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"Glass"
Cabinet, Base
Large cabinet and base; cabinet has curved glass sides and front with hinged doors and 2 interior shelves; base has 2 drawers with brass drawer pulls and open shelf at bottom; floral and scroll work decoration on cabinet; inlaid floral and scrollwork on base
Beadwork panel
Beadwork figure design, partly worked. Victorian adaptation of 17th century stumpwork.
Perfume bottle
Four-sided, clear glass bottle encased in a pierced gilt metal frame, on four ball feet. Hinged cap. Each side and cap decorated with circular views of Paris, hand-painted on ivory, watercolours. (a) Bottle top: Le Panthéon; Sides: Château des Tuileries; La Madeleine ?; Les Invalides ?; Le Panthéon (different view ?). (b) Bottle top: Notre-Dame; Sides: La Colonne de la Place Vendôme; L'Arc de Triomphe; Les Buttes-Chaumont ?; La Madeleine ?
Vase
Candlestick
Bishop chess piece
An upright mouse wearing a bishop's hat, holding a staff; wearing a red scarf; lathe-turned base ; Red Paint; Glass Beads
Queen chess piece
Non-living (abstract) figure; Consists of three well-defined middle sections, a crown and base
King chess piece
Clear glass, abstract figure (non-figurative); narrow, baluster shape; cross onttop
King chess piece
Non-figurative piece, opaque white; Three distinct middle sections plus base and crown; Baluster shape
Chessman chess piece
Non-figurative piece, opaque, cylindrical; has a pearly appearance; horizontal slits on sides; two wedge-shaped pieces cut off of top
Chessman chess piece
Non-figurative piece, clear, cylindrical; horizontal slits cut on both sides; two wedge-shaped pieces cut off of top
King chess piece
Abstract, non-living figure; has the appearance of five disks one on top of another (first and last disks are larger than middle disks); topped by a 'ball'; appears black ; Dark green glass
Pawn chess piece
A non-living abstract piece; made in one solid piece; 3 disk-shape figures decreasing in size upwards topped by a ball like figure
Queen chess piece
Abstract figure; glass baluster stand, brass-coloured metal crown topped by metal top; top can be unscrewed
Rook chess piece
Abstract figure, glass baluster stand; metal crown unscrewsbrass-coloured metal finial
Pawn chess piece
Abstract figure made in one piece; made of four distinct shapes; a sphere at the top, a disk shape; and two flat-sphere shaped figures.
Rook chess piece
Smooth shaped tower figure with a reel-shaped base; in top lies a very shallow hole
Unknown chess piece
Unknown chess piece
Flagon
Large, barrel-shaped flask with single, fluted handle; handle applied separately, wide mouth with flat lip and flattened shoulder; tubular neck; pale green
Bottle
Clear glass with iridescent bright green coating; tubular shaped with wide, lipped rim rising from small neck
Multiple flask
Tubular greenish glass in two compartments with double fingered handle of darker green glass; dark green circular decoration; iridescent outer coating
Cabinet
China cabinet with hinged glass doors on top and bottom; top cabinet has mirrored back wall and one shelf; bottom cabinet lined with red velvet and has one shelf; inlaid brass decoration on top and bottom exterior
Table Service
Amber crystal with Baden-Powell family crest on all pieces. Claret (u-ff), wine (gg-rr), cordial (ss-ddd) and sherry (eee-ppp) glasses are stemmed. Finger bowls (rrr-cccc) are six-sided with shallow concave fluting. Plates (dddd-pppp) have 12 lobes with scalloped rims. Decanters (qqqq-vvvv) are bulbous-shaped. Water jug (wwww) has 6 convex flutes at base.
Jar
Iridescent turquoise glass; wide mouth with flat lip; short, tubular neck; indentation on four sides and on bottom
Amphoriskos
Dipped glass with coil-wound decoration; lapis lazuli coloured with flutings on lower portion; short slender neck with flaring mouth; two looped handles separately attached; foot very small requiring stand for support; green leaf form enclosed in yellow circular bands around coil
Flask
Iridescent green glass; tall flask with bell-shaped base and long, thin stem between rim and base
Necklace
Faience beads with mosaic-type decoration; graduated sizes; between each large bead are smaller beads in combinations of 2 blue, 1 gold and 2 blue; small, round, flat beads are also next to the large beads
Necklace
Pairs of long, slim yellow, turquoise, blue and brown beads with 2 small blue beads and 1 small rust bead between each pair; carved, clay pendant suspended at front, centre
Flask
Dark blue iridescent coating; bulbous body with short, tubular neck; out-turned lip
Flask
Heavy green glass toilet flask 4" tall; tubular centre 3/4" across extending full length with exception of bottom inch gradually extending to 1 1/2" in width. Lip flanged at top to 1 1/4". Darker green at bottom of flask. Lip of flask is chipped.
Paint Box
Inlaid wooden paint box containing 16 glass bottles with metal lids containing dried paints; blocks of dried paint, glass grinder, bowl and oblong palette; box sits on 4 attached wooden 'feet'; top of box has ornate border and centre design with inlaid brass, Mother of Pearl, Turquoise and other unidentified materials
Cabinet
Centre door with oval shaped glass window; painted floral decoration at 4 corners of door; curved glass sections at either side of door; glass sides; 2 curved shelves inside; red cotton brocade lining on shelves and inside back wall
Decanter
Amethyst glass with gold oak leaf and acorn decoration around bottom of decanter; at base of neck, fluted design with gilding; gilt rim; acorns and gilding on stopper
Decanter
Amethyst glass with gold oak leaf and acorn decoration around bottom of decanter; at base of neck, fluted design with gilding; gilt rim; acorns and gilding on stopper
Sweetmeat dish
Wine Glass Cooler
White Wine glass
Wine Glass Cooler
Plate
Milk glass plate with 24 flutes radiating from inner circle; pierced design around rim creates square form around circular centerpiece
Cane
Twisted glass with white, blue and black stripes; silver encasing at handle and lower end
Jug
Jug
Jug
Jug
Jug
Jug
Spooner
Wine glass
Spooner
Water goblet
Wine glass
Mug
Dish
Celery vase
Plate
Lamp
Dish
Dish
Candy dish
Comport
Lamp
Fruit nappy
Dish
Dish
Candy dish
Purse
Front and back identically beaded all over with centre panel in petit point needlework; petit point landscape of trees, water and buildings is surrounded by a beaded frame; this in turn is surrounded by a shell motif top and bottom, and a bracket motif on either side; rose florals are at each corner; the bottom has a beaded fringe; interior lined with beige silk bordered along the metal frame with orange and green floral edging (rose); pleated inner side pocket; metal frame and link chain; the openwork of the clasp is set with glass 'jewels' as is the pendant below and at each corner; enamelled bars also decorate the frame
Perfume bottle
Spiral twist, clear glass bottle (tapering to base); silver collar and separate cap in a hammered design
Water jug
Cream jug
Spooner
Sugar bowl
Pickle dish
Pickle dish
Cream jug
Celery vase
Sugar bowl
Cake plate
Comport
Plate
Spooner
Mug
Jug
Celery vase
Goblet
Goblet
Plate
Goblet
Wine glass
Bowl
Sugar bowl
Cream jug
Goblet
Fruit nappy
Fruit nappy
Fruit nappy
Fruit nappy
Basket
Goblet
Cake plate
Goblet
Goblet
Goblet
Fruit nappy
Plate
Fruit nappy
Milk jug
Syrup jug
Clear with opaque pattern; Lid and spout originally silver; electro-plate on nickel
Bowl
Fruit nappy
Wine glass
Wine glass
Fruit nappy
Smelling Salts bottle
Bottle: green glass; Cover: screw-type, rubber and cork interior 'stopper'
Smelling Salts bottle
Bottle: green glass, six sided; Stopper: 'disc' shaped, green glass
Perfume bottle
Bottle: clear cut glass; Silver mount; Lapidary stopper - completely faceted
Smelling Salts bottle
Bottle: pink coloured cut glass, square shape faceted neck; Lapidary stopper
Tumbler
Green glass, dark green matt finish to lower exterior - applied over base, - brushed on enamel? Decorated with white and orange 'enamel', dot, floral and leaf designs; gilt banding
Tumbler
Clear glass with milky aqua-blue vertical bands radiating from centre base to rim; "corrugated" interior
Glass
Clear glass with ruby colour flashed on; Decoration: acid etched scenic and scroll designs in contrasting clear and matt finish
Sweetmeat, Sugar bowl
Cranberry glass, flashed; clear footed base; clear crimped design; applied band at centre
Mug
Ruby red flashed on, over clear glass; decorated with white enamel with gilt shading, gilt rim; scroll and diamond design; baluster shape with flared rim
Vase
Green glass; cut panels; line at base in gilt; band of white enamelled fruit on gilt ground at rim
Glass
"Bristol" blue colour glass with white enamel flower design between bands of gilding; panelled interior
Glass
Green glass; interior moulded panels; decorated in white enamel; some gilding remains
Jug
Water carafe
Fruit nappy
Flower Holder
Two rectangular (a, b) and two semi-circular (c, d) flower troughs combine to make up a dining-room table centre arrangement; opalescent glass with moulded figures depicting the game of 'London Bridge is falling down'
Purse
Beaded purse with view of St. Mark's Cathedral, Venice, through archway (on both sides; identical, from the Piazza; originally with drawstring closing; silk lining; presumably Italian, Venetian glass beads (?)
Purse
Stylized floral beaded design on a multi-circular background; silk moire interior with an encased removable mirror; engraved silver frame and clasp and a silver chain
Vase
Clear glass with multicoloured abstract design in panel form; red, yellow and white are major colours
Vase
Clear, blue-tinted glass with a multicoloured abstract design in panel form; blue and white are the major colours
Perfume bottle
Blue opaline glass with gilding; bulbous shape; flat base with cone-shaped stopper
Perfume bottle
Mauve opaque glass, enamel and gilt floral decoration; Stopper: clear cut, diamond faceted; Box: covered with floral decorated paper and red and white satin
Wine Glass Cooler
Flutes radiating from base; double base; decorated with a band of diamond point cutting
Wine Glass Cooler
Flutes radiating from base; double base; decorated with a band of diamond point cutting
Wine Glass Cooler
Flutes radiating from base; double base; decorated with a band of diamond point cutting
Wine Glass Cooler
Flutes radiating from base; double base; decorated with a band of diamond point cutting
Perfume bottle
Art Deco design; clear charcoal coloured glass; clear stopper with etched dancing figure and flowers
Knife Rest
Knife Rest
Perfume bottle
Clear blown glass with etched triangular rays emanating from a central depressed core
Comport
Fruit nappy
Fruit nappy
Cream jug
Fruit nappy
Comport
Sundae dish
Sundae dish
Plate
Commemorative plate
Plate
Perfume bottle
Ruby glass; double perfume bottle with straight cut facets; silver covers
Firing glass
Plain, undecorated glass; trumpet bowl on short wide drawn stem and firing foot
Cordial glass
Three piece cordial glass with a round funnel bowl; funnel moulded to mid height with shallow flutes; stem contains a double corkscrew air twist
Cordial glass
Three piece; ogee bowl; plain slightly domed foot; stem contains a pair of opaque white spiral tapes surrounded by an outer single six-ply spiral band
Cordial glass
Three piece; round funnel bowl; plain foot; stem contains a vertical column formed by a multiple spiral white opaque gauze surrounded by two opaque white spiral threads
Sugar bowl
Pickle dish
Cream jug
Spooner
Covered comport
Base has circular flat rim with petal moulded edge; short stem with central angular knop; circular foot with rayed flutes; cylindrical inset cover - sides patterned with landscape scene; domed top surmounted by finial in form of kneeling Indian
Serving rummer
Ovoid bowl engraved with hop and barley design and initials; thick square pedestal base
Wine glass
Double ogee bowl; multiple spiral air twist stem with central knop; engraved vine motif at rim
Cordial glass
Funnel bowl engraved with rose motif; stem has opaque double spiral threads with an outer double spiral tape
Wine glass
Sharp diamond point cutting; thistle shape bowl; blown in 3 parts; knopped stem; cut star base
Tumbler
Green glass; straight fluted interior; floral enamel and gilt painted decoration
Wine glass
Bristol green glass; funnel shaped bowl; drawn stem; applied foot; pontil mark under foot rough and unpolished
Decanter
Blue glass; matt cut grape vine motif; "Sherry" painted on mother-of-pearl finial
Butter dish
Cream jug
Flute, Champagne glass
Free blown trumpet shaped bowl; drawn stem; cut panelling to applied foot; polished pontil mark
Goblet
Round shaped; free blown; drawn stem; tooled foot; flat-cut facets around base; cut panels on straight stem; polished pontil mark
Champagne flute
Free blown trumpet shaped bowl with cut-panelled lower half; applied straight stem; circular foot; two angular knops on stem; polished pontil mark
Champagne flute
Free blown trumpet shaped bowl with cut-panelled lower half; applied straight stem; circular foot; two angular knops on stem; polished pontil mark
Wine glass
Globular bowl; clear amber glass; wide hollow stem, decorated with prunts which expand to form the foot
Wine glass
Clear bowl and base; red stem, gilding and white and red enamel overall decoration
Rummer
Clear glass; bucket shaped bowl; short stem with flat knop; plain bucket shape bowl
Cake plate
Sugar bowl
Comport
Plate
Comport
Serving bottle
Metal mounts on stopper and neck in vine and grape design; deep 'kick' inbase; rough pontil mark; tool mark at junction of lower part of handle
Decanter
Flat onion shape; wide circular lip to neck; brass and cork stopper; engraved in flower and leaf design
Jug
Flashed cranberry glass; ten faintly outlined panels, unpolished pontil mark; clear glass handle; slight imperfections, i.e. - air bubbles, and stain does not completely cover one area near rim
Bowl
Free blown bowl with striation marks and imperfections in glass; eight 'pinched-up' irregularly space ribs; domed and folded foot; rough pontil mark
Wine glass
Trumpet shaped bowl; drawn stem; applied, folded and slightly domed foot; striation marks around bowl; stem has two tear-swelled knops, the tear becoming elongated between the two knops; top tear raised into bowl; unpolished, but quite smooth pontil mark
Sugar castor
Blue opaline glass; Screw on cover with circular perforations probably originally silver-plated
Goblet
Dish
Fruit nappy
Comport
Cruet bottle
Goblet
Notched Bulls Eye pattern identified by the v-shaped notch above and below the "eye";variant of the Bulls eye pattern made in a three part mould;pattern sometimes called filly;matching pair in colour and pattern.
Open comport
Open comport; three part mould construction in Daisy with Depressed Button pattern
Fruit nappy
Pattern Canadian, considered one of the most attractive with its North American scenes and maple leaves.
Cup plate
Scalloped edge and pressed decoration in Eagle pattern; plate border is floral with reserves; in the centre, eagle surrounded by border containing two floral sprays, five stars and date 1861
Jar
Six-sided, pressed in two-part mould, with repeating stylized acanthus leaf, and bar of raised dot decoration.
Jack-in-the-Pulpit vase
Short version of the "Jack-in-the-Pulpit" vase with opalescent shading at the fluted rim;indentations form raised dots which give a pierced impression;striations in the "stem" of the vase
Cream jug
Made in a three-part mould with rayed based and acanthus-style leaves forming from each of the three feet;individual wave-like scrolls around rim;handle formed with six oval discs;caramel glass
Spooner
Spooner has a mauve tint to the glass;the ground being slightly matt; maple leaves are in relief, and have a stippled ground;fan-shaped border at rim and smaller similar border at footed base;three part mould
Fruit nappy
Low, footed bowl with radiating flat utes and ribbed band and star base; scalloped rim with pattern band below; 3-part mould
Bowl
Pressed in a four-piece and with a finished rim;slightly inaccurately joined at one point to give an unbalanced slope towards the rim; substantial well-polished effect.
Perfume bottle
Round shape with "pinched out" sides and leaf-shaped finial to stopper; thin rods of black and red colour have been applied over clear glass tubes and then blown over a gas-oxygen burner. Trailed colour
Vase
Straight-sided tapering towards the base; alternating panels of cut decoration: diamond pattern surmounted by a single fan motif and a stped design also surmounted by a single fan; sixteen point star at the base and a straight-cut, slightly bevelled rim;cutting is fairly deep and the angles refract e light effectively; vase is a replica of a pattern used in the 19th century.
Dressing table box
Round shape; Push-on cover; Jar is of pressed glass, pattern is a combination of cross, diamond and fan designs; Cover is repousse, design of five heads of angels amid clouds, after Sir Joshua Reynolds, National Gallery, London.
Perfume bottle
Purse size; circular shape with hinged cover; chased all over - foliate design (a rather large design for a small container)
Dresser box
The box is of cut glass, in two horizontal rows of flat-cut panel and crossed diamond-point; The cover is silver with an extending crimped rim, and with an all-over pattern including scrolls, diaper, floral designs; Scrolls reserve a vacant centre area; Decoration is die-stamped
Mustard pot
The mustard pot has its own original blue liner, required to prevent damage to the silver from contact with the mustard; The tankard-shape is a popular form for the period, with moulded banding at the base, single band at mid-height and moulded banding again at the rim; The domed and moulded cover is hinged and has a cut-out space for a spoon; The scroll-shaped handle in bracket form has an Onslow-type piece at hinge junction to lift the cover
Mustard pot
The blue glass liner is contemporary with the container, which is drum shape; Reeded base and rim, otherwise plain; The hinged cover is flat and plain, with a shaped opening cut out for the spoon; The handle is a "question mark" shape and reeded, with a thumbpiece at handle and cover junction to raise the cover; The thumbpiece is formed in a three-loop design.
Vase
Small flower vase, with flared rim over concave flat-cut flutes forming the neck of the vase; The bowl is cut in a wide band of diamond-point; Eight star cut base; Plain, uncut bands at rim and base
Dressing table box
Rectangular shape; The box is cut glass, in two horizontal lines of alternating flat panel and crossed diamond-point; The cover has a border of scroll and leaf design; The slightly domed centre of the cover is plain, but has two engraved foliate sprays reserving a vacant area for engraved initials
Vase
Clear blown glass; shading from green to blue, with opalescence at rim. Trumpet-shaped vase on slightly domed circular green glass foot. Flared and crimped rim in opalescent blue with rim edge in clear blue glass. The inner blue glass core of the stem and rim of the vase reflects its colour giving varying depths of blue according to the angle of light.
Mug
Flared, turned-out rim and waisted shape; gilded decoration; ruby with gilt cartouche, "Friendship"
Jug
Pear-shaped with gilding at rim area and handle;floral band of decoration slightly intagl-cut and painted with gilding.
Decanter
Straight-sided, late-Georgian period with alternating broad and sets of three narrow flutes around the base, surmounted by a band of slice-cut circles; should is slice-cut with broad flutes; neck has three plain rings and the decanter is fitted with a mushroom stopper
Decanter
Late Georgian decanter, decorated with vertical ribbed cutting at base; band of slice-cut rectangles;diamond-point cutting;shoulder is slice- cut with broad flutes; triple faceted ringed neck and mushroom stopper with flattened ballaft;rings are unevenly spaced and aligned and of uneven depth.
Vase
Footed base, with band of slant-cut flutes at base, ribbed and diamond- point bands, with ribbed cutting again at the rim.
Jar
Similar in shape to covered jars/urns made in Ireland earlier in the 19th century; acutely domed cover; diamond point cutting in bands around cover and around the bowl of the jar; slice-cut ovals in a band at rim of cover
Decanter
Pattern moulded in rib design and expanded and swirled;ribs faintly defined at the base, while at the shoulder and neck they are distinct and close;lip of the decanter is gilded, also the top of the stopper;stopper is faintly ribbed;decanter mallet-type shaped
Wine glass
The glass has been marked with a wax pencil to outline where the cuts are to be made. It is an unfinished piece acquired for the purpose of illustrating glass cutting techniques.
Vase
Moulded ground in small leaf on stem design and daisy-like flower as border at rim;three horizontal rows of opalescent diamond shapes in relief;two part mould
Fruit bowl
Pattern has vertical elongated oval shapes outlined in beaded relief around the main body of the ware, the triangular areas thus formed above and below are filled with slightly out-curving lines in a fan design; rim is scalloped
Sugar bowl
Pattern has curved crossed lines from base toward rim, forming a diamond border at the rim and elongated ovals at centre containing cross- hatched and indented medallions.
