squared ovoid body below a narrow, slightly sloping neck with a small inturned rim, decorated overall in a richly multicoloured marble effect pattern and signed at the base 'Mdina' '1979'. Mdina Glass was founded in the Maltese town of Mdina in 1968 by Michael Harris and Eric Dobson. The town had no history of glass making but the venture proved to be a success. Its wares, free formed organic glassware, often in colours inspired from the sea, sand, earth and sky, proved very popular with tourists visiting Malta. Michael Harris left Mdina in 1972 and formed a new company, Isle of Wight Studio Glass, on the Isle of Wight, UK, leaving Eric Dobson in charge, but many of the designs he created continued to be made at Mdina Glass after his departure although new designs and patterns were added as well. Ownership of the company later changed but it is still producing a popular range of glasswares today. The earlier pieces are marked with both the studio name and the pattern number making it possible that this vase was an original Harris design but whether this is the case or not it is certainly an excellent example of Mdina work with a striking range of colours set off by the bold organic form.
Amber Glass Bowl and stand, Stölzle Hermanova Hut factory, Czech 1930s
Price: £55
An Art Deco style amber glass bowl and stand, both with alternating segments of clear and patterned glass, the bowl with a flaring rim and the stand concave to match. This model can be seen in the pattern books of the Stölzle ' Hermanova Hut' factory situated in what is now Czechoslovakia. In 1805, Carl Stölzle founded two glass factories in Austria and by 1867 owned a further six in Austria, Bohemia and Hungary, the Heřmanova Hut' factory being founded in 1907. Many of the art deco style glasswares produced by the firm were made there and this bowl and stand, a matching combination not often found, typifies the styles of the era both in form and colour.
Blue and Green Ice Glass Square Bowl, designed by Tapio Wirkalla for Iitala Finland, late C20th
Price: £55
A heavily modelled glass bowl of rounded square form with raised corners and indented concave sides with a textured base underneath, the clear glass blended with green and blue glass, each of the colours covering half the surface of the interior with a diagonal 'join'. The weight and textured finish to this piece is clearly intended to represent ice and while 'ice glass' pieces were made by various Scandinavian manufacturers, the model here was made in the 1970s by Iitala, a glass studio in Finland, and was part of the ‘Lunaria’ range designed for them by Tapio Wirkalla.
The Finnish designer Tapio Wirkkala (1915–1985) was a major figure of post-war design, working in a wide variety of media including ceramics, wood and glass as well as postage stamps, bank notes and even light bulbs. His first piece for Iitala was produced in 1946 and the commercial ‘Tapio’ collection from 1954. Some of his ‘ice glass’ effects took the Iitala craftsmen many hours to perfect the glass blowing techniques required to produce them but enjoyed immense popularity. These chunky bowls, almost brutalist in style, were produced in the 1970s and 1980s and are an excellent example of his work for the popular market.
Two Wedgwood Glass paperweights designed by Ronald Stennett-Wilson, late C20th
Price: £40
These are two Wedgwood Glass paperweights both of rounded conical form, one clear glass with small bubbles and one clear glass with speckled green large bubbles, a design understandably known as ‘topiary’. Both have acid etched marks to the base which can be read ‘Wedgwood’ ‘England’ although the mark on the first is off centre and indistinct (see image 5); this is compensated for by the attached paper label which also reads ‘Wedgwood’ ‘England’. Both were designed by Ronald Stennett-Wilson, one of the most prominent UK glass designers, who set up the firm King’s Lynn Glass in 1967. Before that he had worked for Swedish glass manufacturers and the influence of their styles can be seen in his own work. The clear glass example could be felt to recall Kosta Boda. King’s Lynn Glass was taken over by Wedgwood in 1969 and their name marked on its production thereafter, although there was apparently a slight delay in the delivery of the machine which was used to apply the marks, meaning that the very first ‘Wedgwood’ pieces are hard to identify. Stenett-Wilson remained as Managing Director and chief designer for Wedgwood’s newly acquired firm until his retirement in 1980. Many of the staff at King’s Lynn Glass when it started had worked in Sweden or Europe and they began to train local workers who followed, no doubt, the styles and techniques of their teachers. After Stennett-Wilson’s retirement, the firm was subject to various acquisitions and mergers, finally being sold to Caithness Glass in 1988 with the factory closing in 1992. These two pieces, then, are an excellent example of the Swedish inspired designs made by Wedgwood Glass in its early years. Both decorative and practical they can appeal to a specialist or non specialist alike.
Viartec Murano Style Selenium Red & Orange Glass Sculptural Dish, Spanish 1950s/1960s
Price: £55
A sculptural dish or bowl of undulating form, the surface twisted at each end to form two ‘fish tails’, the red glass encased in orange glass and the whole in imitation of Murano glass designs. While Venetian in style, research has proved that this piece and others like it, matching in either colours or form or both, were made by the Spanish factory Viartec and sometimes pieces can be found with an original Viartec label reading ‘Viartec Hand Made in Spain’. The red glass used here is called selenium glass and reacts, when lit by UV light, to display a bright orange or pink colour. A similar type of colour change effect is, of course, displayed by the more commonly found green uranium glass. The form suggests dating to the 1950s or 1960s and it is said that many of these pieces were brought back to the UK as souvenirs by visiting tourists which explains why they can be found here today.
Murano Glass figure of a Clown, mid C20th
Price: £125
This is an outstanding example of the glass clown figures made by the glassworks at Murano, Venice and still in production today. While copied by other manufacturers, the true Murano pieces are distinguished by the quality and inventiveness of their execution as can be seen here. This clown figure is modelled standing, wide black booted feet apart, with a multicoloured body enclosed by a blue scarf, his white gloved hands clenched and his smiling face above a high red collar. Attached to his chest is a blue glass hollowed centre object perhaps intended as a flower holder with the possibility that the hands could be used for the same purpose. The glass blowing techniques employed, particularly the ‘sommerso’ like patterning to the body, are complex confirming the identity of the maker. The earliest clown figures are ascribed to the 1970s and this example is most likely one of them. Surviving in pristine condition it is truly a ‘must have’ for collectors of Murano glass, let alone anyone with a taste for decorative amusement.
Whitefriars knobbly red glass Vase, pattern no 9612, 1960s
Price: £75
This is an example of the ‘knobbly’ vase range, first produced by Whitefriars Glass in 1964. The organic circular body tapers gently upwards to the uneven top rim, the thick walls with raised ‘knobs’ irregularly placed and the base countersunk. Founded by James Powell in 1834, who bought an existing glassworks in Whitefriars, London, Whitefriars Glass continued through the generations, relocating to Wealdstone in Middlesex in 1923. Many designers worked for it including Geoffrey Baxter, who created the celebrated ‘banjo’ and ‘drunken bricklayer’ vases, but vases of this form and similar pieces with ‘knobbly’ decoration were designed by William Wilson, Whitefriars’ chief designer, and Harry Dyer, with the pattern number 9612 and to be found in the 1964 catalogue (Introduction Page 1) as one of the new designs for that year (see image XXXX). Unfortunately the high labour costs of handmade glass and the economic difficulties in the UK in the late 1970s made Whitefriars uncompetitive and it ceased trading in 1980 after which its factory was demolished.
Blue glass handkerchief Vase, possibly Poland, late C20th
Price: £45
The form of this vase the circular base rising to a dramatically wavy edge rim is known as ‘handkerchief’ from its resemblance to the folds of a dropped cloth or handkerchief. The shape seems to have been developed in the 1950s and was taken up by makers in Poland and Italy and also the Lenox glassworks in America. More delicate than its American counterparts and of a clearer glass than the Italian examples, this vase was most likely made in Poland in the late twentieth century, but the firm which produced it cannot be identified. It is, though, a most successful interpretation of the model, the delicately tinted glass forming a satisfyingly organic shape.
Loetz style glass Bowl, early C20th
Price: £110
The celebrated Loetz glass factory has its origins in the nineteenth century, when the widow of Johann Lötz, Susanna, remarried after his death in 1844 and with her new husband bought in 1851 the glassworks firm Klastersky Mlyn which was henceforth named Johann Lötz Witwe (the widow of Johann Lötz). The factory was situated at Klostermühle (Klášterský Mlýn, now part of Rejštejn) in southwestern Bohemia, Austria-Hungary and then Czechoslovakia. Johann’s grandson, Max Ritter von Spaun took over the business from his grandmother in 1879 and continued to run it under the old company name, ‘Joh. Lötz Witwe’, which was later changed to ‘Lötz’ and around 1900 changed again to the anglicised version of this ‘Loetz’. Around this time, the firm began producing the range of iridescent lustre finish glass in the Art Nouveau style for which they are now so famous. Production continued until the closure of the factory in 1947.