Salt Shaker
Opaque white glass with very slight green tint, which is more noticeable inside the shaker, showing clearly in the translucency; moulded in two parts with an evenly ribbed design in swirl form; silver screw-on, perforated lid
Smelling Salts bottle
Clear glass bottles are round-shaped, with silver mounts at the rim and with a round, flat-topped stopper; the neck of the bottle is wide; glass is slice-cut in slightly concave, diamond shapes; stopper is flat cut in triangular shapes with plain flat-cut top; stopper base is frosted
Powder box
Circular box, with cover and container compartment mounted in gilt metal and hinged together, an S-shaped fastening device at front of box; aqua-coloured glass with white enamel feather scrolls and dot patterns in relief on cover; one row of dots around compartment
Powder box
Circular box with cover and container compartment mounted in gilt metal and hinged together, an S-shaped fastening device at front of box; cranberry glass with all over gilt decoration on cover in scrolling leaf/vine design with berries; simple vine border around compartment
Powder box
Circular box, with cover and container compartment mounted in gilt metal and hinged together, an S-shaped fastening device at front of box; acid-green coloured glass; cover has gilt and yellow enamel decoration in a design of five ears of wheat in a fan pattern and a scrolled ribbon or leaf motif.
Powder box
Circular box, with cover and container compartment mounted in gilt metal and hinged together, and an S-shaped fastening device at front of box; opaque turquoise blue glass with gilt design on cover, tooled in high relief, of a plant: 2 flowers, 2 buds, leaves and grasses in a formal scroll Art Nouveau design; gilt vine and leaf border around compartment
Powder box
Circular box with cover and container compartment mounted in gilt metal and hinged together, an S-shaped fastening device at front of box;clear amber glass with white enamel floral spray on cover, with the addition of two small blue flowers and orange stamens to a lily
Powder box
Circular box with cover and container compartment mounted in gilt metal and hinged together, an S-shaped fastening device at front of box; cranberry glass with white and blue enamel painted flower spray, rather sketchily painted on cover
Powder box
Circular box with cover and container compartment mounted in gilt metal and hinged together, an S-shaped fastening device at front of box; bright emerald-green glass; gilt, five petalled stylized flower with white enamel flower at centre, and five around rim to cover; white dots at random; band of white enamel dots around container
Powder box
Circular box with cover and container compartment mounted in gilt metal and hinged together, an S-shaped fastening device at front of box; cranberry glass; cover enamelled with white six-spoked device with small white enamel dots all over, one pale dot at centre; row of white dots around compartment
Powder box
Circular box with cover and container compartment mounted in gilt metal and hinged together, an S-shaped fastening device in front of box; cranberry glass; enamelled with a daisy border around compartment and a similar wide border around the cover and a six-petalled flower with white dots at centre; petals of the flower are separated by blue and rose enamelled areas
Powder box
Circular box, with cover and container compartment mounted in gilt metal and hinged together, an S-shaped fastening device at front of box; clear glass, porcelain cover with portrait of a young girl painted in enamels; mirror in the interior of the cover
Footed bowl
Hand-blown vaseline or lemonescent glass, with opalescence; round base with slight pedestal, the bowl deep and rounded, with a waisted form, above which the bowl curves upward into a scalloped rim of twelve sections
Goblet
Wheel engraved with scene of fox hunting - depicting fox hounds and huntsman "in full cry"
Goblet
Wheel engraved with scene of fox hunting - depicting the fox hounds and huntsman "in at the kill"
Toastmaster's glass
Decepteive baluster wineglass (a solid bowl with only a narrow v-shaped depression) conical bowl on ball knop and folded foot rim
Coaching glass
Funnel-shaped bowl, with eight flat-cut flutes extending down to form a short stem, and terminating in a multi-facet cut knop or ball; there is no handle
Goblet
The glass is a good colour and the pattern of diamonds and diamond-point ground is well-defined. Three part mould
Underplate
Small plate with a slightly recessed centre; underside is white toned with an ivory translucency; uppermost surface is gold iridescent. Steuben "Aurene" glass.
Goblet
Clear glass with 5 rows of honeycomb motif in diminishing size from bowl midpoint to stem; slice cut motif is slightly concave and six-sided
Wine glass
Slighy mauve toned clear glass with five rows of honeycomb motif in diminishing size from bowl midpoint to stem; The slice-cut motif is slightly concave and six sided
Spooner
Wide shallow interior flutes with outline in relief; Feather band border decoration on exterior; Beaded rim
Vase
Heavily blown with glass drawn out into an irregular scalloped rim; Ovoid in shape except for the rim which flares outward; Blue with mauve irridescence
Vase
Diamond form, straight sided, gold maber toned; wheel engraved floral decoration on 2 sides; remaining 2 sides rough textured; entire decoration and rim are gilded to highlight the design and in the flower areas the gilding is shaded in linear manner
Plate
Clear pale-green glass, with pressed design in diamond point on reverse, and piereced border in triangular design at rim; Opalescent shading in pierced area, quite dense, giving the centre green colour a very attractive blue border; Also slight opalescence in centre area of plate; glass is bright and clear
Wine glass
The ovoid bowl is engraved with a rural scene - houses, trees, figure with a donkey, windmill. The stem is facet-cut in elongated hexagons. Plain foot.
Cordial glass
Drawn stem with a double mercury twist set on a plain foot. Bowl engraved with a rosebud and leaves. Two part construction.
Rummer
Large straight-sided, bucket-shaped bowl on short stem with annulated knop. Polished pontil mark. Engraved with typical view of the Sunderland Bridge and a sailing vessel, as so inscribed "Sunderland Bridge." Engraved initials on reverse (L.E.W.) with a leaf motif circle with stem of hops on one side, a stalk of barley on the other.
Wine glass
Round ogee bowl moulded with flutes on an opaque single-twist stem. The twist is flattened to give the effect of a tape or band and is in corkscrew pattern. Plain foot. Three part construction.
Wine glass
Baluster wineglass. Thistle-shaped or funnel bowl on an eight-sided moulded pedestal stem and folded foot. Solid glass base in knop form. Elongated air bubble in stem.
Sweetmeat glass
Double ogee bowl with a design of cut stars within panels of vertical lines cut in small diamond shapes. Faceted rim. Moulded stem in Silesian form with a moulded and domed foot in segmented form. Collars at top and base of stem.
Bottle vase
Elongated vase in light bottle green glass. In the bottom area of the vase threads of glass are drawn and looped up in the interior space. The top area is crackled, ressembling ice.
Bottle vase
Ovoid shaped vase in light bottle green. Threads of glass are drawn and looped up in the interior space. Lower area is crackled, ressembling ice.
Wine glass
Wine glass
Bowl and foot are clear pale yellow-green, the stem is clear glass. Slight mottling throughout the glass. Bowl is waited and deeply flared at the rim in a fluted and ribbed design. Stem is formed from a rod of glass joined just below the midpoint to make a figure of "8", and is decorated with an applied band of crimpted glass along the outer edge.
Toddy Lifter
The lifter has a long slender tubular neck terminating in a bulbous container with a hole in the flat base. Plain body with applrounded lip
Sundae cup
Sundae cup
Fruit nappy
Four palmette or anthemion-style motifs on a "diamond-cut" ground within panels separated by a plain vertical band in rounded relief. The "diamond-cut" design graduates upwards from small at the base. Star at centre base.
Water goblet
Pressed glass in three-part mould. Alternating vertical panels containing (1) forget-me-not flower stem on a matt ground, (2) two vertical lines of "diamond-cut" motif, six to a line. A plain panel divides each decorated panel, and all are contained within bands of dentilated or triangular designs. The latter band surmounting the total pattern
Glass Box III
Box constructed of fused and semi-antique glass; three sides of the box are constructed from semi-translucent black glass; front panel is opaque and set with contrasting forms in coloured glass: red, green, black, white on a pale peach coloured ground, in abstract design; cubed and circular forms play off each other; some are in relief to give added dimension; top surface of the separate fitted cover continues the design of balanced contrast on the box while the sides repeat the use of black glass; Inside top of cover is lined with cork
Bowl
The bowl is funnel shaped, in green opaline, on a flat, slightly raised, alabaster coloured foot. The foot of the bowl fits into the well of the stand.
Satyr ornament
Figure of a seated satyr playing a pan pipe, modelled in pâte-de-verre glass in colours of aqua-green and green.
Migration
The inner dark green mottled glass is cased or overlaid with shades of white, silver and blue glass. There is a lustre effect. There are two minor "splashed" areas in red and green. Additional silver areas in somewhat geometric form have been applied to the glass surface. Figures of caribou in migration are sand blasted through to the inner layer of mottled green glass.
Water jug
Jug is straight sided, tapering towards curved and notch-cut rim. Handle decorated with oval , slightly concave slice cutting, and cross motif. Cross-hatch cutting under spout. Rayed cutting on base . Cut decoration on body comprising flowers, stems of leaves and butterflies. Flowers, some leaves and butterfly wings are plain matt finish or finely cut in linear pattern.
Water Jug, Tumbler
Jug is straight sided, tapering towards curved and notch-cut rim. Handle decorated with oval , slightly concave slice cutting, and cross motif. Cross-hatch cutting under spout. Rayed cutting on base of all pieces. Cut decoration on body of jug and glasses, comprising flowers, stems of leaves and butterflies. Flowers, some leaves and butterfly wings are plain matt finish or finely cut in linear pattern.
Tumbler
Rayed cutting on base of all pieces. Cut decoration on body of glasses, comprising flowers, stems of leaves and butterflies. Flowers, some leaves and butterfly wings are plain matt finish or finely cut in linear pattern.
Vase
Two colour cased vase - white over turquoise blue. The floral design is in a distinctive naturalistic style, but relating to Art Nouveau design in the curving lines of stems and flower buds, petals, and leaves. The carving is of good depth, the design standing in sharp relief and colour contrast. Slight uneveness in turquoise blue ground.
Syrup jug
Globular shape with cylindrical neck fitted with a plated (originally) metal collar and hinged, domed cover with thumbpiece and a finial. Plain handle. Opalescent pattern of alternating coin dot and line, blown into a swirl configuration.
Cruet
Footed cruet and stopper. Circular foot with flutes rayed beneath. Pear shaped body of the cruet joins the foot - no pedestal area. Band of diamond cutting, circular flat cutting and fan shapes. The neck and handle are decorated with mainly hexagonal (neck) and triangular (handle) cutting. Plain rim and pouring spout. Stopper has a slender flat-cut neck and facet-cut ball top.
Vase
Pedestal vase with a baluster form surmounted by flat-cut facets and a flared rim. The base is circular and cut in angluar flutes rayed beneath. An angular knop, between two similar half knops, comprise the pedestal stem, supporting the stepped baluster shaped bowl. The bowl is decorated with a band of four alternating rows of strawberry diamond cut and cross-cut diamond pattern. The flat-cut facets are concave in outline, with stepped cutting above terminating at the rim in a scallop design. Each scallop has serrated cutting on the top surface.
Basket
Four-footed basket in cylindrical form sloping outwards from base to rim. Base and feet, rim and handles moulded in gadroon or rope design. The whole object is in basket weave pattern with staves. Clear glass but slightly iridescent.
Salt
Three-mould pressed flint glass in 'Mitre Diamond' pattern. One foot rim (under) shows purple/blue iridescence. Although the diamond points are quite sharp, the rim points have been rounded.
Salt
Three-mould pressed flint glass in 'Mitre Diamond' pattern. One foot rim (under) shows purple/blue iridescence. Although the diamond points are quite sharp, the rim points have been rounded.
Flower globe vase
Flower globe of clear, brilliant glass, free blown and deeply-cut in elaborate patterns
Goblet
The bowl of the goblet is cut in 8 flat flutes, tapering to the stem. Each edge is stained ruby red. Short stem and corresponding 8-sided foot. Red stain decoration, view in frosted glass of the market place against ground of ruby red stain. View covering three of the eight flutes.
Goblet
Cutting in varying sizes of diamond point, with oval facets around the shaped base. Stepped cutting at base of bowl. Areas of yellow and purple staining. The under base is cut in star motif with hatched decoration in stained purple. The main body of the goblet is divided into four cut areas each within a purple stained garland effect. one of the areas contains a shiled reserving an enamelled design of a hand holding a spray of flowers.
Perfume bottle
Sheets and splashes of colour in shades of purple, white, turquoise and rose
Perfume bottle
The clear glass spherical form has decoration around the shoulder area, an and on the mushroom-shaped stopper. The colour splashes and sheets, and linear application are condensed in these areas to a smaller scale. The colour treatment includes browns, yellow, a muted aqua. A gold wash a applied over the colour area produces a soft sheen, and modifies the interaction of linear form into one pattern.
Vase
Elongated ovoid shape drawn into a short neck ringed with brick-red at the rim. Green and blue lustres predominate over the main body, which is also decorated by vertically spaced lines of blue dots. There are areas of gold lustre throughout the blue and green. The colour density is at the base, graduating to paler tones towards the neck area, which is circled by a spiral blue line. Opalescent
Bowl
Blown glass bowl in half spherical form. Painted on reverse. The balance is evenly distributed to keep the bowl from tipping as there is no base as such. Areas of navy and a lighter blue, peach and aqua-green. The design in the colour areas is in linear form, as if a coloured crayon had been drawn to and fro. The main or ground colour is the blue, with minimal linear design. The aqua-green, the second largest colour mass is filled-in completely in the centre with linear composition restricted to the edges.
Vase
Strata vase - multi-coloured with areas of orange/red and black predominating. The strata levels circle the vase, combining with other colours, in linear patterns.
In My Neighbourhood V
A continuous streetscape decoration circles the vase. The streetscape has a coloured, mottled and linear ground, and an applied outer layer of black glass with silver metallic lustre, carved to represent buildings and trees, depicted in a linear and fanciful concept(probably acid cut-back). The front of the vase and the reverse are flat-sided, the outline shows an upward thrust from the base to full convexity before being drawn in over the shoulder, terminating in a slightly flared rim.
Goblet
The pattern on the goblet includes a log cabin, a buffalo and a deer in what could be a Canadian mountain landscape. The pattern is a continuous scene moulded in relief and acid-etched. Angular knop-stem and three part mould.
Goblet
Three part mould goblet. Patterns: a band of combined diamonds and radiating stars. Facted stem and radiating star motif in base.
Cordial glass
Three part mould. A band of well defined pattern with large diamonds in relief, and diamond styled stars in ground areas, encircles the main part of the bowl.
Fruit nappy
Fruit nappy has low shallow bowl with typical plain oval areas and notched ribs. Clear, pressed glass.
Glassholder, glass
Silver glass holder on spreading foot, cylindrical form with upper rim shaped in scallop form. Engraved in the Japanese or aesthetic style. Flat surfaced handle in ogee form. Glass: everted rim, cut ovals around base, etched floral design, with vacant shield on one side, woven basket and birds on reverse.
Vase
Cylindrical form with everted and rounded rim. Clear crystal glass, in fluted and slightly "swung" decorative design. Bevelled base.
Vase
Clear crystal vase in narrow boat-shaped form, each end coming to a rounded point. Shaped rim and sides. Shallow, and form indicates table centrepiece.
Vase
Clear blown glass vase with square and rectangular panels (9) of textured copper lustre in linear patterns contained within individual 'frames', irregularly placed in juxtaposition to each other, and covering one side of the vase. The remaining area is of merging colours in pastel shades of aqua, blue, pink and turquoise, with silver lustre.
Perfume bottle
Curved panel in half-circle form. Stopper in silver metallic. Patterns in angular abstract form carved into the reverse with painted decoration in colours of violet, black, green, pink, aqua blue. Simple contrasting matt-surface section included in overall design. On reverse, are colour sections painted in black giving a black and frosted white image with angular patterns in the Art Deco style
Tumbler
Clear glass tumbler with white and deep violet overlay. Main body pattern is cut to clear showing white borders in circle and crossed line 'X' design, in repeating pattern. Lower pattern is comprised of a band of similar cutting in three repeating patterns of three narrow ovals and a circle. Base is cut with two triangles, superimposed, to form a star motif.
Vase
Glass vase, with bulb-shaped bottom and elongated neck, has silver band around the rim. Glass is pressed in a pattern that ressembles cut glass.
Vase
Glass vase, with bulb-shaped bottom and elongated neck, has silver band around the rim. Glass is pressed in a pattern that ressembles cut glass.
Beaker
Clear glass with red overlay, engraved stallion and hound on frosted ground, clear red borders at rim and outlining flat-cut flutes at base.
Dice tumbler
Exterior: cut in half inch width flat-fluting, with engraved scroll border. Gilded band above hollow base containing three ivory dice. Red enamel medallion at centre base with gilded hunting scene of dog and hare.
Tumbler
Cylindrical form, with band of leaves at the rim. Engraved draped figure holding a cornucopia with fruit vine in one hand and a basket of flowers in the other. Adjacent to the figure is a panel with extensive inscription headed "Beste Mutter!" Panel draped with a foliate garland.
Memorial tumbler
Cylindrical form with slightly everted rim and cross-motif band. Engraved medallion with floral and swag outline, reserving a portrait of a dog carrying a wreath in its mouth. Inscribed on the wreath "JP." Reverse: Memorial shield inscribed "Zum Andenken." Shield is draped and between two floral sprays.
Goblet
Octagonally shaped foot with fan and star motif cutting to base. Flat- facet cut stem with knop. Major arch and diamond-cut design in lower portion of bowl, surmounted with an engraved text and an "In Memorium" scene inscribed: "Des Polen Falage! Einst!" and two other inscriptions incorporated into engraved scene. Text: Poem relating to Austria and Poland. Dr. Eckhardt calls this a "Polish Liberty" goblet.
Beaker
Heavy star-cut base. Five round-cut medallions form a band at the full convexity of the beaker. Stylized foliate sprays, sheaf-like in form, are engraved/cut between each medallion, their upper stems spreading putwards. Four of the medallions are engraved with architectural subjects: a building with multi-column facade, a building surrounded with tall narrow windows, a folly in landscape, a three-storied house in landscape. The fifth medallion bears an inscription.
Tumbler
Tumbler is of cylindrical form, has bevelled rim with frosted band and zig-zag pattern. Engraved hunting scene, pheasant(?) breaking cover, huntsman with raised gun, and hound. Trees, and very stylized sheafs of flowers forming scroll frame for the hunting scene.
Tumbler
Tumbler of cylindrical form, bevelled rim with frosted band and zig-zag pattern. Engraved hunting scene: huntsman, gun, hound, in landscape with a rising sun coming over the horizon. Two large floral sprays, stylized, form a scroll frame for the hunting scene. There is an empty plaque incorporated in the scene - possibly for a memorial inscription.
Portrait medallion
Circular medallion, cut in six rim-scallops, with raised centre area containing engraved portrait of a woman facing left. Intaglio and frosted. Bimann's concept of "the portrait" was similar to that of contemporary painters. He often expressed an exaggerated idealization of womanhood.
Tumbler
Cut and rose-stained base, with scalloped rim. Eight panels of cut flat- flutes comprise the body of the tumbler; four are stained blue (alternating with clear). Panels with blue stain are painted with a purple and green grape vine, clear panels with purple scroll design. Everted rim.
Tumbler
Star-cut base and notched foot rim in repeating disk pattern. Eleven flat-flutes with two bands, one of parallel line cutting, the other repeating raised ovals with cross-hatchings. Large engraved medallion depicting homestead in wooded area. Inscribed Winterberg, 1835.
Goblet
Goblet has heavy, cut diamond-point pattern under foot with a star centre. Scalloped foot rim with carved flat-fluting leading upwards and forming stem of goblet. Five of six panels with diamond-point cutting are centred in each of the flat flutes that form the bowl. The sixth panel is left plain for an inscription. Wedding anniversary inscription.
Decanter
Clear glass with red-stained interior. Eight flat-cut panels with ovals in relief, each oval reserving a ten-petalled flower painted in gilt. Ovals, panels and rims outlined in gilt. The flat-cut panels decorated with delicately painted gilt leaf and scroll patterns. The shoulder of the decanter has scroll patterns more heavily painted. The stopper follows the same eight panel concept.