Most of the original Loetz pieces were not signed and there were many contemporary manufacturers making pieces in a similar style. There are, furthermore, modern reproductions. The attribution ‘Loetz’, is, inevitably, generously and loosely applied but sometimes true certainty is hard to achieve. Much information and assistance can be obtained from the website Loetz.com. On that basis this attractive bowl with its crimped rim and wavy line design on a purple ground is best regarded as Loetz style but probably contemporary with the output of the Loetz factory itself. It has great decorative appeal nevertheless.
Two Victorian Cranberry Glass Bowls, late C19th
Price: £75
Two cranberry glass bowls with wavy edge rims, a band of clear glass shells to the middle and clear glass ‘shell’ feet. Cranberry glass (the name obviously deriving from the colour) is a red glass made by adding gold salts or colloidal gold to molten glass. It was produced in relatively small quantities due to the cost of the raw materials. Known from Roman times the most famous period of production was in 19th century Britain during the Victorian Era and pieces in the colourings can be found in a wide variety of forms. Many of the makers must remain anonymous but there is one known for making pieces with ‘threading’ effects (bands of fine moulded lines), Stevens and Williams. Since they made bowls in a similar shape with this ‘threading’ effect (and also the ‘shell’ feet) they may be the manufacturers of these two bowls, but this must remain supposition. But whatever the provenance these two pieces, which remain in excellent condition, are excellent examples of a style once so popular.
Mdina Glass Vase, signed and with maker’s label, late C20th
Price: £95
A studio glass vase the ovoid body below a short slightly outward flaring neck with a wide spreading rim, decorated overall in an abstract pattern of mottled green brown and blue, signed at the base ‘Mdina’ and with the original Mdina label. Mdina Glass was founded in the Maltese town of Mdina in 1968 by Michael Harris and Eric Dobson. The town had no history of glass making but the venture proved to be a success. Its wares, free formed organic glassware, often in colours inspired from the sea, sand, earth and sky, proved very popular with tourists visiting Malta. Michael Harris left Mdina in 1972 and formed a new company, Isle of Wight Studio Glass, on the Isle of Wight, UK, leaving Eric Dobson in charge. This pattern, known as ‘Tiger’ was introduced by Dobson in the mid 1970s and in common with the designs of his one time partner Michael Harris was manufactured in the years thereafter. The style of calligraphy of the mark, more tightly etched than on later pieces, implies that this vase is one of the earlier pieces made in the pattern and both the form and decoration here are extremely pleasing, making this a fine addition to a collection of Mdina ware
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Murano green bullicante glass Perfume Bottle and Stopper with label, second half C20th
Price: £55
A perfume bottle and stopper, the body of ovoid form with a short cylindrical neck and a wide flat rim, the stopper twist shaped, the deep green glass with minute ‘bubbles’ both clear and coloured, the stopper with gilt detailing. At the base is a paper label reading ‘Made in Italy’ ‘Murano’ ‘Venezia’ and apart from the general style, the ‘bubble’ effects seen here, known as the ‘bullicante’ technique (the word means ‘boiling’), are typical of Murano craftsmanship. The bullicante process was developed and perfected during the 1930’s by Archimede Seguso, but its use continued and the format of the label here suggests a dating to the 1970s or 1980s.
Italian square Perfume Bottle with sommerso and confetti designs, second half C20th
Price: £55
An unusual perfume bottle and stopper, the body of square form with cut corners and edges, the stopper rectangular with similar edges and both with metal screw thread fittings for attachment. The decoration combines layers of clear and blue glass in the ‘sommerso’ technique enclosing panels of multi coloured glass in a confetti like pattern, while the stopper alternates blue faces with blue combined with clear glass, again in a ‘sommerso’ like technique. The practice of layering different colours of glass was very much a hallmark of the Murano glass studios and there are similarly shaped examples, albeit with different decoration, which appear to originate from them, so this might also be the case here. Almost certainly the work is Italian and, whoever the maker, there is certainly skill in the execution here and this attractive design is not commonly found. General style suggests a dating to the 1970s or 1980s.
Mtarfa fluted glass Vase, Malta late C20th
Price: £35
A glass vase of fluted cylindrical form slightly swelling towards the top and with an everted rim, the base flat, decorated with a ‘bubble’ design in clear and blue colours, the pattern more elongated towards the top. Both the form and decoration here can be found in other pieces which were made by the Mtarfa glassworks in Malta. Founded in 1979 by Paul Said, the brother of Joseph Said who was at the time the owner of Mdina Glass, the studio produced pieces which were similar in both form and decoration to those made by its more famous rival. Indeed, both brothers were originally trained by Michael Harris, the founder of Mdina Glass, where they both worked. As with the Mdina pieces the glassmakers at Mtarfa took their inspiration from the colourings of the sea and landscape of the Mediterranean which surrounded them. It is perhaps not fanciful to see here bubbles in water. Some of the Mtarfa pieces survive with their original labels which allows the identification of others as here. This vase was probably made in the 1980s and before the rebranding of the firm as ‘Valletta Glass’.
Pair of small milk glass Vases with crimped rims, probably French early C20th
Price: £55
A pair of small milk glass vases, the body of an unusual globular form with an in turning crimped top rim the white surface decorated in coloured enamels with mirror image designs of a bird sitting on a rocky bank with a lake in the distance. Milk glass, now so called, was developed in Venice in the 16th century as a competitor for porcelain. Opaque and translucent it was made in a wide variety of colours and was later to enjoy great popularity in the late nineteenth and early twentieth centuries when it was produced by various manufacturers in England, Europe and America. The style of decoration here suggests France and the slightly Japanese feel combined with an element of organic Art Nouveau design indicates a dating to the early twentieth century.
Czech glass bowl from the Niagara range designed by Karel Zemek for Mstisov, 1960s
Price: £95
An organic form bowl or ash tray of irregular triangular shape with nodules blown in a subtle blending of blue, deep pink and clear glass. This piece comes from the ‘Niagara’ range designed by Kaerl Zemek for the Mstisov glassworks in Czechoslovakia. Founded in 1868 by F. Fischmann & Sons, the firm began to produce innovative pieces in the 1950s created by Frantisek Zemek, their chief designer at the time. Frantisek Zemek died of an accident in 1960 but his brother Karel continued his work until he too passed away in 1965. Mstisov became part of the Borske Sklo National Corporation in 1958 and was sold to Moser in 1964 who continued production of its range for a few further years. This bowl, then, dates to the 1960s and is a fine example of Mstisov’s output.
Beehive form glass vase with a swirl design, probably by Charlie Meaker, late C20th
Price: £75
A glass vase of beehive form with a narrow neck, a flat flaring rim and flat countersunk base with a bubble to the centre, decorated in white, blue, pale green and pink with trailing spirals, some banded, separated into irregular segments. Both the form and the style of decoration here closely resemble pieces made by the glass artist Charlie Meaker (1946-2011). Image 7 shows a very similar piece by him included in an exhibition at the National Glass Centre, Sunderland, UK in 2019 and another vase can be found of a different shape but with similar decoration and the characteristic pontil mark at the base (indicating thar the piece was hand blown) next to which is his signature. But not all his pieces were signed and the parallels here allow a reasonably certain attribution for this piece which probably dates to the late 1980s/early 1990s when Meaker was teaching at the Design School in Copenhagen.
Charlie Meaker was born in Montana, USA, in 1946. After graduation in 1968 and a spell as an Olympic skiing coach, he studied glass design in England, Canada and Sweden before settling in the UK where he taught at Sunderland before moving to Copenhagen where he spent the last twenty years of his life. His work can be found in museums in the UK, Norway, the Netherlands and the USA and is collected today. A former colleague wrote, ‘He was brilliant at energizing people and pulling together groups of creative people to make beautiful glass. He made things happen. He made workshops and studios happen. ... Charlie was a very humane man: demanding, mercurial, funny, stubborn, loyal, infuriating, committed, intelligent, questioning and tireless’.
Three Art Glass Vases, second half C20th
Price: £60
xThis is group of three contrasting but complementary art glass vases from the second half of the twentieth century. The first has a broad ovoid body with a short slightly concave neck and a flaring rim and is decorated in blues and pinks with a ‘pulled feather’ design. Similar vases were made in America, both in shape and design, but this one seems a bit different. The second has an Art Deco look with a compressed ovoid body, banded at the centre, a short foot and a broadly flaring rim and is decorated in pink with a ‘bubble’ design. The similar shape is found in pieces from Clichy, France, but these seem to have gilt highlighting in addition which does not appear here. And the third, bulbous with a flaring foot and rim, the purple glass with three stylised floral medallions, does not have any direct parallels at all but can seem a bit ‘Murano’ like. Truly a mystery lot, then, but perhaps a voyage of discovery for its new owner!