Dice tumbler
Cylindrical form, with hollow (double) base containing three ivory (?) dice. Twelve flat-flutes surround main body with engraved floral and ribbon garlands.
Beaker
Beaker of clear glass with blue overlay and engraved figures. One panel shows a crowned male figure seated on a chair, holding sword and ale glass. Plaque at base of chair with word "gandnuus". In reverse panel two men seated at table, one with stringed musical instrument, bith holding drinking glasses. The partitions between the two main decorated panels are ornamented with an engraved styled foliate design. An engraved band in an arch design around stem of tumbler, and radiating clear blue cutting under base. All other engraving matt on frosted ground.
Tumbler
Star cut base; shaped with six panels of flat flute cutting, decorated with areas of amber staining. Main body cut with ovals and stylized narrow leaves, amber stained. Ground stained amethyst with clear leaf and linear motifs. Amber stain and gilded rim.
Tumbler
Cut and shaped foot in scallop design. Bowl area flat-cut in flutes, and with ridge cutting. Upper bowl engraved with a small cupid holding a wreath reserving initials "TK," with the word "Andenhen" engraved around the bowl in the form of a garland. The engraving is delicate and exquisite.
Tumbler
Clear foot, deeply cut into six sections to form a star-like design. The tumbler flares outward from base to rim, and is cut into six flat-flute panels, five reserving a medallion with individual engraved symbols and identification. The sixth left empty. The interior of the tumbler is stained rose colour.
Tumbler
Cylindrical form with band engraved leaves around the rim. Engraved coach and horses (pair). Coachman sitting in front precariously perched! The horse's legs defy movement. The scene is in the style of folk art. Reverse: two engraved foliate sprays reserving initials "JK" surmounted by a crown. Inscription "Andenken Ferd = o. Nulobaum" (?) Described as Fizker or Faiker glass.
Tumbler
Exceptionally heavy, thick-walled glass with narrow band of cut-oval pattern immediately below rim. Engraved male figure with scythe, on horseback, with landscape features underfoot. Inscribed within landscape area "Nie Kommt sie Zuriik." Translates to "Do not come back." The engraving depicts Father Time and has an end of the year theme.
Beaker
Star-cut base with rounded rim. Wide band of cut ovals, flowers and scrolls in stylized, and somewhat meagre form. Ovals and scrolls stained red, with leaf and floral engraving. White enamel is applied to triangular areas within the pattern.
Beaker
Beaker has star-cut base. Diamond-cut throughout main body, with two stylized leaves at the base of the beaker extending to rim, also incorporated in design are swags and a star. An oval medallion, stained in a light mulberry shade, reserves an engraving of a girl in a landscape with four cherubs, suspended two from each end of a pole carried on the girl's shoulder.
Goblet
Hexagonal form to both foot and bowl of the goblet. Plain cylindrical stem. Very heavy, dense ruby-coloured glass, with engraved garland of flowers with ribbon bows, around the bowl.
Tumbler
Engraving in a design that incorporates various aspects of nature, although somewhat stylized. Flowers, leaves, dolphins, bird, butterfly. Central to the design is an urn-shaped pedestal with a substancial flat top holding a basket of flowers. The entire design is fanciful and well-engraved.
Beaker
Plain foot rim stained amethyst, undecorated flat flute cutting surmounted by six cut ovals, stained amethyst and engraved with various emblematic symbols with inscription. One oval left empty.
Tumbler
Base with deeply-cut diamond pattern, body of tumbler has six flat-flute panels, each panel with a raised diamond-cut oval and teardrop. Everted rim.
Tumbler
Slightly conical in form, and hexagonal, with the base and lower portion of the tumbler heavily cut in diamond point. Also four deeply cut-out sections of base result in the formation of four distinct feet. The four sections thus made extend upwards into the main body and each contains a flat-cut oval, and ridged and hatched cutting.
Goblet
Star cut and amber stained base. Rim cut in six sections, each with a three-scallop motif. The goblet is flat-flute cut, with ovals in relief and stained amber. Main medallion engraved with three draped female figures, engaged in spinning wool (?). May be the Three Fates of Greek mythology. Reverse medallion engraved with initials "JG."
Tumbler
Cylindrical form, with cut V-shaped and pointed flutes rising from around the base of the tumbler. Bevelled rim with band of stylized leaves. Engraved river and city landscape. A fisherman and two pedestrians on riverbank in the foreground. The scenic engraving is in rectangular form with a minor border design. Reverse: Engraved initials "M.J."
Beaker
Base cut in star patterns with cross-hatching. Zig-zag foot rim, with flat flute cutting. Main body cut in geometric shapes, with cross-hatching and sections of amber stain. Engraved initial "M" on amber ground. Amber stained rim.
Beaker
Substancial rounded foot and slightly ovoid-shaped bowl. Engraved with religious subject and two inscriptions. Gift inscription: "Zum Andenken/von Demen/Dnchl/J.V./1862." Reverse: engraved portrait group of the Holy Family before the Cross, surrounded by grape and vine design and leaf scrolls. Inscription: "Exhalt in your imagination. Nazareth in Gallilee" (translation). Engraved initials on base "U.M." (?)
Beaker
Base: diamond cutting in two sizes. The ground is small diamond with rows (four x four) of larger diamond motif with amber stain. The same design of amber and diamond cutting decorates a ring around the stem. 8 flat-cut flutes with amber stain and cut decoration comprise the bowl area of the beaker.
Beaker
Thin-walled, engraved all over with scroll design incorporating an urn with flowers and three birds, a male figure on a pedestal showing Eastern influence, another similar figure, and what may be a stylized letter "I" with scrolling. Each of the four motifs divided by an urn device with scrolling.
Tumbler
Cylindrical form, lightly cut star-motif base. Engraved pillars and floral motifs divide the body of the tumbler into four sections; three containing an engraved design in classical form, the fourth a humorous hunting scene of a seated huntsman with gun, while the stag escapes in the background.
Beaker
Beaker has cut, ridged base, with seven flat-cut flutes extending from base to the correspondingly ridged rim. Cut areas are outlined, and thus defined, in stained blue. The seven main panels each reserve a landscape painted in gilt on a cream ground, and are surrounded with scroll motifs. Further scrolls are repeated around the foot of the beaker, and below each landscape where scenes are identified. Included are Sprung, Brunn, Carlsbad, Sauerbrun.
Goblet
Star-cut base with scalloped rim. Six panels of flat-fluting around body of goblet; plain and everted rim. Three flutes contain raised oval medallions, two engraved 1) building, inscribed "Villa/Thuru/Taris," 2) building, inscribed "Weihnachte/baum," 3) not engraved, with "Gleichenberg" inscribed above. The remaining three flutes are covered with one large oval engraving of a stag pursued by hounds, in landscape.
Beaker
Hexagonal-sided base, with diamond-point cutting. The base has been cut back to form seven corresponding hexagonal feet. The flat flutes forming the body of the beaker each contain a stylized curved leaf in relief. Everted rim.
Tumbler
Cylindrical form; bevelled rim and frosted band with zig-zag design. Engraved with substancial-sized house and clock tower, within a tree and garden setting. Male and female figures stand in the foreground of the garden. Inscription translates: "Let us travel through life together, hand in hand, good fortune is enjoyed more when two hearts share it." Wedding or anniversary theme.
Beaker
Star-cut base, shaped rim cut in seven sections with stained blue linear decoration. Flat-cut fluting with each outlined, and thus defined, by blue stain.
Beaker
The lower portion of the beaker is somewhat bulbous, cut in oval patterns on a cross-hatched ground, followed by a flat area with the same treatment but using a triangular rather than oval motif. The remaining area is plain with an engraved foliate band and a black transfer print of a rural landscape: homestead, cattle. Inscription: "Die Wiesen Baude auf dem Riesengebirge in Bohmen." Translation: "Pasturelands on the road to Bohemia."
Goblet
Octagonally shaped foot with fan and star motif cutting to base. Flat- facet cut stem with knop. Major arch and diamond-cut design in lower portion of bowl, surmounted with an engraved text and an "In Memorium" scene inscribed: "Des Polen Falage! Einst!" and two other inscriptions incorporated into engraved scene. Text: Poem relating to Austria and Poland. Dr. Eckhardt calls this a "Polish Liberty" goblet.
Portrait tumbler
Tumbler depicting portrait of Joseph, Emperor of Austria. Everted and gilded rim. Heavy base, cut in 16 points, and stained amber star-cut under-base. Printed decoration: portrait on gilt ground, facing left, and inscription are within a medallion form. Foliate decoration around the medallion and below rim of tumbler. All decoration stained amber or gilt on clear glass.
Tumbler
Cylindrical form with a band of gilding at the rim. Engraving, within a screen-like design, depicts eight Christian scenes with inscriptions below each, including Manger and Crucifixion. The inscriptions may be "The Lord's Prayer." (needs translation).
Beaker
Stained amethyst over clear glass. Cut star-motif base and extended, cut rim. Six flat-cut flute rectangular panels, surmounted by circular panels each reserve floral decoration painted in black enamel and gilt. Gilt rim, everted.
Sugar box
Rectangular shaped box with chamfered corners, hinged lid, and gilt metal mounts, lock and side handles. Painted scroll decoration in gilding on all sides, and lid, where the scroll design reserves the word "Andenhen." Dr. Eckhardt identifies this as a sugar box.
Beaker
Six-sided, with shaped foot in scallop design. Foot, and a band of scallop- motif in high relief corresponding to foot configuration, are in clear glass. The bowl area is stained rose, and the entire surface is painted in gilt in a fine linear scroll pattern. Gilt rim.
Tumbler
Cylindrical form, ten-sided in flat-cut flutes. Engraved spray of flowers, tied with ribbon, on base of tumbler. Raised ovals, one larger, frosted, with initials "J.G." in red. The second, smaller, clear glass and empty. The two raised ovals, on opposite sides of the tumbler, are incorporated with a wide, engraved band of various flowers; delicate and detailed engraving.
Tumbler
Base and lower portion of the cynlindrical form are cut in an unembellished diamond point. Three oval medallions contain engraved scene views relating to the town of Sprudel, Sirligenlprung, Heubrunn in Karlsbad. An engraved shield with mantling is empty.
Portrait beaker
Waisted form with everted rim of clear glass. The main body stained red with cut coin-dot design to clear glass. The engraved head and shoulder portrait of Christ, holding a wine glass, is clear with matt finish reserved in a red flashed medallion. Star-cut base. Initials "OM" each within a separate coin-dot, are engraved on the reverse side to the portrait.
Tankard
Basically cylindrical form with slight waisted area at base. Indented where handle is applied. The handle is flat with slightly ribbed surface and pinched area below upper join. Engraved scene: Commemorative. Man and wife in the garden surrounding their "house," (looks more like a summer pavilion or folly). Trellis, flowers, trees. Inscribed: "Vivat Der Herr Kauffman..." (remainder is rather indistinct). Translation: a toast wishing long life to Herr Kauffman and his wife, and that they and their children may be protected from harm.
Tumbler
Cylindrical form. Three rows of decoration, divided into squares by gilded linear cutting, cover the surface of the tumbler. Alternating squares reserve a polychrome enamel painting of flowers and a plain flat-cut disk with small flower painting in each corner of the square. One disk has engraved initials "KST."
Tankard
Waisted form; engraved and frosted band at rim with geometric patterns. Engraved scene: woman at an altar, holding a laurel wreath in each hand. Urn-shaped device and basket of flowers on the altar. An "In Memorium" scene. A tree either side and grass-like plants in the foreground. Engraved 8 petalled flower on base. Plaque on altar is empty: possibly a memorial inscription in this area could be individually inscribed. Rather naive decoration.
Tankard
Heavy round-rimmed base protrudes beyond cylindrical form of the tankard. Heavy handle with thumb indentation. Engraved leaf border at rim. Engraved landscape with cupid, bow and arrow, and heart-shaped target, within trees, flowers and a folly in the background. Inscribed: "Das Geht Ins Bentrun, Was gilt diettlette."
Beaker
Beaker has double waisted, everted rim form, with nine flat-cut flutes extending vertically throughout the height of the beaker. Rim and line decoration in gilt, with three foliate and scroll decorative bands painted very finely in gilt. The composition of mauve tones in the glass, through the process of cutting, have a marbled effect.
Perlband beaker
"Perlband" beaker with band of glass bead. Clear glass, waisted form. Star-cut bottom land cogwheel base. Centrally placed band of beads in floral design between borders of sawtooth pattern. Shallow cut row of diamond pattern below rim.
Perlband beaker
"Perlband:" beaker with band of glass bead. Slightly waisted form and everted rim. Flat-cut diamond engraving with hatching below the centrally placed band of coloured and white glass beads. Beaded design: geometric and floral patterns in colour on white "ground." Initial J.S. incorporated with design in gold beading. Beaded band surmounted by a row of cross- hatched engraving. Star-cut base.
Portrait goblet
Clear glass goblet with cobalt/royal blue overlay, cut in ovals and extended scroll motif. Medallion reserves a sulphide profile head of Friedrich Wilhelm IV, facing left, on a blue ground.
Pokal goblet
Clear glass with red stained interior. The clear glass foot is star cut, with 8 cut sections forming a scalloped rim. Finial to cover is also clear glass and cut in flat diamond facets. The rim of the cover corresponds to the foot cutting. Engraved medallion of Christ carrying the Cross. Inscription on the reverse medallion. "Presented to the Most Right Reverent Gentleman, Anton Krombholz, Dean, with respect and gratitude from his students." Four oval panels have a star cut centre.
Tumbler
Bulbous form in the lower part of the tumbler, flaring outward towards the rim. Painted decoration, stylized leaves and small flowers, in black enamel on the greenish-yellow uranium glass. Gilding at rim and incorporation into the general decoration. Ten-sided, cut in flat flutes.
Portrait medallion
Possibly a paperweight. Oval form with star-cut back and correspondingly multi-pointed rim. Area at the top of the rim has been bevelled on both sides. Purpose? The portrait of Napoleon, facing left, is sulphide or crystallo-ceramie, and very distinct and detailed. Effective use of sulphide against rayed ground.
Beaker
Cut base, and foot rim in scallop and small-V pattern, low stem and extended knop design comprise lower part of tumbler, which rises in trumpet form. Overlay in turquoise, cut in ovals, panels and a stylized leaf form. Cut outlines and small flower in gilding. Gilt rim.
Beaker
Green glass with white overlay, cut in eight elongated panels the height of the beaker, and outlined in gilt, with additional gilt stylized leaf decoration and gilt rim.
Goblet
Six-sided foot outlined in gilding. Each of the six panels of the goblet are painted with polychrome enamel flowers and gilded scrolls. Everted rim has gilded band.
Miniature flagon, tumbler
The tumbler may be inverted over the flagon to form the cover. The surface of both pieces is painted with small polychrome enamel flowers. Rim gilding.
Tumbler
The lower portion of the tumbler is deeply cut in a stylized, curved leaf design, and alternates clear and ridged (in parallel line) decoration. The waisted centre has three bands of ridged cutting, surmounted by a band of fine diamond-cut containing a series (twelve) of facet-cut ovals. Rim is everted.
Tumbler
Probably the work of Carl von Scheidt. The base is cut to form six rounded feet. The lower half of the tumbler comprises six clear, flat-cut oval panels in relief, on a stained amber ground. In each of the panels, in the upper portion of the tumbler, is depicted a Chinese figure painted in matt polychrome enamels on a gilt ground.
Bobbin
Turned wood with pewter inlay located above spangle; Spangle: top beads are both blue, centre beads are both amber, one a plain oval, the other faceted; Bottom bead is black with light blue/white linear markings in spiral form.
Bobbin
Turned wood bobbin; Stained, red and black, rings at each end of the shank; The name "Joseph" is inscribed in spiral form around the shank, each letter formed by a series of impressed dots; The "J" is in red, each letter alternating in colour (red, black); The spangle has a red and an amber bead, two clear, two blue and the bottom bead is white with yellow and black markings.
Bobbin
Bone, with red (faded) stained long neck; Grooved turning, and spiralled line and dash design around the shank area; Spangle: Top beads are clear glass and faceted; Second beads are faceted amber; The bottom bead is opaque white with pink dot decoration.
Bobbin
Turned wood; Shank in a repeating ribbed pattern; Pewter inlay in the "leopard" category i.e. with pewter spots that go right through the bobbin; Spangle: Top beads clear glass in rectangular form; Followed by two blue opaque beads; Two more clear beads in rectangular form; Bottom bead is blue, opaque and pitted; One area of pitting is white.
Bobbin
Turned wood shank; Bands of pewter inlay; Spangle: Top beads are clear glass; One faceted; Followed by two pale green beads; Bottom bead is opaque white.
Bobbin
Turned wood shank; Three areas of brass wire banding; Spangle: Top beads are blue, faceted; Followed by two amber beads; Bottom bead is egg-shaped, mottled brown and white.
Footed salt
Flint glass which has been moulded. Circular bowl on six-scalloped, flared foot, with a deeply moulded 12-point lemon-squeezer base. The bowl is decorated decorated with a vertical alternating series of single and double ovals in high relief. The decorative motif resembles flat-cutting.
Chain Drape
Pale, green, clear glass, composed of plain twisted-over figure eight links alternating with large rope-pattern oval links. Large circular rope-pattern links at one end and at the centre of entire length, with four additional smaller links also attached at the centre which hang down as a vertical focal point between the loop-up chains on either side
Chain Drape
Clear tooled glass composed of five twisted figure eight links alternating with four thick oval links of rope twist pattern
Salt
Blue glass liner set in a pierced silver band of overlapping circles. Salt spoon has shaped outline and reeded edge.
Salt
Blue glass liner set in a pierced silver band of overlapping circles. Salt spoon has shaped outline and reeded edge.
Bowl
Small, clear, frosted circular base. The bowl form rises to full convexity and is drawn in to rim. Clear glass overlaid with rose, matt finish, merging with an irregular band of blue below the rim. Clear blue rim with metallic lustre.
Commemorative wine glass
A Jacobite commemorative wineglass with round funnel bowl on plain stem and plain conical foot. The bowl is engraved with typical six-petalled heraldic rose on thorned stem with foliage; the reverse with single oak leaf.
Footed bowl
Deep bowl, fluted, in green glass. Everted rim. Short clear glass knop-shaped stem and heavy hexagonal base.
Vase
Lower section of vase is comprised of three tree or plant forms, reserved by three sets of vertical lines. Relief pattern is sharply moulded. Upper section is an overall pattern of stylized flowers on a textured ground. Frosted and slightly moulded opalescent glass with brown reflections.
Bowl
Moulded bowl with pattern of three stems of cherries and leaves. Frosted and opalescent glass with blue and brown reflections. Centre cherry in each group forms a foot to the bowl. The moulding is in high relief.
Photograph frame
Rectangular frame witn wide borders and raised design of stylized flower stem; two flowerheads, leaves, stem and roots. Design extends upward on the left side facing, and across the top of the frame. The viewing area has six, three per side, copper rivets. The surface is hammered.
Bowl
Hexagonal, opalescent, heavily moulded bowl with a rim border depicting four goldfish among waves. Frosted and opalescence in blue and brown tones.
Bowl
round, opalescent bowl, moulded in a pattern of three grape and vine motifs. The grapes are heavily moulded so that they form the three ‘feet' on which the bowl stands. Frosted in blue and brown tones.
Tumbler
Clear glass tumbler with thumbprint decoration. Overlay opalescence in brown and blue tones
Vase
Trumpet-shaped vase with fluted everted rim, and a circular, slightly domed foot. Opalescence in tones of pale blue and a creamy white. The opalescence extends from the foot rim throughout the height of the vase in ribbed effect, diffusing as the vase flares outward at rim.
Vase
Flat circular base, surmounted by three open sections (similar to a figure eight) and a baluster shape, all supporting a trumpet-shaped vase. Opalescence in tones of creamy white, brown and turquoise blue. The vase section is totally in the latter colour.
Table lamp
Square base with column encased by four strapline forms, convex at junction to base and riveted. Below the socket the strap-forms extend at right angles to support the squar framework of the shade, which holds in place four panels of glass.
Sugar bowl
Bowl is footed, with circular stepped base and bucket-shaped bowl. Pattern: two rows of beaded arches, above and below a centre panelled band. Design within the band: alternating panels of grape and vine with three circular medallions each reserving a "Roman" figure. The cover is missing.