Swirl design art glass Vase, probably Italian, second half C20th
Price: £55
An impressive art glass vase stoutly blown and of compressed globular form, the concave neck rising to a flaring rim, decorated in mottled blues and pinks with a continuous swirl design merging into white at the top, the interior rim with white flecks and the decoration continuing to the base with an irregular circle to the centre, possibly a pontil mark indicating that the piece has been hand blown. There are no direct parallels for this finely made piece but the work seems to be Italian if not, perhaps, from the glassworks at Murano itself. Both the form and decoration indicate a maker of some skill and the vase is extremely heavy which is an additional sign of quality in the manufacture. Dating is probably to the 1960s or 1970s but this highly decorative vase would be a fine accessory for any contemporary interior.
Geode form Murano dimpled sommerso glass bowl, Galliano Ferro, mid C20th
Price: £55
An exceptionally heavy glass bowl of rounded square form, the thick walls with 19 ‘dimples’, the orange red glass encased in a layer of uranium yellow glass, which is further encased in clear glass, using the ‘sommerso’ technique. The shape imitates geode rocks which are hollow and vaguely spherical and perhaps the ‘dimples’ are intended to reflect the geological origin of the design. The ‘sommerso’ technique was a speciality of the glassworks at Murano and involves creating layers of glass in different colours. One of the layers here comprises uranium glass and its distinctive green glow under strong light can be seen in some of the images. This particular model can be fairly firmly attributed to the ‘vetreria’ of Galliano Ferro, founded by him in 1955, since other examples are known with his studio label. The design is striking and most likely dates to Galliano Ferro’s early years of production, probably to the 1960s.
Jack in the Pulpit Vase, Alum Bay Glass, Isle of Wight, with label, late C20th
Price: £35
Formed in the shape of a lily with a globular base and a narrow cylindrical neck the shape of this vase is known as ‘Jack in the Pulpit’ from its resemblance to the plant. Various manufacturers produced them, including Murano, but the label on this example (see image 8) firmly identifies its maker as Alum Bay Glass on the Isle of Wight. Founded in 1972 it is one of the longest established glassworks on the island and is still trading today with a shop in ‘The Needles’ complex. Trailing swirl designs are one of its specialities in a variety of colours, here a range of purples and pinks. This model is still produced today under the name ‘Calabash’ but the particular colour scheme here is not now available and this vase probably dates to the late C20th.
Art Deco style crystal glass Perfume Bottle and Stopper, late C20th
Price: £35
A crystal glass perfume bottle and stopper, the angular body comprising two truncated cones, one inverted, with facetted surfaces, the shoulder flat and with a white metal screw thread collar above which fits into the white metal base of the stopper which is also angular and facetted. While Art Deco in style, this attractive perfume bottle is more likely of fairly recent manufacture dating to the late twentieth century but it is a stylish piece nevertheless and the quality of the glass enhances the detail of the design making it an elegant dressing table accessory.
Sommerso blue glass bottle vase, Flavio Poli for Seguso Vetri D’Arte, 1950s
Price: £150
A blue glass bottle vase, the body of slender ovoid form below a narrow slightly tapering neck, the base flat, the blue glass resting above layers of purple and clear glass employing the ‘sommerso’ technique. ‘Sommerso’ pieces (Italian ‘submerged’) are formed by dipping coloured glass into molten glass of a different colour, before blowing the glass into the required form, creating two or more contrasting layers without the colours mixing together. The technique was developed by Flavio Poli (1900-1984) a designer for Seguso Vetri D’Arte, Murano, who joined the firm as artistic director in 1934. Poli began to experiment with ‘sommerso’ pieces in the 1950s and some of his designs can be found in contemporary catalogues and journals which allows a reasonably secure dating. This vase belongs to his ‘blue rubino’ range and is a particularly successful model, the simple form well highlighting the different layers of glass.
Cream coloured milk glass vase with bird, French early C20th
Price: £45
Milk glass, now so called, was developed in Venice in the 16th century as a competitor for porcelain. Opaque and translucent it was made in a wide variety of colours and was later to enjoy great popularity in the late nineteenth and early twentieth centuries when it was produced by various manufacturers in England, Europe and America. The style of decoration here suggests France and the simple design of a bird sitting on a branch with flowers is attractively combined with a slightly sandy cream coloured background. This was most likely one of an original pair designed as mantelpiece ornaments, the slightly Art Nouveau and Japan inspired design suggesting an early twentieth century dating, but its elegance remains today.
Glass Aquarium Paperweight, probably Murano second half C20th
Price: £45
A glass boulder of rounded rectangular form with a flat base, the clear glass enclosing ten multicoloured fish, five on each face, swimming around a mottled central boulder with scattered bubbles. While other manufacturers have produced similar designs the best and best known were made at the glassworks at Murano, Venice, and the quality of the craftsmanship here with its imaginative and densely filled design employing a wide variety of colourings and colour effects within a skilfully blown form point to one of these as its maker. Dating most likely to the 1960s or 1970s the charm and humour of the design is obvious contributing to a most attractive desk ornament.
Art Deco green glass Orion Bowl by Lausitzer Glaswerke, Germany 1930s
Price: £45
A green glass circular bowl with a wavy rim and tripod feet made using the ‘pressed glass’ technique and decorated with bands of stylised leaves. The distinctive form here with its clear ‘Art Deco’ influence is usually attributed to the Lausitzer glassworks in Germany. Founded in 1889, the company still produces a wide range of drinking glasses today. The design of this bowl was known as ‘Orion’ and it appears in a variety of colours, this green tone perhaps being the most distinctive. The manufacturing technique is that of pressed glass in which molten glass is pressed into a mould with a plunger. This was the most common way to produce inexpensive glass from the middle of the 19th century onwards and enjoyed a great vogue in England and elsewhere in the 1920s and 1930s. The mould lines can be clearly seen in image 4 but the process allowed a high degree of definition as is evident here and the form and colouring of this bowl closely recall the decorative items of the Art Deco era.
Mdina pulled ear glass Vase, Blue Summer pattern, signed, second half C20th
Price: £55
A stoutly blown glass vase of tapering ovoid form with a narrow neck and a widely flaring rim the sides ‘pulled’ to resemble stylised ears, the base flat with an etched signature ‘Mdina’, the blue flecked glass with colourings of green and yellow.
Mdina Glass was founded in the Maltese town of Mdina in 1968 by Michael Harris and Eric Dobson. The town had no history of glass making but the venture proved to be a success. Its wares, free formed organic glassware, often in colours inspired from the sea, sand, earth and sky, proved very popular with tourists visiting Malta. This vase is one of the earlier productions made by Mdina (the format of the signature confirms this) probably dating to the 1970s and, if not designed by Michael Harris, it certainly resembles the organic forms he created and the colourings, often referred to as ‘sea and sand’ although more correctly termed ‘blue summer’, reflect this. The raised detail to the sides enhances the overall profile contributing to a piece of satisfying charm.
Mdina tiger pattern glass Vase, signed, second half C20th
Price: £45
A stoutly blown glass vase of tapering ovoid form with a broad neck and a flaring rim, the base flat with an etched signature ‘Mdina’, decorated in browns and blues with a marble effect pattern.
Mdina Glass was founded in the Maltese town of Mdina in 1968 by Michael Harris and Eric Dobson. The town had no history of glass making but the venture proved to be a success. Its wares, free formed organic glassware, often in colours inspired from the sea, sand, earth and sky, proved very popular with tourists visiting Malta. This vase is one of the earlier productions made by Mdina (the format of the signature confirms this) probably dating to the 1970s. The design is known as the ‘tiger pattern’ and is believed to have been created by Eric Dobson himself. All the pieces in the range have individual variations but this particular version is extremely pleasing and highly characteristic of Mdina’s naturalistic style.
Cameo art glass Vase decorated lilies, Jonathan Harris Glass, signed and dated 2006
Price: £95
An art glass vase of upright beaker form curving inwards towards the spreading foot and outwards towards the top rim, the pale green ground intricately decorated using cameo techniques and gilt metal flakes with a design of lily leaves and reads issuing from a stylised rocky base, the ground speckled to resemble water. The base carries an etched signature for the artist ‘Jonathan Harris’ ‘Stourbridge’ ‘England’ ‘2006’ and there is also a label for the studio ‘Jonathan Harris’ ‘Studio Glass’ ‘Ironbridge’.
Born in 1965 Jonathan Harris (see image 13) is one of the sons of the famous glassmaker Michael Harris who founded Mdina glass in 1968 and then Isle of Wight Glass in 1972. Jonathan worked with his Father in the Isle of Wight studio and is said, with his Father’s help, to have blown a glass fish, aged eight. After studying glass at Stourbridge college and a long spell at Isle of Wight Glass, where he became managing director 1992, Jonathan and his wife Alison set up their own studio in the Ironbridge Gorge, Shropshire in 2000 being given permission to establish their own premises within the Coalport China Museum complex.