Wine glass
Wineglass has facet stem with knop. Pattern is of alternating stepped panels (ladder) with diamond-point cross-hatched.
Wine glass
Wineglass has square shaped stem. The bowl has four panels of vine and grape, sectioned and surmounted by beaded bands.
Wine glass
Wineglass has plain foot and stem. The bowl is decorated with two dentilated ovals, alternating with linear patterns: vertical and hatched.
Bread plate
Oval plate with beaded rim. Deep cavetto. Pattern of two dentilated ovals, and linear patterns in vertical and hatched design, surrounding a centre oval with inscription. Maltese cross at centre point.
Goblet
The design of the goblet consists of a combination of ribbed and stippled flat panels, which gives the pattern its distinctive characteristics.
Cream jug
Cream jug with mauve tone to glass. Pattern is of twelve petal forms rising from base of jug to mid-point. Beaded vertical lines continue upwards from between petal points.
Cream jug
Cream jug has slightly domed foot, three panels of diamond-point ground, each reserving a stylized leaf motif, and sectioned with clear glass verticals.
Footed bowl
Footed bowl has domed foot in clear glass with maple leaf motif. Facet stem. Bowl has stippled maple leaves on a matt ground, between border patterns of repeating fan motif. Slightly everted rim.
Celery vase
Base of celery vase is frosted (acid finish) with cable design rim. The stem is formed from three lions heads, full face. The facet formed stem extends in clear glass into the bucket-shaped bowl. The upper rim is a gadroon and scallop design.
Tumbler
Four large fan-shaped designs surround the base of the tumbler. Below the rim there is a beaded band (nuggets) in relief, with a minor stylized garland immediately below incorporating small pendant fan motifs. The area between is stippled.
Wine glass
Wineglass has star base. Hexagonal stem. Six plain panels, (or flutes) arched at the top, extend from the stem, and terminate below the rim, which is everted.
Cream jug
Cream Jug has scallop form rim. Pattern: alternating panels: one with a stippled ground and stars, the other plain in convex form, both together form a "swirl" pattern around the body of the jug.
Goblet
Goblet has facet stem, with bucket-shaped bowl. Band of pattern; daisy and depressed button, has three pointed sections tapering to base of bowl.
Goblet
Goblet with the pattern which combines shallow relief moulding, more typical of pressed glass patterns of the 1870's, with a much more defined beaded border indicating a circa date of 1885-1892.
Goblet
Goblet has facet stem. Diamond hatched vertical bands radiate from the junction of stem and bowl, and support a repeating band of wheels (in tandem). The band, in smaller form, is repeated below the rim. Between the two bands are spaced three ampersand-like motifs.
Fruit nappy
Fruit nappy has star base and flange handle, stippled, with single raspberry motif at centre. Pattern comprises a beaded band, surmounted by a stippled band with repeating raspberry motif.
Cream jug
Cream jug has star base, with stepped and hexagonal stem. Lower section of the jug has stippled ground with alternating leaf and dart motifs, surmounted by a band of flower heads in the upper section of the jug.
Wine glass
Wineglass has stepped foot and tapering hexagonal stem. The lower part of the bowl is decorated with three rows of diamond-point, alternating with rows of diamond crosshatched design in all-over pattern. The upper part of the bowl is plain. Usually in clear glass. Colour is rare.
Wine glass
Four flower-heads surround the foot of the wineglass. Shaped, knopped stem. The flower-head motif is combined with scroll and linear design around the lower part of the bowl. The upper part is etched with a leaf design.
Honey dish
Honey dish is small (3 1/2") and shallow in form. Moulding in low relief. Base reserves a three-leaf spray of Lily of the valley. Three lily of the valley motifs, each rising from a curved linear section, decorate the bowl below a gadroon-style rim
Toothpick Holder
Toothpick holder has star base and scalloped upper rim. Eight beaded and convex loops form the lower section of the holder, and extend to the rim in the form of flat fluting. There is "cut" decoration along the edge of each flute.
Vase
Frosted and slightly moulded opalescent glass vase. Dragonfly motif all around showing dragonflies in flight and clinging to grasses coming out of scalloped pattern representing stylized water around bottom quarter of vase.
Footed dish
Low-footed dish on circular base, with scalloped upper rim. The coin motif alternates obverse and reverse. The coin is in relief with ribbed border and dated 1892. The original colour production: clear. Pattern line no. 15,005
Footed dish
Low-footed dish on circular base, with scalloped upper rim. The coin motif alternates obverse and reverse. The coin is in relief with ribbed border and dated 1892. The original colour production: clear. Pattern line no. 15,005
Flower bowl
Pink/rose shading over white lining, with crimped and inverted rim. The shading increases from a pale pink at base to deep rose at the rim. The indented rim areas, created by crimping, show an attractive density of colour. Rough, pontil mark. Acid finished: gives so-called “satin” finish to surface of object.
Covered Sugar bowl
Footed, covered sugar bowl in moulded Swan pattern, with a swan finial to cover. Two part mould. Decoration incorporates two swan motifs: the head is held up in one design and is down in the other. In both, the swan is shown among water reeds and plants. The bowl rim is scalloped in form, with recessed cover. The cover is stepped, with moulded rim in dentilated patterns. The finial shows the swan with raised wings.
Vase
The barrel form of the vse (it could be a spooner) comprises a six-row hobnail pattern. The hobnails are fairly large and coarse but most effective as a design feature. There is a frilled (or ribbon) upper rim with beading, and a rounded foot rim: both show a concentration of white opalescence. The base of the vase is also decorated in hobnail pattern.
Vase
Mauve, opalescent vase from late Victorian period. Rounded foot with a low, shaped pedestal, slightly trumpet-shaped body with rounded shoulders, cylinder-shaped neck and flat, everted rim. Pontril mark is rough. Flower spray in white, green, brown enamels, and gilding
Tankard
The tapered body of the tankard is decorated in three bands, the top and bottom being finely ribbed and the main, central band being of scrolled forget-me-nots. The floral pattern stands out in clear relief from the frosted effect of the stippled background. The applied handle is distinctive to this pattern, formed from three joined posts. The applied pedestal foot is broad and circular, and has a band of ribbing.
Vase
The vase has an ovoid body. The neck is long and cylindrical with a globular bulge at the base (this bulge sits directly on the ovoid body). The neck ends in a flaring, trumpet lip. The vase stands on small, circular feet. Delicate bands of enamel painted decoration (bosses, quatrefoils and stylized vegetal and gothic tracery) encircle the vase at its widest girth. The colours of enamel are blue, black and white; in some areas the decoration is in relief. The bosses are gilded gold. Bands of gilding are found at the foot, lip and around the small, globular form of the neck bulge.
Vase
The vase has an ovoid body. The neck is long and cylindrical with a globular bulge at its base (this bulge sits directly on the ovoid body). The neck ends in a flaring, trumpet lip. The vase stands on small, circular feet. Delicate bands of enamel painted decoration (bosses, quatrefoils and stylized vegetal and gothic tracery) encircle the vase at its widest girth. The colours of enamel are blue, black and white; in some areas the decoration is in relief. The bosses are gilded gold. Bands of gilding are found at the foot, lip and around the small, globular form of the neck bulge.
Salt Shaker
Cranberry glass. The pear-shaped body is seamed at the sides and waist. It has an applied circular foot. The mount, a twist-on perforated lid, is silver and has an acorn finial.
Plate
An opaque, milk-white, open work (or O.W.) plate edged with pierced gothic arches and circles.
Vase
Aqua blue pressed glass vase the body of which is of baluster form rounding at shoulder to a short, cylindrical, straight neck. The body and neck of the vessel are decorated with the inverted thumbpring pattern. Encircling the shoulder is applied frill decoration. There is no foot.
Flower bowl
An aqua blue flower bowl, the body of which is a compressed globular shape with a large, circular foot. Its neck is short and straight; the inner surface of the lip is crenellated and gilded. A band of gold gilt encircles the base. A delicate, white enamelled floral scroll decorates the body just below the shoulder. The interior of the vessel’s body and neck is ribbed making the light fall in striations on its exterior surface. it is likely that this was blown in a one-piece mold as no seam is evident.
Salt
The shape of the salt is a seated bird with extended wings. The bird’s body forms a cup for the containment of salt. The bird’s head is extended backwards, and in its beak is a cherry. The stands on applied, oval feet. The glass is pressed with a lacy, feathery design. The salt is amber in colour.
Salt
The shape of the salt is a seated bird with extended wings. The bird’s body forms a cup for the containment of salt. The bird’s head is extended backwards, and in its beak is a cherry. The stands on applied, oval feet. The glass is pressed with a lacy, feathery design. The salt is amber in colour.
Cup plate
The centre of the plate is decorated with two hearts pierced by an arrow and surrounded by floral sprays. This is set upon a stippled, lacy diaper as is the rim decoration. The rim band consists of four lyres framed by floral arabesques; the rim is scallop and point edged.
Bowl
A lattice-edged, opaque milk-white glass bowl with centralized painted floral decoration - a spray of pink and blue flowers.
Syrup jug
The ovoid body of the frosted rubena pressed glass syrup jug is vertically swirled in relief; the royal ivy pattern encircles the body just below its shoulder, also in relief. The just is frosted at its base until half its height at which point is assumes a frosted red colour, going to a clear red at neck. The applied semi-ear handle is of clear glass. The rounded, tiered mount with thumbpiece is of brass and sits atop of a bulged neck. The jug does not have a foot.
Syrup jug
Slender, amber, pressed glass syrup jug with a pear shaped body fitted at neck with a plated silver collar and hinged, domed cover wit thumbpiece and knob finial. The decoration is the inverted thumbprint pattern; the oval thumbprints are quite small. The jug sits upon an applied, circular foot. The semi-ear handle bears the Burlington mark where the upper part of the loop handle has been applied to the vessel. It has two vertical seams.
Tumbler
Cranberry blown, molded, cylindrical glass with opalescence. The cranberry body is decorated with the opal coin-dot pattern; the individual “dots” are quite large. The exterior surface is smooth, whereas the interior surface is raised.
Tumbler
The cylindrical body of the amber pressed glass tumbler is decorated within a half an inch of its rim with the Daisy and Button pattern in sharp relief.
Oil Table lamp
The upper and lower portions of the milk-white pressed glass lamp are decorated with blue, pink and yellow flowers in relief set against a diamond diaper. Both the top and bottom have been divided into four lobed areas carrying floral decoration. The base is ovoid in form and sits on an applied circular pedestal foot (no stem). The domed top has a pinched band at its base, edged with a removable metal band, and steep shoulders ending in a stepped, compressed globular neck. The fittings and mounts are metal and the lantern lobe is of clear glass.
Syrup jug
The pear-shaped, cranberry jug (bottom heavy) is fitted at the neck with a plated silver collar and hinged, domed cover with thumbpiece. It has a circular foot and clear glass, semi-ear handle. It has two vertical seams.
Tumbler
The cylindrical, cranberry tumbler’s body is decorated with the inverted thumbprint pattern. The thumbprints are quite large and rounded; the vessel’s surface is smooth on the exterior and raised on the interior. Painted in enamel on one side are two single-stemmed floral sprays; on the opposite side is a single vegetal spray.
Tumbler
The cylindrical, amberina tumbler’s body is decorated with the inverted thumbprint pattern; the oval thumbprints are numerous and quite small. The surface of the exterior is smooth, whereas the interior is raised. The colour of the glass goes from red at the base to amber at the top.
Tumbler
Cylindrical, aqua blue tumbler the body of which is decorated with the inverted thumbprint pattern; the rounded thumbprints are medium sized. The surface of the exterior of the tumbler is smooth, whereas the interior is raised. The decoration continues to within a half-inch of the lip.
Lamp
The foot and stem are of clear pressed glass. The foot is circular in horizontal section with ribbed sides. It has approximately an one inch rise before sloping to a pedestal stem in the shape of an inverted bell. The bell’s flare is fluted. Above the bell, the stem narrows and then becomes stepped, gaining in diameter as it rises up the lamp. The stem is joined to the lamp’s body by a two inch metal screw mount. The cranberry glass body of the lamp has been blown molded; it is decorated with enamelled opalescence ovals which increase in size as they near the greatest diameter. The body is rectangular in horizontal section, with rounded corners. At the top and bottom it has a slight bulge before joining with metal mounts. Outward from the bulges radiate fluted, raised panels (the longest reaching towards the corners). The body is seamed at its greatest diameter. At the top of the body is a metal mount attached to the electrical wiring and lightbulb holder.
Water jug
Footed bowl
Sweetmeat dish
Kettledrum bowl
Tumbler
Celery vase
Candelabrum
Decanter
Rum bottle
Standing salt
Open salt on pedestal foot. Single vine rib, with scallop rim. Base has rayed-ribbed spreading foot. The main design element consists of a clear, single vine of bellflowers, leaves and berries against a ribbed ground. In some instances, the ribbing may be coarse (or fine) and the vine may be either single or double. One of the earliest and most popular of pressed glass patterns. Listed in McKee’s catalogue as R.L. which stood for Ribbed Leaf. Produced in variations by other factories. An early manufacture, c. 1840s, is attributed to the Boston & Sandwich Glass Co., Sandwich, MA. Reproductions: various from the Metropolitan Museum of Art, N.Y., but signed MMA. (per Kathleen Campbell, Curator Emerita)
Bowl
Bowl with single vine rib, with scallop rim. Base has rayed-ribbed floral motif. The main design element consists of a clear, single vine of bellflowers, leaves and berries against a ribbed ground. In some instances, the ribbing may be coarse (or fine) and the vine may be either single or double. One of the earliest and most popular of pressed glass patterns. Listed in McKee’s catalogue as R.L. which stood for Ribbed Leaf. Produced in variations by other factories. An early manufacture, c. 1840s, is attributed to the Boston & Sandwich Glass Co., Sandwich, MA. Reproductions: various from the Metropolitan Museum of Art, N.Y., but signed MMA. (per Kathleen Campbell, Curator Emerita)
Bowl
Cold decoration. The action of the acid has left the rough surface usually called “frosting”, (although the inner core remains clear), and serves to heighten the contrasts of ground and etched design. The acid etching in light-relief is on a double layer of glass, yellow overlay on clear, with a matt gilding around the base of the bowl from which the flower design rises. The foot has been overlaid with another layer of clear glass and decorated with a gold band which gives definition to the foot. The bowls are enhanced by enamelling in the green and rust tones of a poppy design. The varying depth and shading of the enamel painting gives dimension to the design. The poppy stems have the swaying form of Art Nouveau style.
Bowl
Cold decoration. The action of the acid has left the rough surface usually called “frosting”, (although the inner core remains clear), and serves to heighten the contrasts of ground and etched design. The acid etching in light-relief is on a double layer of glass, yellow overlay on clear, with a matt gilding around the base of the bowl from which the flower design rises. The foot has been overlaid with another layer of clear glass and decorated with a gold band which gives definition to the foot. The bowls are enhanced by enamelling in the green and rust tones of a poppy design. The varying depth and shading of the enamel painting gives dimension to the design. The poppy stems have the swaying form of Art Nouveau style.
Fire
An anthropromorphic (both resembling the wrapped human form and insect-like) shaped vase with elongated body tapering to rounded base. The body of the vase can be divided into three segments. The first and largest segment is from the base to the high waist and is composed on frosted white glass over a red interior. The shape is teardrop. A delicate, black, filigree tracery in flame motif is on top of the frosted layer. The frosted black middle layer is roughly a 1/3 of the height of the base and is globular in form. From the shoulders rises a straight neck of frosted glass, bluntly cut. The lip is thick and the opening of the vase small. When held to the light, and one is looking into the opening, the flames on the exterior dance. Base is suspended on a metal stand. The vase has been blown in layers. First the red colour bar has been picked up, then covered with colourless glass which becomes frosted when cool. This surface is then covered with black powder. The flame imagery results from the design being masked onto the black surface. The remaining, unwanted black glass is then sandblasted away exposing the frosted glass below.
Dish
Broad-brimmed dish with colours emanating from the center. Compressed, circular foot to shallow curvetto which joins the generous rim with rounded lip. Largely of clear glass, with some bubbles. The curvetto has two arcs of brown coloured glass, with a halo of pink and opaque cream glass. The shape is not uniformly circular. The contour of the dish is not linear, but rather the rim rises as it approaches the center and then falls into the well of the curvetto.
Champagne flute
Champagne flute of clear lead glass. Applied foot in slightly conical form with polished pontil mark, and stem with a modified annulated knop. Trumpet-shaped bowl. The wine of Champagne was introduced into England during the reign of Charles II. It was not a necessity that champagne should have a particular-shaped wine glass dedicated to its use but the tazza-shaped goblet, glasses with a shallow double-ogee shaped bowl and the flute form have all been associated at one period or another with the serving of champage. The plain flute glass was also used for serving ale, which in the 18th century was a strong brew served from a decanter in small amounts. (per Kathleen Campbell, Curator Emerita)
Bottle cruet
Cruet bottle, blown-mould, non-flint glass. All-over design comprising three rows of the pattern. Facet-cut neck and slightly flared form at rim. Handle is moulded in gadroon design. Stopper is facet-cut form with bullseyes in smaller version. Probably one of a pair, originally produced wtih matching mustard pot and a stand to hold all three pieces. Contained oil or vinegar. (per Kathleen Campbell, Curator Emerita)
Tumbler
Tumbler, clear flint pressed glass. Polished base with ground pontil. Fine-ribbed pattern extends vertically finishing in a repeating point design, divided by a horizontal moulded vine of leaves “machine-ground” to produce a frosted finish against the clear ground. Tha Hamilton pattern is identical except that the vine leaves are replaced with a cross-hatched diamond motif. The former being the rarer example. (per Kathleen Campbell, Curator Emerita)
Pickle jar
Cylindrical shaped jar, with rayed base. Three vertical ribs divide the pattern into sections, each containing a floral spray with stippled ground. The flowers resemble a lily. Borders, above and below the main design are in a fan and bead design. The silver-plated stand, cover and suspended pickle tongs are probably by the Meriden Britannia Co., Hamilton, Ontario, or the Toronto Silver Plate Co. Excavations at the sites of Trenton glassworks in 1964 resulted in the identification of additional Nova Scotia glass from shards. (per Kathleen Campbell, Curator Emerita)
Water jug
Water jug with plain stepped foot. Handle is applied leaving tool mark at lower junction. A repeating oval, shaped, and diamond design surrounds the jug at full convexity. Each shape in the design is filled in with either small or large diamond-point. Surmounting the main design is a repeating band of nine-diamond-point motifs. Shaped rim with wide pouring-spout. Authenticated by shards unearthed during excavation. A U.S. pattern named “Early Buckle” is attributed to Gillander & Sons, Pittsburgh, PA c. late 1870s. Shards have also been found at the site of the Boston & Sandwich Glass Co., and the Union Glass Co. The maker in the United States remains unknown. The Burlington version is more elaborate in pattern design. (per Kathleen Campbell, Curator Emerita)
Individual Whiskey jug
Individual whiskey jug of clear, blown-moulded glass. Polished pontil mark. Moulded circle and linear pattern. Applied handle. Ground rim corresponding to base of stopper which has a similar decorative pattern. Rather squat in form, with cylindrical neck. Flat-topped stopper, rather out of proportion to the jug. During the 1930s the individual whiskey jugs were placed on the dining table for the gentlemen. The jug was part of a set in use in Kathleen M. Richardson’s home at this period. (per Kathleen Campbell, Curator Emerita)
Egg cup
Pressed glass, non flint egg cup with moulded lion pattern in frosted glass forming the foot of the cup. Gadroon pattern surrounds the foot rim. Faceted area at junction of foot and cup. (per Kathleen Campbell, Curator Emerita)
Footed comport
Clear pressed-glass, non-flint footed comport. Three medallions reserving figures, which relate to the name “Roman Medallion” by which this pattern is sometimes known. Bands of grape and vine on stippled ground, with various bands of beaded pattern. Plain stepped foot. (per Kathleen Campbell, Curator Emerita)
Cake plate
Clear non-flint pressed glass plate, with small ribbed flange handles. Rim pattern consists of a band of beaded flowerheads on a stippled ground. Cavetto design features a band of stippled triangles. The centre of the plate has a view of the desert with two palm trees, pyramid, and a man leading a camel. Interestingly a more elaborate version of this view appears on an earthenware transfer-printed plate: Riley’s Semi-china. Quite different in style to other designs of American pressed glass. The existence of several variations in design may indicate more than one manufacturer. Also referred to as Parthenon. There are three versions of this pattern. One has the “Ruins of Parthenon” printed under the view. A second shows a palm tree and a sphinx, and a third shows a camel, pyramid and palm trees. Decoration of flatware appear to feature one or other of the designs. (per Kathleen Campbell, Curator Emerita)
Serving plate
Non-flint clear pressed glass plate. Pattern designed by Samuel G. Vogeley. The rim consists of two bands of beading surmounting a band of overlapping arch and tassel design. The cavetto is fluted. The centre of the plate is decorated with the horseshoe and prayer mat motif with some additional foliate decoration. The pattern is also known as Horseshoe, Prayer mat, Prayer rug. Possibly made by other factories in the U.S. and some aspects of the plate relate to Burlington Glass Works and the Nova Scotia Glass Company. Glass patterns moved from the States to Canada and vice versa and pattern motifs are often similar. (per Kathleen Campbell, Curator Emerita)
Serving bowl
Square shape serving bowl with grape and vine pattern extending over the sides and base of the bowl. Rim is in beaded form. Attributed by Gerald Spence to the Burlington Glass Works, Hamilton, Ontario. (Early Canadian Glass p. 43). American glass factories also made the pattern: Bryce, Walker & Co., and the United States Glass Company, both of Pittsburgh, PA. In Canada it has also been attributed to the Sydenham Glass Go., Wallaceburg, Ontario. The originals were in clear or green glass. (per Kathleen Campbell, Curator Emerita)
Plate
Pressed glass plate depicting in the centre Queen Victoria against a rayed background. The plate has flanged handles. Surrounded by intertwined Nova Scotia starflowers alternating with shields depicting the cross of St. George for England, and the cross of St. Andrew for Scotland. Two additional shields each hold the Royal Standard. The plate was made in two forms: a single and a double portrait, the latter with one portrait transposed over the other. A double portrait plate is already in the collection. (per Kathleen Campbell, Curator Emerita)
Footed comport
Footed comport, three piece mould with fluted design at base of stem, small size open comport. Three panels reserving Canadian landscape scenes alternating with three panels depicting maple leaves, all on stippled ground. Scenes are possible based on illustrations from “Picturesque Canada,” edited by George Munro Grant, illustrated under the supervision of L.R. O’Brien, President, R.C.A., published Beldon Bros., Toronto, 1882. This pattern was also made in the United States under the name of the “Cape Cod” pattern. (per Kathleen Campbell, Curator Emerita)
Goblet
Goblet, three piece mould, faceted stem. Alternating panels, beaded flute form and a stippled band spiraled around a centre staff. Also known as the “Lacy Spiral” pattern. Authentication of the pattern: shards were found at the Burlington Glass Works during excavations. (per Kathleen Campbell, Curator Emerita)
Goblet
Goblet of clear pressed glass, made in flint and non-flint glass. Fluted and stepped foot with plain stem. Bowl is vertically ribbed below a drape-form suspended from ovals. The ribbing conforms to the scalloped line of the drape. Also known as Oval and Lincoln drape. Very rare in coloured glass. Has not been reproduced. (per Kathleen Campbell, Curator Emerita)
Goblet
Goblet produced in flint and non-flint glass with a rayed foot and faceted stem. The bowl is ribbed up to the plain-glass rim. There is a single vine of bellflowers and berries against the finely-ribbed ground. Earlier grounds were coarsely moulded. The original colour was clear. Coloured glass in this pattern is very rare. One of the earliest pressed glass patterns, Bellflower is illustrated in the McKee catalogues of 1864 and 1868. There were earlier productions by Boston & Sandwich Glass Co., Sandwich, MA, USA in the 1840s. (per Kathleen Campbell, Curator Emerita)
Goblet
Goblet of clear, non-flint glass. A facet-cut stem extends and expands over the goblet foot. In the bowl area, there are two horizontal bands of cord design containing a similar but curving band with the addition of suspended tassels. A smaller curving band decorates the lower area of the bowl. This was also made by The Labelle Glass Co., Bridgeport, Ohio, USA, c. 1872. It was designed, patented and named by Andrew H. Baggs, July 23, 1872 (patent No. 6002), assignor to the Labelle Glass Co. It was patented for a 3 1/2 year period. The Baggs patent expired in January, 1876 at which time the pattern became public domain, and was reissued by the Central Glass Co. Shards have been found at the site of the Burlington Glass Works, Hamilton, Ontario. (per Kathleen Campbell, Curator Emerita)
Goblet
Goblet with a facet-cut stem extending and expanding over the goblet foot. Clear glass with six deeply formed loops surrounding the bowl area, leaving a plain band at the rim. Produced in flint and non-flint glass. This pattern was illustrated in U.S. catalogues. About eight American factories made this pattern in the 1870s. However, the United States Glass Co. reissued it in c.1891, and this date would appear to be a more correct assessment of the time period for this piece. Shards have also been found at the Burlington Glass Works, in Hamilton, Ontario. (per Kathleen Campbell, Curator Emerita)
Goblet
Goblet of clear, non-flint pressed glass with a facet-cut stem and plain foot. There are alternating vertical plain and zipper-like panels which are surmounted by a band of horizontal zipper panels divided, (in keeping with the lower panels) by a star motif. The pattern was illustrated in the George Duncan & Sons catalogue of 1887, and designed and patented by John E. Miller on March 15, 1887. The pattern was reissued by the United States Co., Pittsburgh, c.1891. Shards have been found at the Trenton Glass Works, Trenton, Nova Scotia and the Nova Scotia Glass Co. and Lamont Glass Co., Canada. (per Kathleen Campbell, Curator Emerita)
Goblet
Goblet of clear, non-flint pressed glass with a facet-cut stem and plain foot. Vertical leaf-shaped medallions alternate with a diamond motif around the bowl of the goblet, featuring beading, scroll and vertical designs. This pattern was illustrated in the 1880 McKee Brothers catalogue as the Swiss pattern. Shards have been found at the Burlington Glass Works in Hamilton, Ontario. The pattern is also known as the Bead and Bar Medallion. (per Kathleen Campbell, Curator Emerita)
Goblet
Goblet of clear glass with knopped stem made from a two-part mould. The bowl is divided into panels by four ribs in relief joined by a horizontal ribbed band, leaving a plain area at the rim. The base of the bowl is outlined with a lesser ribbed band. (per Kathleen Campbell, Curator Emerita)
Wine glass
Goblet of clear non-flint pressed glass with a facet-cut stem and plain foot. Linear design produces a band of daisy flowerheads and a depressed button motif. The pattern descends to the base of the bowl in three separate V-shaped designs. This pattern was re-issued by the United States Glass Co. Numerous factories made this pattern in a variety of colours. The treatment of finials, handles, stems and bases varies considerably. In Canada the pattern is referred to as the Daisy with Depressed Button. It has been reproduced since the 1930s. (per Kathleen Campbell, Curator Emerita)
Goblet
Goblet of clear flint glass with a facet-form stem extending and expanding over foot. Decoration is comprised of two rows of almond-shaped convex thumbprints. The remainder of the bowl is plain. The design was originally attributed to Bryce Bakewell, and to Bakewell, Pears & Co., Pittsburgh, PA. The pattern was reissued by the United States Glass Co., Pittsburgh, after a merger in 1891. (per Kathleen Campbell, Curator Emerita)
Wine, Cordial glass
Wine or cordial glass in clear pressed glass with a slight purple tinge consisting of a facet-form stem with four small bullseye motifs. Four piece mould. The lower area of the bowl has a band of bullseye designs, leaving the upper area undecorated. The slightly flared form gives an everted rim. Burlington Glass Works was among the most prolific. The output included opaque, coloured as well as clear glass. (per Kathleen Campbell, Curator Emerita)
Goblet
Goblet in clear non-flint pressed glass with a facet form stem, extending and expanding over the foot and finished in stepped form. The pattern resembles six, four-leafed clovers, each containing two small leaves, and is finely cross-hatched. Depressed button and dart motifs are included in the pattern. It is surmounted with a band of daisy-like flowerheads. The pattern was reissued by the United States Glass Co., Pittsburgh, c.1891. Shards have been found at the site of the Boston & Sandwich Glass Co., Sandwich, MA, and the Burlington Glass Works in Hamilton, Ontario. (per Kathleen Campbell, Curator Emerita)
Wine glass
Wine glass in clear, non-flint pressed glass made from a three-part mould with facet form and slightly knopped stem. The pattern is comprised of a series of vertical and elongated ovals containing, alternately, a star and a bead both in concave form. Below the wide, plain rim band, a band of shallow arches combine to form a heart shape between each oval. This is the reason for the alternate pattern name, “Hearts of Loch Laven.” The original colour production is clear but odd pieces may be found in a chocolate colour. (per Kathleen Campbell, Curator Emerita)
Wine glass
Wine glass in clear, non-flint pressed glass. It has a slightly domed foot with a banded stem and visually-reflecting stepped base to the bowl. Banded decoration is comprised of vertical ribbing, two rows of beading reserving a stippled ground with half circles and a star motif. This is attributed to the Burlington Glass Works in Hamilton, Ontario. The original production colours were amber, blue and clear. (per Kathleen Campbell, Curator Emerita)
Goblet
Wine glass with a clear, undecorated foot and stem, formed from a three-part mould. There are three sections of a vertical ribbed pattern in a slanting design, surmounted by convex beads (the buttons of the pattern name). A smaller band of beading correspondingly surrounds the lower area of the pattern. The pattern covers three-quarters of the bowl height; the remainder is clear glass. The mould seams extend to the top of the pattern, and at mid-point each is intersected by a small “bow” motif. (per Kathleen Campbell, Curator Emerita)
Wine glass
Wine glass made from a three piece mould with a radiating ribbed design at the base of the stem and correspndingly at the junction of stem and bowl. Three panels reserving Canadian Landscape scenes alternate with three panels depicting maple leaves, on a stippled ground. Scenes may be based on illustrations from ‘Picturesque Canada,’ edited by George Munro Grant, illustrated under the supervision of L.R. O’Brien, President, R.C.A., published by Belden Bros., Toronto, 1882. (per Kathleen Campbell, Curator Emerita)
Wine glass
Wine glass made from a three piece mould in clear glass with baluster stem. The bowl has a three-row band of cross-hatched diamond point design below the rim. Both Foster Brothers Glass Works, and the later St. Johns Glass Company made goblets and wine glasses with baluster stems. Pattern is listed in ‘American and Canadian Goblets’, Doris and Peter Unitt. Published by Clock House, 1970. (per Kathleen Campbell, Curator Emerita)
Goblet
Goblet of clear, non-flint pressed glass with facet-form stem from a three part mould. Vertical ribbing at base of the bowl. The three mould joins are covered with a flowering plant motif, between which, in each section, is an ostrich looking at the moon. Actually a man-in-the-moon motif. The ostrich wears pince-nez spectacles on its beak. Surmounted by a band of very small diamond-point. This pattern is sometimes referred to as the “Moon and Stork” pattern. Listed in ‘American and Canadian Goblets.’ Doris and Peter Unitt. Publisher: Clock House, 1970. (per Kathleen Campbell, Curator Emerita)
Wine glass
Wine glass of clear, non-flint pressed glass. Stem has a narrow band at mid-point. The pattern consists of a repeating design of “buckle” form, each with a star motif surrounding the bar of the buckle. The stars and bar give good light refraction. Shards have been excavated at the site of the Burlington Glass Works, Hamilton, Ontario. (per Kathleen Campbell, Curator Emerita)
Wine glass
Wine glass of green-tinted glass having a slightly conical foot with knopped stem. Wide flat-cut flutes surround the funnel-shaped bowl terminating well below the rim, leaving a wide undecorated band between flute and rim. The wine glass is from a set in use at Miss Richardson’s family home on Wellington Crescent. (per Kathleen Campbell, Curator Emerita)
Spooner
Clear pressed glass spooner from a three part mould. From the Golden Jubilee breakfast set (comprised of cream jug, sugar bowl, covered butter dish and spooner). Foot and rim bands have a repeating pattern of maple leaves within a scroll design on a stippled ground. Each mould join is covered with vertical foliate decoration. There are two shields each with the head of Queen Victoria: one has date 1837, the other 1837, and both are on a stippled ground. The third shield shows the Royal Standard surmounted with a crown also with stippled ground. Rayed base. Slight purple tinge to the clear glass. This pattern was also made at Trenton, Nova Scotia by Nova Scotia Glass Company and the Lamont Glass Company. As the spooner was acquired in Ontario the preference is for a Burlington Glass Works attribution. (per Kathleen Campbell, Curator Emerita)
Wine glass
Non-flint pressed glass wine glass from three part mould. Cylindrical stem, with two narrow bands in relief at the top and base. The bowl pattern comprises a multi-series of small beaded designs. Pointed and oval motifs suspended from a three-row of various beading. Shards have been found at the site of the Burlington Glass Works, Hamilton, Ontario. (per Kathleen Campbell, Curator Emerita)
Goblet
Goblet of non-flint pressed glass. The stem of the goblet represents the trunk of a tree and the bowl depicts the branches, with all lesser branches and twigs sawn off. There is no foliage. An owl is perched on a branch on one side, and on the opposite is a possum. There is a plain band below the goblet’s rim from which are suspended a row of triangular shapes, pointing downwards, and some have tiny stars imprinted on them. The factory is as yet unidentified. The pattern is unusual but similar in concept to the Squirrel pattern, where the same style of tree with animal design is used. Likely by the same factory. Owl and ‘Possum is recorded as being made in goblet, water pitcher and sauce-dish forms. It is always made in clear glass. (per Kathleen Campbell, Curator Emerita)
Tumbler
Tumbler with ribbed base extending one-third the height of the tumbler, surmounted by three ribbed bands, very faintly pressed. The base of the tumbler has a press-moulded head of a man in profile presently identified as Alexander Hamilton. This would place the tumbler as a commemorative piece, although the dates are difficult to reconcile. Alexander Hamilton was born in 1757. He was a lawyer, politician, regarded as a genius and a Founding Father. There is a pattern named Hamilton that bears some resemblance to the tumbler in that the base is ribbed and there is banded decoration above, but not identical. It was made by Cape Cod Glass Co. in Sandwich, MA c.1860. The connection is so slim that it should not yet be considered pending further research. The tumbler may refer to the Burr-Hamilton Duel. In the formative years of the republic, strong conflicts between principles of government, and between ambitious personalities, were inevitable. The most notable “war of ideas” was between Jefferson, favouring a liberal democracy, and Alexander Hamilton, who wished a centralized national authority. Less dignified was the clash between Hamilton and Aaron Burr. Hamilton called his opponent “a dangerous man and one who ought not to be trusted with the reins of government.” Burr at last declared, “These things must have an end.” At Weehawken, New Jersey, on a July morning in 1804, each man fired once; Burr’s bullet reaching its mark. (per Kathleen Campbell, Curator Emerita)
Cream jug
Non-flint, clear pressed glass cream jug. It is possible that the cream jug was a late product as it differs from the illustration in “Early American Pattern Glass 1850-1910.” Although the drape of the “curtain” is correct, the base is footed and moulded in a diagonal-flute design. The rim design also differs. Until further research confirms it is recommended that the jug be identified as “attributed to.” Pressed glass was produced in imitation of cut glass but seldom shows its brilliance. The jug actually does show more refraction of light than is usual. Pressed glass was sometimes finished by hand to give extra brilliance but that is not the case here. (per Kathleen Campbell, Curator Emerita)
Double Egg cup
Heavy, non-flint glass double egg cup from two part mould. Distinct pattern of blackberries and leaves encircle the larger portions of the egg cup. The pattern is press-moulded in band form. Two sets of molds were used in the production of this pattern: one for clear items, one for milk white items, as both forms differ. The first firm to make the Blackberry pattern was Hobbs, Brockunier & Co., of Wheeling, WV. It was produced in clear and milk white, and designed and patented by John H. Hobbs, February 1, 1870 (patent no. 3829). The Phoenix Glass Co., Monaca, PA, acquired the original molds to the Blackberry pattern from the Co-operative Glass Co., Beaver Falls, PA in 1937, reissued some items in clear and milk white; the double egg cup was not one of them. (per Kathleen Campbell, Curator Emerita)
Tea bottle
The tea bottle, a stopped container for dry tea, is of opaque white glass; a type of opacified glass that intentionally resembles white porcelain. It was an attempt to relate to the 17th and 18th century Chinese export porcelain. The decoration is cold painted; the colouring difficult to identify due to age. It appears to have tones of red and olive green. there is a figure, standing under a parasol, and various floral designs. The ball stopper is painted with floral motifs. The main painted decoration of a chinoiserie design relates to the attempt to produce glass resembling the white Chinese export porcelain.
Bowl
Nicely proportioned bowl raises from flat base in gentle, outward curve with slightly everted lip. Clear glass with some bubbles, decorated with impressionistic sweeps of colour in opaque pink and translucent burgundy colour range.
Vase
Vase of beaker form with slightly everted lip. Proportions and silhouette not straight and symmetrical, but rather somewhat irregular. A raised band of irregular depth separates the lower third of the vessel from the upper two thirds. Band carries circular impressions. Some bubbles in clear green glass.
Paperweight
Paperweight using clear glass with colours from the burgundy family suspended within.
Objet d'art
Blue textured glass casting of the Venus de Milo (without her head) with a rectangular void in the middle of her torso. Beside the figure, stands a gold-coloured open cube on top of which stands the missing rectangular piece of glass surmounted by a gold-coloured casting of the head of Venus.
Sculpture
Purple textured glass sculpture of a man, possibly a knight, on horseback. The figures are slightly abstracted and simplified into flattened planes, and are without features.
Terminus Ultimus
Tapered, rectangular, ceramic, two part column. A slumped glass bowl rests on four small ceramic feet at the top of the column. The column stands on a pedestal.
Cream jug
The jug has a mid-point and slightly angular convexity. The handle is well-formed, of uniform thickness and applied with a turned-up lower junction. The base has a fairly high kick and unground pontil mark. The abraded wear area is a satisfactory confirmation of the date.
Salt
The salt cellar is a small version of the canoe-shaped fruit or salad bowl, with a correspondingly-shaped foot moulded in the lemon-squeezer form. The bowl is moulded in a design of radiating flutes with two bands, possibly cut, encircling the bowl to provide added decoration. The bowl is set on a slightly spreading stem. The lemon-squeezer foot is domed with a band of raised dots and scalloped rim. This style of salt cellar varied in quality, with later examples receiving cut decoration.
Wine glass
Bell-shaped bowl, with opaque-twist stem and a plain foot. The stem has four heavy spiral threads outside the closely-formed multiple spiral cable. Under a UV light, the glass shows yellow.
Wine glass
Bell-shaped bowl, with opaque-twist stem and a plain foot. The stem has four heavy spiral threads outside the closely-formed multiple spiral cable. Under a UV light, the glass shows yellow.
Wine glass
Bell-shaped bowl, with opaque-twist stem and a plain foot. The stem has four heavy spiral threads outside the closely-formed multiple spiral cable. Under a UV light, the glass shows yellow.
Wine glass
Bell-shaped bowl, with opaque-twist stem and plain foot. The size of the bowl is almost of the deceptive category as the base is formed of solid glass decorated with six air bubbles or tears, the centre one surrounded by the other five. This gives added substance to the wine glass. The stem has four heavy spiral threads outside the closely-formed multiple spiral cable. Under a UV light the glass shows yellow ie. soda glass.
Bonnet glass
The bonnet glass has a cup-shaped bowl, with moulded decoration, set upon a short, knopped, slightly-dragooned stem. The foot is moulded in a petal form of six lobes. The moulding on the bowl is diamond-wrythen. The pontil mark is left rough.
Bonnet glass
The bonnet glass has a cup-shaped bowl, with moulded decoration, set upon a short, knopped, slightly-dragooned stem. The foot is moulded in a petal form of six lobes. The moulding on the bowl is diamond-wrythen. The pontil mark is left rough.
Cream jug
Clear, blown glass with an applied band of bright cobalt-blue glass around the pouring spout and rim. The loop handle shows the tool marks at the lower junction to the body, and where it is slightly up-turned. The convexity is slightly angular. The pontil mark has been left rough.