The aim of the studio was to assemble a highly talented team of glassmakers to develop complex and intricate glass making techniques drawing inspiration from such designers as Galle and Tiffany but also, like his Father, from the natural world. A wide variety of influences can be seen including Gothic, Art Nouveau and Art Deco. It is perhaps the second of these which is most closely seen here and the technique is one resembling cameo glass where the surface of the glass is skilfully carved by hand through layers of enamel colours, 24ct gold & sterling silver leaf to reveal an intricate design in outstanding detail. All the art glass pieces are unique and all hand signed by Jonathan Harris himself making this vase an impressive example of his studio’s output.
Orrefors Zaglo signed crystal glass Decanter, Riding Scene, mid C20th
Price: £30
This is one of the series of engraved crystal glass decanters designed and engraved by Aleek Zaglo for the Swedish glassworks Orrefors in the second half of the twentieth century. These decanters were produced in a variety of shapes and engraved mainly with sporting scenes, although there is one design which commemorates the 150th anniversary of the Stockton and Darlington Railway and is dated to 1975. Here we see a horse rider and the fence he is attempting to jump, apparently termed ‘the double oxer’, the rails being of unequal height. Zaglo’s name appears on the base along with the model number and number of the edition ‘809’, presumably implying a total production of 1000. Originally the decanter was fitted with a round stopper, also engraved with a horse. Included with this lot is a modern oval replacement.
Orrefors was founded in Sweden in 1898 by Johnan August Samuelson. It then went through a variety of ownerships and also acquired many of its rival glass companies including Kosta Boda. Orrefors became Orrefors Kosta Boda in 1990 and joined The Royal Scandinavia Group in 1997.
Frosted art glass lollipop form vase, Peter Layton, signed, late C20th
Price: £150
A frosted art glass vase of near ‘lollipop’ form the broad and narrow rounded body with the shoulder curving sharply inwards towards the slender neck which flares outwards to the wavy top rim, the base flat with an etched signature for Peter Layton, the decoration a mixture of abstract and organic segments in tones of blue, brown and mustard with flecking and wave like effects, the whole with a naturalistic ‘feel’.
Peter Layton is one of Britain’s most celebrated glass artists. Born in 1936, his initial interest was in ceramics but in 1965, while on a teaching post at the University of Iowa, his focus changed and he began to study the art of glass blowing, at a time when the art glass movement in America had an enthusiastic following. Returning to England in 1968, he started a a small glass studio in the Highlands of Scotland while relying on pottery to earn a living. Eight years later, in 1976, he opened the ‘London Glassblowing’ studio which continues to this day and where Peter Layton, now in his eighties, continues to train and supervise upcoming glass artists as well as producing his own work.
This vase is probably one of his earlier pieces and derives its inspiration from the celebrated glass workshops at Mdina and the Isle of Wight whose productions tended to draw heavily on landscape and nature and some of whose shapes clearly influenced it. There are a few other pieces in a similar form, but the colourings and design here are particularly pleasing making this a highly desirable addition to a collection of British studio glass.
Three art glass paperweights, second half C20th
Price: £60
Three attractive paperweights of typical globular form with flat bases, the first with a yellow lily growing from deep blue water with bubbles, the second with a green lily like plant issuing from clear water with foam on the top and the third with two dolphins above blue and white flecked waves. Features of the first and the last (the ‘bullicante’ bubbles and the two swimming dolphins) are found in Murano pieces and this may well be their place of manufacture. The second looks more English and could be from one of the many firms who make paperweights, such as Caithness. Dating is probably to the later years of the twentieth century.
Owl glass Vase, Italian probably Murano, second half C20th
Price: £45
An art glass vase of globular beaker form, the front face modelled as the face of an owl with raised ears at the side and the base flat, the amber coloured glass with diagonal flecks, presumably intended to represent fur and the base with layers of glass employing the ‘sommerso’ technique. Similar owl vases were made by the Cristalleria d’Arte glassworks at Murano, Venice but these are of a slightly different shape and the eyes are rendered in black and white. But the techniquese employed here, particularly the ‘sommerso’ layers at the base are typical of Murano work and this seems to be the most likely provenance. The chunky modelling suggests a dating to the 1960s for this amusing and skilfully made piece.
Two art glass pedestal Bowls, Jozephina Glassworks, Krosno, Polish c1980
Price: £75
Two complementary glass pedestal bowls, the hemispherical bowl supported by three twisting tubes of glass set on a wide flat base slightly raised towards the centre, the bowls decorated with marble effect designs to the exterior and plain glass in two different shades of cream to the interior, the supports in clear glass encasing pale gold and black strands of glass respectively which continue into the base as spirals. Although not marked, the form of these glasses is quite reasonably attributed to the Jozephina glassworks at Krosno, Poland. Founded by Jozef Jankowski in 1980, the firm specialises in high quality pieces with innovative designs, many by Jozef’s daughter Ella Jankowska Fishman. Their repertoire today still includes both marble effect decoration and twisting spiral supports but this bowl or bonbonniere shape seems no longer to be produced and probably belongs to their earliest years in the 1980s. A truly virtuoso creation which probably deserves to be admired today rather than put to practical use!