Jelly glass
A small dessert glass of bell shape, rib-moulded with a high domed and rib-moulded foot and short air knop. The continuing ribbed pattern extends from bowl to foot. Unground pontil mark.
Jelly glass
A small dessert glass of bell shape with beaded air knop, and domed foot. The annular-shaped baluster air knop provides a minimal stem. The pontil mark is rough.
Jelly glass
A dessert glass of inverted conical shape, the rim slightly flared. The wrythen moulding ceases toward the base of the bowl, which is set upon a gadroon knop flattened to meet the otherwise plain foot. The pontil mark is rough.
Jelly glass
A dessert glass of inverted conical shape. The stem is minimal, a small knop with the bowl resting almost directly upon a plain, flat foot. The ribbed design of the bowl extends into the knop area. The pontil mark has been left rough.
Jelly glass
A dessert glass of inverted conical shape. The stem is minimal, a small knop with the bowl resting almost directly upon a plain, flat foot. The ribbed design of the bowl extends into the knop area. The pontil mark has been left rough.
Jelly glass
A dessert glass of inverted conical shape. The stem is minimal, a small knop with the bowl resting almost directly upon a plain, flat foot. The ribbed design of the bowl extends into the knop area. The pontil mark has been left rough.
Jelly glass
A dessert glass of inverted conical shape. The stem is minimal, a small knop with the bowl resting almost directly upon a plain, flat foot. The ribbed design of the bowl extends into the knop area. The pontil mark has been left rough.
Jelly glass
A small dessert glass of inverted conical shape with the rim turned to form a flat everted flange. The bowl has no stem and sits directly on the foot. All are attractively uneven - an occurance of the glass-blowing process. Pontil marks are left rough.
Jelly glass
A small dessert glass of inverted conical shape with the rim turned to form a flat everted flange. The bowl has no stem and sits directly on the foot. All are attractively uneven - an occurance of the glass-blowing process. Pontil marks are left rough.
Jelly glass
A small dessert glass of inverted conical shape with the rim turned to form a flat everted flange. The bowl has no stem and sits directly on the foot. All are attractively uneven - an occurance of the glass-blowing process. Pontil marks are left rough.
Jelly glass
A small dessert glass of inverted conical shape with the rim turned to form a flat everted flange. The bowl has no stem and sits directly on the foot. All are attractively uneven - an occurance of the glass-blowing process. Pontil marks are left rough.
Jelly glass
A dessert glass of inverted conical shape. The wrythen moulded bowl extends to form a stem, which sits directly upon the slightly domed foot. The pontil mark is rough.
Jelly glass
A small dessert glass, more a modified bell form than the usual inverted conical shape. The bowl sits on an annular-shaped baluster air knop which provides a minimal stem. The pontil mark is rough. A glass of substantial weight and quality.
Jelly glass
A dessert glass of bell-shape with wrythen bowl, the base of which is decorated with gadroon patterning achieved by nipping in the wrythen design. The foot is plain and not entirely circular, with a rough pontil mark.
Jelly glass
A small dessert glass of hexagonal shape on high-domed foot. Hexagonal (and octagonal) glasses are rare. There is a very minimal stem, more a nipped-in extension of the bowl. The glass in all areas is clear and undecorated. The pontil mark is rough.
Jelly glass
A small dessert glass of modified bell-shape, with a band of engraved tulips below the rim. The minimal stem is set on a slightly domed foot. The pontil mark is left rough. Under the foot a tool mark extends from the pontil mark to the foot rim.
Jelly glass
A very small dessert glass of inverted conical form, with moulded and facet-cut decoration. The rim is cut in a modified scallop - design; below are borders of medallion and diamond cutting which cover the entire bowl area. The foot is cut in hexagonal form.
Jelly glass
The thistle-shaped bowl has a wrythen base supported on a short stem and slightly domed foot. Thistle-shaped glasses have a waisted bowl of which the lower half is hemispherical and above it the funnel shape represents the thistle flower. The hemispherical part of the bowl is sometimes diamond-cut. In this instance, the design is wrythen. The style also owes something to Continental design (Venice); wine glasses with similarly based ornament but of far greater sophistication.
Jelly glass
A small dessert glass of bell shape with moulded bowl in diamond design. The cross-hatching is in slight relief, leaving the diamonds in concave form. An annular baluster knop provides a short stem. The pontil mark has been polished.
Jug
The jug is blown-mould, with a base of globular form drawn up into an elongated cylindrical neck. The spout is small and probably not very efficient for pouring. The ribbed moulding extends from the base into the neck terminating below a plain band area at the rim.
Mug
A bucket-shaped, clear, blown-glass mug, with an applied band of bright cobalt blue glass around the rim. The loop handle shows the tool marks at the lower junction to the body, and where it is slightly up-turned. The tool marks have been applied in an almost decorative manner. The pontil mark has been left rough.
Patch stand
A flat-topped stand, with a rare "bobbin" stem. Pedestal, plain or faceted stems are more usual. The foot is folded. The stand belongs in the baluster period: early Georgian.
Sugar Crusher
A short glass rod, usually about 10 cm. in length, with a round pestle-like knop at one end and usually a pressed decorative motif at the other. The crusher has three ridges in the knop surface, possibly intentional to help crush the sugar. The stem is plain with the end drawn out to form a leaf shape, with indented lines representing the veins. The tip of the "leaf" is rough and left unpolished.
Sugar Crusher
A short glass rod, usually about 10 cm in length, with a round pestle-like knop at one end and usually a pressed decorative motif at the other. The crusher has a small knop, a double-twisted stem, the last twist having been expanded and flattended with a glass-blowers tool to form a handle. Of particular interest is the pestle-like end, which is slightly abraded, indicating use in crushing the sugar in individual drinks.
Sugar Crusher
A short glass rod, usually about 10 cm. in length, with a round pestle-like knop at one end and usually a pressed decorative motif at the other. The crusher has a small knop, a plain stem, with the end drawn out and flattened. An impressed border of radiating lines decorates the handle area.
Sugar Crusher
A short glass rod, usually about 10 cm. in length, with a round pestle-like knop at one end and usually a pressed decorative motif at the other. The crusher has a good sized knop, a plain stem, with the end drawn out and expanded. It has been flattened by the glass-blowers tool to form the handle.
Sugar Crusher
A short glass rod, usually about 10 cm in length, with a round pestle-like knop at one end and usually a pressed decorative motif at the other. The crusher has a good sized knop, a double-twisted stem, the last twist having been expanded and flattened into forming a handle. Of particular interest is the pestle-like end, which is slightly abraded, indicating use in crushing the sugar in individual drinks.
Sweetmeat glass
The bowl, in shape owing something to both round funnel and ovid forms, is supported on a moulded Silesian stem with a domed and folded foot. The plain level rim of the bowl makes the glass suitable as a drinking vessel. This style has sometimes been mistakenly identified as a champagne glass.
Sweetmeat glass
The cut-glass bowl has a scalloped rim, with an engraved combined band of tulips and ovals below. The flute-cut stem has a domed foot. In comparison to wine glass stems the sweetmeat stem became more elaborate towards the end of the 18th century, with knops, air and opaque twists and, as in this instance, cutting.
Syllabub glass
A syllabub of plain, blown glass with pan-shaped top; the upper third or so of the bowl being extended outward into a cup form - a pan-shape, to accomodate the froth of a drink called syllabub.
Syllabub glass
A syllabub of plain, blown glass with pan-shaped top; the upper third or so of the bowl being extended outward into a cup form - or pan-shape, to accommodate the froth of a drink called syllabub.
Syllabub glass
A syllabub glass of rib-moulded, pan-shaped design; the upper third or so of the bowl being extended outwards into a cup form - or pan-shape, to accommodate the froth of a drink called syllabub.
Tazza
A flat-topped stand, or disc, with applied and raised rim, supported on a moulded Silesian stem with a domed and folded foot.
Tazza
A flat-topped stand, or disc, with applied and raised rim, supported on a moulded Silesian stem with a domed and folded foot.
Tazza
A flat-topped stand, or disc, with applied and raised rim, supported on a moulded Silesian stem with a domed and folded foot.
Toddy Lifter
A well-proportioned and substantial lifter with a flute-cut bulb, and neck terminating in a smoothly finished thumb-piece. The wide flute cutting is the most usual form of decoration, many toddy lifters are plain and uncut.
Wine jug
The blown-glass jug has a plain foot and looped handle, the latter shows tool marks formed during the process of application. The globular body contracts into waisted and elongated form, expanding again towards the rim and a generous pouring spout. This style of wine jug continued into the early 19th century. The pontil mark has been left rough.
Wine glass
Trumpet bowl wineglass with drawn and facet-cut stem and folded foot. Lightly engraved band below the bowl rim.
Wine glass
Trumpet bowl wine glass with drawn and facet-cut stem, and folded foot. Lightly engraved band below the bowl rim.
Wine glass
Blown, rib-moulded, trumpet-shaped wine glass with drawn stem, domed and folded foot.
Bowl
A boat form, clear, cut-glass bowl with shaped rim. The walls are cut in a repeating pattern featuring a stylized six-petal flower, the pattern extending around the bowl from foot to rim. The base has a single eight-point star designed and cut to correspond to the boat form of the bowl.
Jug
Clear glass, light in weight. A circular, flat-based jug, the body drawn inward and then flaring out to form the rim and a generous pouring spout. The handle showing tool marks at the lower junction to the body. The gilding has worn away, leaving only the cut design of a leaf-garland and ribbon pattern. Enamelled decoration: colours are usually fired onto the surface of the glass at a very high temperature, and thus are permanent. Painted decoration: although sometimes lightly fired, is usually a "cold" technique and the colour or gilding is comparatively easily rubbed off the surface of the glass. The jug has an interesting shape. From a plain, simplistic base the curving lines of neck, rim and spout provide a graceful contrast.
Wine jug
Blown glass, footed jug on spreading base, attributed to an undentified Normandy glass house. Bulbous form with full convexity coinciding with the lower junction of the handle which is hollow. The extensive and cylindrical neck is encircled with applied threads of trailed decoration.
Spirit funnel
Typical drawn funnel shape, with applied rounded handle bearing tool marks from the process. The lower junction is turned-up. The shallow matt engraving has been outlined with gilding, more extensively than it presently shows. The engraved design shows a flower stem, with single daisy-like bloom, surrounded by stems and leaves in scroll form.
Patch box
The patch box is of ivory, with a hinged cover and applied rectangular gold plaque at centre of cover for engraving (empty). The hinge and the hemispherical press-stud for opening are of gold. The interior of the cover holds a mirror, the backing wearing away at the edges and is of a general cloudiness. The box is divided into three vertical partitions. The two outer and larger have gold-hinged ivory covers, the centre and narrower partition is lined with velvet fabric and has no cover.
Spooner
A spooner is a vase-like container to hold teaspoons. Mould-blown and tooled "coin-dot" Amberina glass. Fire-polished rim with well-polished pontil. The glass shades from transparent ruby at the base to pale amber above. Bulbous lower body rising up and widening to a four-sided opening.
Tea bowl, saucer
Mould-blown and tooled white opal glass. Painted enamel decoration of flowers in red with touches of blue, yellow and mauve with applied patches of gold leaf glued to the surface. Both the bowl and saucer blown into a mould with vertical pillars and having applied foot rings.
Salt
White opal glass blown in a dip mould. Enamelled floral decoration of roses with remains of gilding to wheel-cut flat rim of oval cylindrical body.
Caster bottle
Caster bottle for sugar, mould-blown and tooled white opal glass with enamelled flowers and gilding in the neo-classical style. Neck cut with threads for a pierced cover. Fire-polished pontil. Oval reserve included in enamel decoration on side lettered "Z" for "Zucker" (sugar).
Jug
Small, pear-shaped jug, blown and tooled white opal glass with enamelled roses. Tooled and attached strap handle. Pontil to base and neck worked and roughened inside possibly for a stopper.
Cologne bottle
Mould-blown, tooled and cut and polished white alabaster glass. Depressed, bell-shaped body curving in at base to polished cylindrical foot disk.
Tazza
Miniature tazza, mould-blown and tooled glossy khaki-brown glass, translucent with an opalescent cast. Integral foot with rough, domed pontil. Thick, hollow disk foot, constricted cylindrical stem, spreading out to shallow, cylindrical bowl with spreading horizontal rim tooled with sixteen ruffles. Body hollow from open tazza through to foot.
Urn vase
Thin, mould-blown opaque, white glass with gilded decoration. Integral foot and no pontil mark. Wheel-polished rim. The shape is classical, and the blown opaque, white glass resembles porcelain and was often decorated in a style comparable to ceramics.
Vase
Thin, mould-blown opaque, white glass with painted gilded decoration. Integral foot and no pontil mark. Wheel-polished rim. Neo-classical leaf and flower guilloche pattern around the side with gilt bands elsewhere.
Epergne
Alabaster glass, mould-blown and tooled, cut and painted with gilt decoration. The epergne is made in nine pieces. Mould-blown spreading baluster pedestal with cylinder on top to accomodate tall trumpet vase, both white alabaster glass. Held between them is a thick glossy apple-green alabaster glass plate (probably blown and spun out because it shows concentric striations) which is held horizontally between the pieces. This is very well-polished and has notches around the edge to hold six removable horns or cornucopia with cut, bevelled and cusped edges. Similar edge to the large central vase. Gilt rococo motifs painted on the horn flower holders.
Trumpet vase
Tall, trumpet vase, blown and tooled opaque dark, sky-blue glass with glossy surface painted in opaque matt enamels and gilt trim. Made in two pieces with wheel-cut rim and foot. Elongated trumpet form flaring out at top. Flattened bead knop with spreading bell-form foot. Encircled by a painted, diagonal band of vine with dull blue, mustard and orange convolvus/morning-glory flowers and leaves. Gilt rim and gilt band around lower third of foot.
Box
Mould-pressed white alabaster glass, polished and cut with enamel and gilt decoration. Formed as a small rectangular sarcophagus with projecting moulding around base and fitted cover with a small, reclining, three dimensional lion on top. Base and rims well polished. Lion gilded and Rococo Revival band of opaque white enamel leaves, scrolls and roses with gilding around the side and forming a carpet under the lion. Gilt trim.
Candlestick
Blown, tooled and cut white and pale green alabaster glass. Spreading, bell-shaped trumpet foot with convex ring at top all in green. Solid, elongated, pear-shaped baluster stem in white alabaster glass. Green alabaster glass candle cup rising from a convex ring to a short, constricted stem surmounted by a large cylindrical cup with overhanging rim. The rim is carefully cut and polished with six pointed petals with bevelled edges and incised divisions between. Base of foot and top bulge of baluster both carefully polished. No evidence of gilding.
Goblet
Mould-blown and tooled glossy opaque mauve glass with enamel and gilt decoration. Bucket-form bowl with a wheel-cut rim resting on a short, thin stem with a disk knop set on a thick disk foot. Fine-polished base with no evidence of pontil. white enamel decoration of delicate beaded festoons in a somewhat classical manner. This is probably a stand to hold a perfume bottle which would likely have been part of a better quality dresser set.
Vase
Blown and tooled thick opaque, glossy turquoise glass. Spherical body narrowing to cylindrical neck with outcurving rim. Rim and base both polished. A typical example of "Peking" glass.
Garniture of Vases
Thick mould-blown and tooled glossy white translucent opal glass with transfer-printed decoration of classical figures copied from the illustrations of John Flaxman, and transfer-printed and gilt decoration as well as hand-painted gilt decoration on the neck.
Vase
Mould-blown and tooled jade green glass with painted gilt decoration. Spreading disk foot with convex edge and well-polished base and domed pontil. Ovoid body, constricted neck, widening towards opening with rim curved in and fire-polished. Painted matt gilt tracery of Gothic arches with scrolls on top and pine cone sceptres between. Horizontal gilt bands to the middle of the rim and the foot. Similar shape to the garniture of three vases (2004-113 abc)also by Richardson.
Vase
Baluster vase, thick translucent white glossy glass with enamelled decoration and unusual thick yellow gilding. Outward flaring rim cut with six scalloped points. Mixed garland of vines and stylized flowers encircling the body with a yellow parrot and Scarlet Tanager painted in opaque, slightly drab enamels (much like gouache in appearance). Rim gilded and three narrow lines around the foot. Nicely ground pontil. In terms of subject and style, the decoration appears to be English.
Plate
Round plate, blown and tooled turquoise opaline glass with a casing of clear glass to the back. Well-polished pontil. wide rim with fire-polished edge and shallow well.
Oenochoe jug
Blown and tooled pale green glass of jade colour. Disk foot with well-polished pontil. Short stem with ovoid body curving up to constricted neck that opens into a tri-lobed (three spouted) lip. Applied strap handle. No evidence of gilding or other decoration. The green is a typical English colour.
Plate
Round plate (probably a stand for a water carafe) blown and tooled opaque white opaline glass with thick clear casing to back and black transfer-printed decoration. Well-polished pontil and irregular indentation forming a bump on the base inside. Deep well, the side curving up to a wide rim with a slightly thickened convex edge. Black, transfer-printed decoration including a border of fruiting grape vine with a whimsical central motif of a basket of fruit with gardening hat and bottle suspended from a rod with two floral and leaf festoons. Traces of gilt borders to bottom edge of well and rim.
Basket vase
Press-moulded and tooled pale turquoise slag glass. formed as a rectangular woven, wicker basket, punched in at the centre where there are a pair of small, rounded handles.
Vase
Mould-blown and tooled, optic-moulded, amber-brown glass with painted gilt decoration. Integral foot with domed and polished pontil. Nice transparent brown quality with vertical ribs to the inside because the gather was first blown in a ribbed dip mould. Club shape: low-bulbous body (like a garlic bulb) rising to thick cylindrical neck with fire-polished rim. the side painted in relief with a gilt motif of a vine with trumpet blossom having the remains of translucent green paint on it.
Vase
Cylindrical vase, mould-blown and tooled opaque, white glass with enamel floral decoration. Vertical ribs down the side with a swelling in the body at the middle and rim terminating in short, rounded points. Pontil pushed in and fire-polished on the base.
Vase
Pair of vases, blown and tooled opaque white glass. Blown in a ribbed mould to create fine, sharp vertical ribs. Spherical bodies with applied spreading foot and long tubular necks slightly everted and fire-polished at the rim. Pairs of vases in English opaque, white glass are not common. The vases are frequently referred to flower bottles. The vertically ribbed design is identified with the shapes of South Staffordshire glass production.
Cornucopia vase
A wall-hung cornucopia vase, blown and tooled, thick, glossy, opaque white glass. Trumpet form with back of flared opening flattened to comply with the wall and pierced with two holes for hanging. The hollow trumpet tapering down to several tooled knops of glass designed to suggest the mouthpiece.
Vase
Mould-blown, thin opal glass with enamelled and gilt decoration. Integral foot with polished pontil. Convex band around base and elongated tear-drop shaped body with constricted neck and outward flaring rim with fire-polished edge. Overall matt exterior. Encircled with a band of naturalistic flowers, skillfully painted in matt colours with green and dull blue leaves and stems. Gilt rim with gilt line below. Three fine, black lines from the border around the base.
Mantle vase
Pair of mantle vases, mould-blown and tooled slightly translucent turquoise glass with acid-etched matt surface and gilding. Integral foot. Elongated ovoid bodies resting on a short spreading foot with convex edge. Very constricted neck, widening at top to small bulbous, rounded funnel form, its rim cut with six large pointed outward - projecting scallops with a wheel-cut edge. This edge, a wide, glossy band on the neck, and the edge of the foot, all glossy and richly gilt.
Vase
Mould-blown, cased glass with gilding. Three layers of glass: inner casing of opaque, white looking like porcelain; middle, thin layer of turquoise blue; and the thick outer layer of good quality, clear glass. Integral foot. Spreading foot with thick convex edge curving up to constricted short stem, long ovoid body rising to an elongated cylindrical neck which widens considerably toward the rim. Fire-polished pontil and carefully moulded polished rim. Painted with thick matt gilding: horizontal bands to rim and foot with over-design of fruiting grape vines to the body which is left plain and clear with the gilding delineating the outlines.
Bud vase
Bud vase, triple overlay glass with gilt decoration. Worked in two pieces: body and foot. Body: opaque white over a layer of pale green translucent glass with an inner casing of clear glass. Applied foot of similar green glass but only one colour and solid. Elongated, ovoid body with long, cylindrical neck and flaring, fire-polished rim. White cut through with four elongated ovals down the side and above, between these, on neck, four similar rectangles with rounded ends. Disk foot with cut edge rising to solid inverted trumpet stem with rounded knop. Bevelled edges of cut reserves outlined in gold, Delicate, gold leafy vines suspended from the rectangles cut above. Gilt lines above knop and towards edge of foot. Pontil fire-polished and also cut.
Vase
Blown and tooled glossy, custard-yellow glass. Made in two pieces. One a spreading, low trumpet foot with disk-shaped knop at top. Small ovoid, lower body rising to a narrow cylinder and widening toward the top with a down-curved rim. Rim has a high ridge and a narrow, upcurving edge. Rough pontil mark under the hollow foot with traces of grey residue. the vase is of classic, simple, English Victorian design and very pleasing.
Vase
Pair of small vases (not an actual pair as the pattern is the same on both, i.e. not made as a pair) blown and tooled, opaque turquoise glass with enamel and painted decoration. Very geometric teardrop-shaped body with integral foot and short, funnel-shaped neck. Painted on the side in enamels with colour over-painted in oil-based paints, C-shaped arrangement of pink flowers (heather and unidentified) with a small butterfly above. Remains of gilding on the cut rim.
Vase
Mould-blown and tooled translucent pale, green, glass. Spreading disk foot rising slightly to narrow convex knop. Knop may be a gather used to attach the separate body. Lower vase, ovoid narrowing to a low, rounded dome at the top and then extending to an elongated, tubular neck with flaring trumpet rim. Rim is fire-polished. Pontil worked into the base and fire-polished. No evidence of gilding or other decoration. Evidence of two mould seams (two-part hinged mould) running down the sides of the body.
Urn
Pair of urns, blown and tooled, translucent, pale, green glass. Made in two pieces. Flower-pot shaped body, slightly bulbous at base with cylindrical side and turned over rim resting on thin, cylindrical stem with flat, round foot. Fire-polished pontil on base. No evidence of decoration. One urn is slightly smaller than the other.
Baluster vase
Tall, elongated, baluster vase, mould-blown thick, slightly greyish opaque white glass with gold and enamel decoration. the elongated, oval body with a spreading integral foot. Upper body comprising two trumpet forms, the lower one inverted, constricted at centre with two applied and tooled glass convex bands (rings). Around the ovoid middle, three young Grecian ladies, tranfer-printed in black, red, mustard and gold. One is seated on a Klismos chair with an urn; another, standing, dressed in red and holding a bow; and the third, standing and carrying an urn. Boldly painted vivid orange in simple Greek key bands outlined in black around upper and lower sections of the neck and to the lower body. Overall glass surface lightly acid-etched with the rings, and edges of foot and rim left glossy to receive gilding. Base polished and matt with small dome for pontil. Theform and decoration are good examples of the Neo-Greco style. The coloured, transfer-printed figures appear technically similar to Prattware and are in the style of John Flaxman.
Spill vase
Thick, white alabaster glass with matt exterior finish painted with dull gilding. Plain cylindrical bodies with convex moulding around base and slightly turned-over rim. Bases well-ground flat with an abraded matt finish. Wide bands of rich but not shiny gilding. The vases are of classic, simple English Victorian design and very pleasing.
Presentation mug
Presentation mug, blown and tooled opaque white glass with faint opalescence. Painted gilt decoration of porcelain painting quality of scattered leaf sprigs and the lettering around side "Remember Me". bulbous body, slightly constricted neck with flaring lip. Separately applied and tooled foot pontil scar on the base and applied strap handle. The type of decoration and the separately applied foot suggest an English origin.
Perfume bottle
Mould-blown opal glass. tall, ovoid body rising from a cylindrical base to a high should with a narrow cylindrical neck. Around the side, two, low-relief, draped female heads with drapery going between. Acanthus fronds rising from a convex moulding around the base. The design seems to be inspired by an early French Neo-classical design of the 1760s.
Kerosene lamp
Blown and tooled thick, glossy, bright apple-green glass painted with rich gilding in cast and die-pressed brass mounts. Spreading, die-pressed, thin brass foot with relief guilloche band of oval links enclosing leaves. Bottle-shaped stem consisting of a low flower-pot form body rising to a long, inverted, trumpet stem. Cast brass ring with fringe of lanceolate leaves mounted on top. Die-pressed brass mount with ovoid leaves to bottom plug of foot and plain cylindrical mount, threaded inside for burner at top of foot. Remains of gilding to bottom mount. Thick, disk-shaped foot curving in at an angle to the base and rising in two broad steps to a cylindrical opening on top. Gilding is boldly painted with Greek key bands with anthemion reserves to side of body of bottle-shaped stem section and side of foot. Scrolling leaf bands above this on side; lef and flower tracery and various narrower bands around upper stem.
Perfume bottle
Mould-blown and tooled white opaline glass with an applied handle. Shaped like a stoneware liquor jug: tall, inverted, pear-shaped body with narrow cylindrical neck and strap handle. Old cork stopper. Remains of pontil on base and rough rim to the top of the neck.
Perfume bottle
Blown and tooled lampwork bottle. Pumpkin-seed shape formed of thin, clear glass with wide, opaque, white stripes. Pale aquamarine glass thread to rim. Applied blue and ruby glass dotts front and back forming a red heart with initials MH with a star below on one side and the blue dots forming a date of 1816 on the other - a type traditionally dated to the Regency period.
Hurricane Shade
Blown and tooled fine, clear glass with opacified surface and enamel decoration. The thin glass formed as an elongated bell with fire-polished top opening narrowing to cylinder at base with cut bottom to fit into a candle socket. Painted in semi-transparent colours in a loose, brushy style with naturalistic roses and other flowers and leafy guilloche borders in green, red and yellow. Enamelled English glass from the early 1800s rarely survives.
Flower pot
Blown and tooled opaque, dull, turquoise opaline glass. Shaped like a flower pot with a thickened rim and an applied pan at the base, also with a thickened rim. Rough pontil mark.
Flower pot
Blown and tooled opaque, bright, turquoise opaline glass. Shaped like a flower pot with a thickened rim and an applied pan at the base, also with a thickened rim. Rough pontil mark.
Urn
Pair of small urns, mould-blown and tooled translucent pale, green glass with opaque cream enamel and gilt decoration. Flat, spreading foot with short cylindrical stem joining a flower-pot form body with a turned down rim cut with twelve rounded scallops with bevelled edge. The foot and body are two separate pieces. Base of the foot and the pontil are carefully polished. Band of beige enamel and gilt rococo scrolls around the side, on top of the rim and around the top of the foot. Gilt band borders to the scalloped rim, the knop on the stem, and the edge of the foot. The glass is fairly thin, glossy, and has a internal bubbly texture.
Vase
Large vase, blown and tooled opaque, white, opaline glass with applied cast glass decoration. Tall baluster form with constricted neck and outward-flaring, fire-polished rim. Well-polished pontil. Applied to either side near the shoulder are large, oval, relief heads of river gods in cast, opaque, white glass. These can be identified as classical river gods because they are middle-aged with beards and have their hair wreathed with rushes and reeds. Probably the largest size of this vase made by Baccarat. Pieces with these applied medallions are uncommon.
Vase
Mould-blown and tooled white, opaline with painted enamel and gold decoration. Ovoid bodies opened at top with wide, slanted rim, short pinched stem at base and applied round foot with well-polished pontil.
Perfume bottle
Mould-blown and tooled translucent, white opaline glass (boule du savon) with painted enamel and gilt decoration. Squat, bulbous "curling stone" body to the bottle with cylindrical neck and flattened narrow rim projecting horizontally. Well-polished pontil. Pale, blue enamel forget-me-nots painted around the side with gold leaves. Spherical knop to stopper with well-polished, cork-shaped end. There is an indentation in the centre of the base inside from the device that polished out the neck to create an exact fit for the stopper.
Top Hat Container
Blown and tooled white, opaline glass with red thread to rim and gilding. Base well-polished to eliminate pontil mark. Made like a top hat placed upside down to make a small container. Cylindrical body with wide-spreading, horizontal brim having an applied red thread. Brown hat band just above brim with a buckle to the middle, painted in gilt with a fine line pattern of classical ovals and diamonds. The style of the hat suggests a date closer to 1830. A larger version with a green thread to the brin has been noted.
Vase
Mould-blown and tooled thick, white, opaline glass with gilt decoration. Spherical body with raised dots resting on a low, cylindrical foot. Body tapering in to a narrow cylindrical neck with a turned-over rim tooled with six bold ruffles. Well-polished pontil. Remains of gilding around rim and on the raised dots. The vse is more elaborate than most of the versions of this model because of the extensive gilding and tooled rim.
Vase
Opaque, turquoise, opaline with a thick, opaque white casing, mould-blown; cut and painted with enamels and gold. Bowling pin shape with integral foot and rim flaring out wide above neck. Raised, rounded panel of casing projecting above the turquoise of the lower body with a bevel-cut edge. This horizontally positioned, rounded, oval reserve is painted with a fine, naturalistic bouquet of pink single and double roses, large red oriental poppy, purple asters below, tiny orange fuschia and other flowers. Gilt lines horizontally around rim with pendant scroll motif. Similar scroll and leaf motifs framing the floral reserve with bevel gilt and inner border of rounded gilt cusps. Diamond-form medallion of leaf and scroll tracery to the lower back. Almost totally obliterated gilt tracery medallions similar to the borders and framing devices on the neck where one grasps the vase. (Visible now only as a matt shadow). Base carefully polished pontil cut through to white casing so that the entire base is flat and white. The unusual form of colour and casing imitates 18th century Sèvres porcelain where there is a ground colour ("bleu celeste") and gilding, framing floral reserves. Sèvres porcelain was highly valued by collectors in the mid-1800s.
Tazza
Small tazza, blown and tooled translucent, greyish-white opaline glass with die-pressed brass rim mount. Shallow, round dish formed as one piece attached to thin, tapering, cylindrical stem resting on a thick, disk foot. Base of foot well polished. gilt brass, die-pressed band mounted around edge of foot showing a fine, low-relief, pattern of daisies and projecting leaves with beads.
Vase
Mould-blown and tooled white opaline with painted decoration. Elongated, ovoid body with constricted neck and flaring trumpet rim. Body rests on square plinth, made from a separate piece of glass. Foot and plinth polished and finished. Around the side, painted in matt gold, silver (now tarnished to black) and blue enamel, a leaf and flower band. Similar matt-gold applied as bands and edging to neck and plinth.
Candlestick
White, alabaster glass with glossy surface, threads of red glass applied around foot and rim of socket, and painted gilt decoration. Hollow from the socket with a wide, turned-over rim through the baluster stem to the open, spreading base. Inside of socket, carefully bevel cut. Overall gilt rocaille tracery of leaves and scrolls. Low candlesticks were often part of dresser sets.
Tazza
Small tazza, blown and tooled, translucent, turquoise, opaline glass. Shallow, round, dish formed as one piece attached to a thin, tapering, cylindrical stem resting on a thick disk foot. Foot well-polished and finished.
Bust
Cast, white, opaline glass. Glossy surface with some distortion of features. Napoleon looks directly forward and wears an army uniform with epaulettes and military orders. The bust is mounted on a turned, walnut, socle.
Perfume bottle
Mould-blown, opacified white body with pressed, bright, opaque, turquoise stopper. Well-polished pontil mark on the base and the lower section of the stopper carefully polished. Large, spherical body blown as a pomegranate with sections of small, round seeds showing down the side and ruffled rim. Stopper formed as a large daisy with projecting, pointed petals and a round, cushion centre. The moulded pattern of the body was called à grenade éclatée, a bursting pomegranate.
Vase
Oenochoe jug
Oenochoe jug which is mould-blown and tooled in clear glass enclosing diagonal canes of blue and white glass. Applied handle of similar glass. bulbous body with tricorn lip and convex band around the base. Fine quality glass, well finished, with carefully ground base and pontil dome.
Oenochoe jug
Small oenochoe jug which is mould-blown and tooled in clear glass enclosing diagonal canes of pale pink and white glass. Applied handle of similar glass. bulbous body with tricorn lip and convex band around the base. Fine quality glass, well finished, with carefully ground base and pontil dome.
Vase
Large vase, mould-blown and tooled, translucent white opal glass (pâte de riz: rice paste texture) with gilt decoration. Bulbous lower body with oak leaves in fairly high relief narrowing to a band of pointed cusps with eight long-pointed acorns. Rising above is a plain, cylindrical neck which flares out to a trumpet opening. Appliled foot disk with large, superbly polished pontil dome and remainder of base polished flat. Four narrow and wide horizontal bands of gilding around the rim and single band around the foot.
Goblet
Opaque, white alabaster glass with applied ruby glass and painted gilding. Plain tulip-shaped bowls with long, thin, cylindrical stems resting on well-finished disk feet with polished pontils. Applied around the stem, a clear, pale ruby glass snake with gilt scales and details.
Vase
Small size, opaque pink over white overlay cut. Elongated, thistle-form body with short cylindrical stem and disk-shaped foot. Well-polished pontil. The pink and white glass are both thick layers. Cut with a geometric pattern and cut down at top to white with eight scallops forming the rim. The foot well-polished with a cut and polished edge. The vase form is typical of the 1840s-1850s period.
Vase
Mould-blown, pale yellow opal glass (pâte de riz: rice paste texture). Elongated teardrop form with relief grape leaves around the bulbous base and long-ribbed leaves rising up as the vase narrows and curves out at rim. Applied foot with well-polished pontil
Baluster vase
Pair of baluster vases, mould-blown, translucent, white opal glass with relief decoration of grape vines painted in blue enamel with gilt trim.
Sugar bowl
Mould-blown and tooled, fine quality, glossy, translucent white alabaster glass with turquoise opaline finial. Spherical body with overall relief pattern of diamonds like the surface of a pineapple. Applied thick, disk foot with convex edge and well-polished pontil. Domed over with similar graduated bands of diamond relief and projecting ring below that fits into the bowl opening. Rounded, strawberry-shaped finial with sloping base in bright turquoise opaline. No evidence of gilding. This is probably a sugar bowl from a water set.
Vase
Mould-blown and tooled, nearly opaque, thick, glossy pale green glass with gilt and enamel decoration. Bulbous lower body with six lobes and projecting oval medallions curving into narrow cylindrical neck and outcurving fire-polished rim. Applied foot with well-polished pontil. Gilt trim and gilt and blue enamel flower decoration. An unusual colour and pattern.
Vase
Blown and tooled, opacified, white glass and bright green glass with gilding. Made from three pieces. Tall, white trumpet neck with ruffled edge attached to a somewhat spherical body that is mould-blown in bright green glass of similar quality. (The relief pattern on the body makes it look somewhat like a grenade. A larger version of this pattern was used for brass-mounted newel post ornaments [boule d'escalier] made at St. Louis and Baccarat). Short, cylindrical stem with flat spreading disk foot. Depressed, rough pontil under foot. Remains of gilt decoration to ruffled rim, neck and edge of foot.
Vase
Blown and tooled, white opal glass with spattered pattern of bright, opaque, blue glass chips worked (marvered) into the surface of the body. Somewhat ovoid body rising to constricted neck and overturned rim which shows the white interior. Applied white glass foot and pair of elaborately tooled, opalescent, white ornamental handles to either side of neck. Rough, fire-polished pontil mark. Vases from this period with such elaborate decoration are not common.
Perfume bottle
Thick, glossy, almost opaque, caramel-yellow glass, blown and tooled. Bell-shaped body with well-polished pontil. Solid, heavy stopper with spherical knop. No evidence of gilding.
Dresser jar
Mould-blown and tooled, thick, opaque, opaline glass with enamel and gold decoration. Fire-polished base with no evidence of pontil mark. Low, cylindrical form with bevelled rim and convex base ring. Side skillfully painted in enamel colours with a continuous floral band of naturalistic pink roses, yellow and red oriental poppies and three blue cornflowers. Rich, gold bands to base and rim.
Beaker vase
Large beaker vase, mould-blown fine quality opaque white glass which resembles porcelain painted with enamel and gold decoration. Tall, Chinese "gu" or beaker form, flaring out at top and spreading out at base with a wide, raised centre band of convex moulding and a wider one at the bottom. Painted in naturalistic enamel colours with a single column of flowers: purple and red fuschia at the top, pale pink roses down the middle and purple and blue balloon flowers at the bottom. Pale, matt, blue enamel band at fire-polished rim and around foot. Central band painted opaque matt royal blue (French blue) overlaid with narrow bands of matt black with matt gold lines, well-polished pontil and base.
Vase
Mould-blown, turquoise, opaline glass, enamelled in blue and green with gilding. Bowling pin/teardrop shape with outcurving rim and applied foot. Diagonal band of blue flowers (possibly meant to be gentians) with green leaves in relief trailing up the side. Well-polished pontil.
Miniature paperweight
Miniature paperweight (press-papier), of alabaster, gilt brass and turquoise glass. Oblong, polished alabaster slab with rounded edge, pierced with a hole in the middle. On top, gilt, die-pressed metal and wire formed as a stem with two melon leaves with tendrils and a central loop handle having a "melon" (looking like a poppy seed head) mounted at the end with a turquoise glass stone set at its tip. Two wires projecting through the hole to the base are bent into a recessed trough to the metal in place.
Cornucopia vase
Blown and tooled turquoise opaline glass trumpet with ruffled rim mounted in back of a yellow, bronze ram's head set on a rectangular white marble plinth. The glass is thick, glossy and of good quality.
Table Bell
Blown and tooled turquoise opaline bell with cast bronze figural handle and clapper, otherwise the bell is absolutely plain, high quality, translucent glass. The somewhat coarsely cast, gilt, bronze figure is a small putto holding a long, conical ear trumpet to its ear. The figure is draped and seated on a short, fluted socle with beaded edges on top and bottom resting on a separate section which consists of a fringe of seven long pendant leaves or feathers.
Covered urn
Glossy, white, opaline glass with gilt metal mounts. Low, bulbous "curling-stone" shaped, opaline body with rim and foot mounts. Metal has a matt finish. Foot resting on four paws, with four claws, projecting from corners of a low, square plinth with short, trumpet stem screwed into the bottom centre of the bowl. Large, ribbed, gilt metal dome covering the screw inside. Metal rim mount of rectangular profile resting on a cut edge of bowl with a pair of Rococo handles attached to the edge. Gently domed cover with recessed, cylindrical base with polished edge to fit inside bottom. Bolted to the centre of the dome, a cast, gilt, bronze urn with conical grape cluster on top. Stylistically French.
Bottle
Mould-blown and tooled, alabaster glass with acid-etched matt surface and enamel and gilt decoration. Spherical body curing out at base to a flared foot. Narrow, cylindrical neck widening toward top with a slightly outward-flaring lip. Elongated, oviform stopper in solid glass of similar type. Circling around the side, a continuous, undulating ribbon about 5/8 inches wide comprised of thick, raised bars of opaque white enamel, gilded, alternating with dull, green vertical bands, the whole edged in dull green. Gilt trim to top and bottom of neck and around foot and concentric rings to the top of the stopper.
Medallion
Moulded, opaque, white glass cameo medallion. Oval head and neck-length profile portrait, facing left, show Napoleon garbed as a Roman Emperor with a high-relief laurel wreath with ribbon bow at the back of the head and a toga draped around his neck. Convex border bands. The glass has a matt finish and the gather of glass extends irregularly out beyond the oval mat opening.
Miniature tazza
Miniature size, glown and tooled, opaque white opaline glass with gilt decoration. Shallow dish set on separate, rounded conical foot spreading out at base. Foot hollow. Rim and foot rim both carefully cut. Painted gilt edges and overall pattern of gilt stars.
Vase
Blown and tooled rainbow mother-of-pearl. Overall matt acid finish. Body comprised of a thick, opal casing with an impressed diaper pattern with clear glass over this containing vertical streaks of pale yellow, pale blue and pink. The combination of the air pockets created by the impressed diaper pattern and the diffusion of light through the glass creates a visual effect like mother-of-pearl. Indented, rough pontil Low, spherical body, constricted neck and boldly tooled rim with three large ruffles much like a tricorn hat.