An art glass Perfume Bottle and Stopper, Martin Andrews Glass, C21st
Price: £75
A perfume bottle and stopper, the body of slender conical form with a short slender conical stopper, the glass with mottled and bead cluster effects in blues on a brown ground towards the base blending into clear blue glass above, the whole with two double swirling white stripes, the stopper in clear glass with a small interior bubble. This piece comes from the ‘beach’ range produced by Martin Andrews glass in recent years. A selection of these pieces including a perfume bottle which is nearly identical can be seen in image 10 which is taken from a 2016 Facebook page from the studio.
Martin Andrews (see image 9) graduated from West Surrey College of Art and Design with a BA (hons) Glass in 1991. Following this he was based in London until 2000 when he then launched his current workshop at the Ruskin Glass Centre in Stourbridge. His work often draws on the earth's natural forms and patterns and his ‘beach’ range is a prime example of this. Most of his pieces are signed, but this bottle is not, perhaps because of its size, but its inclusion in the studio’s inventory makes its provenance beyond doubt.
Two satin glass Vases inscribed Zeebruge and signed H.Martin, Belgium, first half C20th
Price: £35
Two similar glass vases of slender beaker form tapering outwards towards the top and bottom, the base flat, the satin effect glass in tones of amber with a design in black and red of two boats to the front with the sea and rocks below and the lettering ‘Zeebruge’ above, the sides signed ‘H Martin’. Zeebruge is, of course, the well known Belgian port linked to Bruges by a canal and the decorator, Henri Martin, is known to have worked for the well known Belgian glassworks, Scailmont, located in Manage, a centre of glass making. Founded in 1901, Scailmont became known for moulded and satin-finish vases with art nouveau and art deco decorations, employing around 800 people in 1930 but eventually to close in 1970. Most of its pieces were signed and some had a paper label which could, of course, disappear in time. But Martin is also known to have worked for another factory in Manage, the Vauty studio, for whom Scailmont supplied blanks. These vases seem a bit modest for Scailmont but they are consistent with its style (see image 8 for another larger vase by Martin, again without a signature or label) so perhaps did originate there, possibly with a label now lost, although Martin’s other employer remains a possibility. Dating is probably to the 1920s or 1930s. Signed Henri Martin pieces do not appear very often so these two vases are an interesting sample of Belgian glass making from the years before the second World War.
Glass figure of the head of a Sea Horse Head, Murano style, second half C20th
Price: £45
A crystal glass figure of the head of a sea horse modelled in semi abstract form with a raised mane and horn, pointed ears and an open mouth, the base flat with a matt pontil mark to the centre, the clear glass encasing diagonal stripes in black and white which form diamond patterns when viewed. Heads of sea horses, horses and even zebras were made at the glassworks at Murano, some being tentatively attributed to one or more of the designers there. The style of the modelling is similar and some even employ the striped decoration seen here but there is no exact parallel. A Murano workshop still seems the most likely though and the semi abstract design would fit with a dating to the 1960s or 1970s.
A streaky dark grey/green and clear glass knobbly bowl, Whitefriars, 1960s/1970s
Price: £55
An amorphous rounded glass bowl with heavily modelled, undulating sides producing a ‘knobbly’ effect, the clear glass streaked with dark grey/green glass trails. This semi abstract, almost organic design is well known and was produced at the Whitefriars glassworks in the late 1960s and early 1970s. Founded by James Powell in 1834, who bought an existing glassworks in Whitefriars, London, the firm continued through the generations, relocating to Wealdstone in Middlesex in 1923. Many designers worked for it including Geoffrey Baxter, who created the celebrated ‘banjo’ and ‘drunken bricklayer’ vases, but bowls of this form and similar pieces with a ‘knobbly’ form were designed by William Wilson, Whitefriars’ chief designer, and Harry Dyer, this particular bowl with the pattern number 9613 and to be found in the catalogues from 1964 to 1973 (see image 8 for the 1964 catalogue). Unfortunately the high labour costs of handmade glass and the economic difficulties in the UK in the late 1970s made Whitefriars uncompetitive and it ceased trading in 1980 after which its factory was demolished.