Urn
Small urn, blown and tooled, thick, glossy, opaque white glass. Spreading disk foot curving up to a constricted stem. Applied to this is a wide-mouthed flower-pot urn body with a projecting, applied skirt with tooled vertical projections much like the teeth of a cog wheel. Rim turned in at top and thickened. Fire-polished pontil and bse with remains of a clear glass gather that was used to attach the foot to a pontil rod during the making.
Dresser jar
Blown and tooled, translucent whhite glass with white enamel and gilt decoration. Fire-polished pontil. Matt, probably acid-treated exterior. Low, cylindrical jar with recessed rim to top. Low, domed, round cover fitting over the top. Both jar and cover have carefully, wheel-cut rims. Extending from the centre of the top down the side, a pattern of concentric rings of raised, opaque white, enamel beads of graduated size with a purplish tinge and the remains of gilding.
Dresser jar
Blown and tooled, opaque, white, opal glass with painted enamel and gold decoration. Cylindrical body with integral foot and a wide, plain, 70 degree moulding around the base. Fire-polished base with no evidence of a pontil mark. Domed cover with spherical knop. Side, cover and knop painted in a broad, folksy style with red roses and forget-me-nots in natural colours and gilt trim to foot and cover.
Urn
Blown and tooled turquoise opaline glass. Disk foot with thin, cylindrical stem supporting a low, bulbous thistle-form urn with bulge at the base, cylindrical side and turned-over rim. The turquoise colour is bright and the translucence different from most French opaline.
Tazza
Small tazza, blown and tooled, translucent, white alabaster glass, cut and polished with enamel decoration. Well-polished pontil and base. Shallow, round dish, its edge cut with fourteen round scallops with cusps between. Short, thin, cylindrical stem comprised of another piece of glass resting on a separate, solid, disk-shaped foot, slightly domed at centre, its rim cut into an octagon with a bevelled edge. Inside of dish and top of the foot painted with opaque, creamy veige enamel with gilt trim in a Rococo Revival pattern of S and C scrolls and small leaves. Gilt trim.
Purse scent bottle
Mould-blown, cut and polished thick, opaque, turquoise opaline glass with stopper, silver rim mounts and hinged silver cover. Flat, rectangular body of good quality glass, cut and polished in panels. Small stopper of matching glass with cylindrical base cut to fit and projecting, rectangular handle. Silver cover decorated in repousse in the Rococo Revival style. The silver mounts are contemporary Continental silver, apparently not marked.
Bitters bottle
Bitters bottle, mould-blown, thin white opal glass with painted enamel decoration and threaded pewter mount for cover at opening. Tall, rectangular, bottle with corners cut down or chamfered and rough pontil on base. The top slopes inwards and up to a narrow, cylindrical neck. Much weathering (ripples from cooling) caused by the mould on the surface. Coarsely painted in opaque enamel colours of dull blue, red, yellow and black with a standing figure of a blond young man holding a glass by its foot on one side. Sprays of lily of the valley on either narrow end. Seven graduated red dots down the chamfered corners.
Vase
Mould-blown and tooled translucent pink opaline glass with painted gilt decoration. Integral foot with rough pontil indented to centre. Thin, good quality glossy glass. Disk foot with convex edge and short, constricted stem swelling out to an elongated ovoid body with constricted neck and trumpet rim tooled with ruffles. Barely visible traces of gold tendril bands originally painted on upper body.
Spitoon
Blown and tooled light blue, semi-opaque glass. Low, bulbous body rising to wide outward flaring rim turning under at the edge. Well-polished pontil.
Perfume bottle
Mould-blown and tooled thin, white alabaster glass with painted gilt trim. Low, bulbous onion body with rough, fire-polished pontil, constricted neck and everted rim with six ruffles. Applied convex ring to neck. solid glass stopper with stepped disk base terminating in a cut spire. Gilt trim to rim and stopper.
Vase
Blown and tooled thick, translucent yellow glass with strong opalescence. Assembled from three gathers of glass: slightly domed disk foot with carefully ground pontil; short stem comprised of a cylindrical plinth surmounted by a solid cone; and third, largest section, a turnip or top-shaped body with a tall, trumpet-form neck flaring out at the top.
Moon Vase
Mould-blown thick, glossy purplish grey glass with enamel and gilt decoration. Integral foot. Fire-polished pontil with indented base and polished foot rim. Rounded, thick, disk-shaped body with convex edge to integral foot. Thick, cylindrical neck with flat polished rim. Painted in enamels on front with ornamental raspberry with rosy blossoms and a small butterfly hovering above. Two stems of woodruffe painted in sepia brown onthe back.
Two-Footed Bowl
The glass is clear with a greenish tinge, quite textured and the edges raw. The vessel is a cast-bowl form with raw edge at lip. One side of the bowl has been angled back to allow for the addition of two cast animal feet with four splayed toes and prominent claws. The bowl's base sits upon the ground. The overall impression is one of an animated form at rest
Vessel, Ostrich Feet, Branch
The glass is clear with a greenish tinge, quite textured and the edges raw. An ovoid cast vessel lies on its side supported by three vertical supports arranged in a tripod foundation. Two of these vertical supports terminate in cast ostrich feet, two toes splayed. The third is cast from a branch and bisects the interior of the vessel emerging from the top for about three inches. A trailing tendril-offshoot is cast from this protruding piece of branch, and it winds itself in a sensuous manner partially around the contour of the vessel. The vessel's opening is located directly above the ostrich feet. The work gives the impression of the animated vessel walking forward.
Spine Animal
The glass is clear with a greenish tinge, quite textured and the edges raw. The ovoid cast vessel lies on its side supported by two cast ostrich feet (two toes splayed), with the vessel's opening slightly angled upward above the feet. A cast spine with protruding bony vertebrae forms a "tail" behind the vessel. It bisects through the exterior top wall of the vessel, becoming visible inside the bowl. It emerges through the vessel's open mouth appearing almost like a bony visage with eye sockets.
Vase
A squat, wide-mouthed, vase that swells swiftly to broad shoulders and terminates on flat foot with indented pontil proportions and silhouette not straight and symmetrical, but rather somewhat irregular. Pale burgundy textured glass in large crackle formations.
The Crusader
Two wood panels, side by side, each overpainted with abstract images; panels are separated vertically by brass rod which in turn supports rectangular piece of clear glass; adhered to glass rectangle are small, amber squares of glass at l.c., r.c. and b.c.; entire composition is mounted on masonite and, in turn, on grey painted wood backing
Apple Tree
A representation of an apple tree; the surface is made of wood strips; apple images are painted on the surface of the lower branch area; two hinged doors in the shape of an apple, located in the centre of the tree, open to expose a painting of a landscape with a group of nude women in the foreground and a landing airplane in the background; the women are throwing apples at the "flying doctor" because "an apple a day keeps the doctor away"
Early Morning Blues
Components are as follows: Neon tubing; 20 glass terminals for neon tubes, metal teapot (white), 3 transformers, aluminum record with motor mechanism, wood disc, tone arm with motor mechanism, spotlight, 1/4" audio cartridge, 1/4" reel to reel tape, 2 extension cords
Aquatic Sculpture III
A walnut shaped bronze in two segments, the smaller segment is raised slightly higher than the main part with a V-shaped plate glass separating the two
Tao
Two animals reminiscent of the Lascaux cave bisons - both with the tops of their heads removed, one with a flat cone-shaped hat of galvanized metal - stand on a shiny dark red U-shaped surface reminiscent of water or blood, with a mirrored irregular fence on either side. The U-shaped surface is a pan a few inches deep filled with water coloured a deep red.
White Cupboard
White painted wood cupboard; 5 gallon jars displayed, one on each shelf: 1) buttons, brass wire, wax, water; 2) pair of white nylon stockings; 3) buttons, cord, wax, water; 4) buttons, plastic cube, wax, water; 5) buttons, mirror, stones, string, wax, water
Christ Giving His Blessing
Icon in a walnut veneered hinged case with glass in lid. The frame is gilded wood with eight sections of ornamental grapes and leaves that sit on top. The painted image of Christ giving His blessing is covered by embossed silver plate worked to represent the figure's halo and robe. Some ornamentation along edge. Two stones are set in the upper corners.
THREATENING through the body
Top quarter of work is panel, painted purple. Below the panel, is a colour photograph. In the photograph an outstretched arm is touching a sculpture of a man's head. The sculpture is Greek or classical. Below the photograph, is glass on which is etched, 'THREATENING // through the body'.
FEARING through the body
Top quarter of work is panel, painted green. Below the panel, is a colour photograph. In the photograph, an outstretched hand, with fingers spread out, is resting on what could be white fabric or skin. Below the photograph, is glass, on which is etched, 'FEARING // through the body'.
Canning Table
18 canning jars on a brown, wooden table. The jars contain buttons and wax and blue wax has been melted and allowed to drip over the top and along the sides of the jar. The jars are in 9 pairs, joined together at the top with a decorative button clasp-with-chain.
Calling Down the Northern Lights at Lac Lou
Work consists of three sleds entitled "Sky", "Bottle" and "Shoe". The sled, "Sky", supports a large deep blue sail which functions as a backdrop for the other sleds which are placed side by side before it. The sleds, "Bottle" and "Shoe", carry objects enclosed in Plexiglas cases. The "Bottle" sled contains glass canning jars. Inside each jar, is a green, light-emitting diode. The "Shoe" sled contains two pairs of pink satin ballet slippers on a base of pink wavy ruffle fabricated out of wood.
Dérives Noires Contigues I
Installation consists of three black and white silver prints, each of which depicts a tree, together with two wood and glass sculptures.
Dance III
Image of six nude men, in a row, visible only from the abdomen to the mid-calf with their knees bent. Draped across the mid-thighs are what appear to be pieces of thin fabric.
Stripped
Stripped, wood, medicine cabinet from which the mirror has been removed to reveal shelves and compartments containing vessels made of hog bladders and two glass lids.
Snow on Steps
Almost-to-full scale model of the front porch and steps of the artist’s home in London, Ontario. Simulated snow on the steps and porch on which are imprints of footsteps approaching and leaving the door.
Visible Difference
Five etched glass disks, each with a portrait of a man, are laid out on the floor. Each disk is supported on one side by a book.
Black Water Cabinet I
A medicine cabinet, which has been painted grey, filled with a dismantled clarinet together with beaver and bear skulls.
Black Water Cabinet II
A medicine cabinet, which has been painted grey, filled with the following objects: violin, table saw blade, black and white photograph of a young boy playing a violin, pair of rimless spectacles behind which are large, yellow irises, plastic doll's hand and a hand made from metal
The Procession of the Aurora Borealis
An installation work in three units comprised of three carts of molded snow bearing gifts: a tree stripped bare, more snow and a sled with dream catchers made of chemical bottles, copper cylinders and a network of tubes and wires. Piles of green and pink crushed glass fill the bottom of each chemical bottle. The entire work is placed on wheels.
Bear's Head
Charcoal stone with khaki overlay; Pale green and cream slivers throughout stone; Dark red glass inlaid eyes
Bear's Head
Charcoal stone with overcast; Head has pale green slivers and khaki colouring on it; Blue glass inlaid eyes
Bear's Head
Charcoal stone with khaki overcast; White glass inlaid eyes with black stone inlaid in glass; Drill hole down mouth and representing nostrils
Shaman Harpooned
Black stone torso of a figure of which the lower part of the body is the shape of a fin; Harpoon protrudes from the chest
Ashtray, Match, and Cigarette Holder
Three forms - rectangular container, a round deep container, and a round shallow container; dot, line, animal, abstract and figurative incised white filled decoration; small brown stone head with white glass bead eyes on lip of rectangular container
Decanter, stand
Three cut glass decanters with stoppers; Old Sheffield silver plate stand
Decanter
Wide lipped decanter with triple neck rings and flutes around base; cross hatched vesica motif; grid stopper
Claret jug
The glass jug is cut around the bowl in five horizontal rows of an alternating square and cross design; The two rows above and below the centre row are of graduating size and perspective; Spout of jug is silver and has a moulded rim and curved pouring lip; Hinged cover has a looped vine and grape finial for lifting; Handle is silver and cast in a vine design with leaves; Elongated neck of jug is encased within a cast openwork sheath of vine and grape design
Vase
Banjo shaped vase, white ground with soft blue and green floral pattern, possibly violas or violets
Bud vase
Cameo bud vase; amber and colourless ground, with design of trailing stem of sweet peas curving around the body of the vase from the flat cut rim. Sweet pea designs in shades of mauve, shading according to colour of ground.
Vase
Moulded in fern frond design from the base, the fronds curving up the body of the base to the neck; blue-green enamel shaded ground to fronds; neck of the vase is flat-cut;matt ground with frond design in clear glass
Dish
Bowl of the dish is rounded at the base and the rim is outward curving in six flutes; white exterior and gold iridescent interior. Steuben "Aurene" glass.
Candlestick
A slightly domed circular base; the lower section of the stem of candlestick is cylindrical, the upper area expands forming a double cylinder in twisted form; the candle socket is bell shaped. Gold iridescent finish. Steuben "Aurene" glass.
Trumpet vase
The vase has a slightly raised circular base; the bowl area is rounded at the base and flares outward at the rim, in trumpet form. The contrast beteen the white exterior and the gold irridescent interior is effective. Steuben "Aurene" glass.
Vase
The body of the vase is of pale green, slightly opaque glass. The base is circular and pulled thread-like patterns cover the entire vase area, giving the surface an irregular design. The lip and three applied handles are in blue irridescent glass. The lip is outward curving. The lip is fire-polished. The handles, applied in a scroll design near the base, curve away from the vase, reattaching in a three flute design just below the expanded bowl area at the vase rim.
Vase
Small gourd-like shape with turned-over rim showing irridescence. Main body in moulded vein design with slight gold irridescence. Three freeform vertical applied designs around body of vase, in a crimped pattern, which highlight the gold irridescence. Applied threads of glass are in vertical line from lip to bottom section where they terminate in an applied blob of glass.
Vase
Richly coloured orange and blue/green irridescent glass vase with two applied green irridescent leaf-shaped handles rising from the circular base. The leaf-handles curve outwards from the base of the vase, reconnecting around the main body to form the handles. The rim is evenly fluted
Vase
The vase, in the style of Loetz, is irridescent, multi-coloured with yellow, green, mauve tones in pulled thread predominating. The sides have 4 concave panels, similar to "swing" vases. The rim is fluted. There are air bubbles in the glass. The vase has been drilled, resulting in two bad cracks and one lesser, in the base
Vase
Amber iridescence with large-scale purple veining - design trailing at random; amber ground has a crackled effect, achieved by faint, more compactly designed vertical shaped veining; vase is cylindrical tapering gradually from base to rim
Vase
Ship's decanter-shape or shallow baluster-type in opalescent glass; iridescent around base with red pulled design extending into neck; elongated neck and outward flared rim are opalescent.
Vase
Vase curves in to form a straight cylindrical neck of about 1.5 cm.; flat cut rim; deep purple iridescence with applied white trailing lines imbedded in the surface and taking on the iridescence; shading to green and bronze; deep, dense matt colour
Vase
Round, ball-shaped base with an extended neck; flat-cut rim (could have been shortened from original height); yellow iridescence is a deep buttercup yellow; 6 lines in relief, rising from the base and extending the height of the vase in a diagonal twist or swirl design; lines pick up the gold iridescent colour
Vase
Gourd-like in form with outward curved, flat-cut rim; gold iridescent; shading purple and green; surface of vase has a cracked gold finish
Vase
Round form with outward curving rim; aqua green iridescent glass, with pulled burgundy red and white design from centre base extending to below outward curve of rim
Bowl
Square shape, tapering slightly to irregularly fluted rim; four very definite downward curved flutes at centre of each side; there is a large concave indentation below each main flute; the iridescence is gold over clear glass; decorated with burgundy pattern in a mottled effect. Ground pontil on base. Fire-polished lip. Surface inlaid with burgundy-coloured glass pieces.
Flower bowl
Iridescence in the hollow, round-edged base; main body is of green glass with darker green ribbed effect in a slightly swirl design; brass collar is stamped out in a diamond-shaped pattern; original mesh has been replaced with a substitute
Finger bowl
The 8-sectioned lower part of the bowl expands in a round outward curving form with flated and slightly fluted rim; glass is iridescent with gold lustre. Tiffany "Favrile" glass. Base has polished pontil.
Water glass
Gold iridescent "Favrile" glass in a slightly waisted form with an a applied band of horizontal parallel glass threads
Bowl
Shallow bowl with indented rim (ten) forming an irregular scalloped form; gold iridescent "Favrile" glass.
Vase
Circular base tapering to rim with very slightly waisted form; decoration around the base; gold lustre pulled feather design. Tiffany "Favrile" glass.
Vase
Classical urn-shape in blue iridescent glass (which is rarer than the gold iridescent) with applied scroll handles, attached to the body of the vase in a slightly scallop-shell design; lip of the vase opening is slightly flared. Tiffany "Favrile" glass.
Vase
Cylindrical two-layer opaque glass vase, acid-etched (hydrofluoric acid), with a stylized-abstract-chrysanthemum repeating design in deep purple, combined with four vertical bands from base to rim. The purple is polished to give a smooth bright finish. An additional acid bath was used to etch the final decorative touches to the outer layer.
Vase
Iridescent cranberry coloured glass; The vase has an irregular form, from indented (pinched) design around the main body. There is a base metal mount over the rim. The metal mount was originally in the form of three dragonflies, but one has been broken off. The mount is in the Art Nouveau manner
Vase
Opaque yellow glass vase, with brown bands from centre base in vertical and irregular design. Cased in clear glass. The vase is formed in three graduating stepped sections from the base, the lower section being the smallest. Flat-cut rim. The design is Art Deco.
Vase
Iridescence is gold with purple and green shading. The vase has a circular, footed pedestal bowl with turned over and outward flaring rim. The iridescence is slightly mottled, but smooth in turned over rim area
Bowl
Shallow bowl with extensive turned over rim, slightly outward flared at edge. Gold iridescence in shades of rose and green. Polished pontil.
Bowl
Slight ribbed bowl of iridescent clear glass, shades of gold; The turned over rim has six equidistant double-crimps. Applied green iridescent glass threads around the bowl at midpoint; applied by hand
Vase
Cased crystal over white opalescent, over amber; made in a mould, no pontil, blown from the top and ground off; shaped base has six bulbous flutes, extending into the cylindrical neck of the vase, which is decorated in a series of opalescent v-shapes in relief
Jack-in-the-Pulpit vase
The shape is known as "Jack-in-the-Pulpit". The interior is gold aurene, with green aurene and bronze exterior. The bronze is pulled in feather design. There is white pulled opalescent in the area behind the "petals". A rather heavy looking vase, a fluted rim might have given it a more graceful aspect.
Vase
Pink and white "End-of-day" glass cased in clear glass; basically in looped patterns, the pink tones varying from a deep rose to pale pink
Vase
Green irridescent glass, in irregular ridged form to resemble a tree trunk; snake coils around the body of the vase, curving away in freeform towards the neck of the vase, connecting again and curving above rim, with head pointing towards the base
Goblet
Large globular bowl, with four ribs extending down and enlarged to form the bowl support, joining with a centre stem, all linked at mid-point and joining at the base to form the foot of the drinking glass; dark, almost bottle green with iridescence
Bud vase
Green iridescent glass with thorn pattern in relief; circular base and cylindrical stem, tapering to the flat-cut rim
Vase
Baluster-shaped vase in an emerald-green glass with iridescent blue stripes in a diagonal and slightly swirled pattern; flat-cut rim has been polished
Bud vase
Ship's decanter shape with elongated neck in twisted form; flat-cut rim; iridescent glass in green with pulled feather design; iridescence in green, purple, white and slight rust-red
Candlestick
Orange, black, white mottled design; interior of candleholder is orange; mottled design over base, being pulled up into linear patterns around socket, reverting to mottled at rim; cased in clear glass; flat-cut rim, polished.
Candlestick
White opaque glass, with blue, green, red, yellow. Irregular vertical green stripes with blue borders on clear casing from bell-shaped base to socket; flat-cut rim showing cross-section of colour.
Vase
Iridescent green glass vase in baluster form, with pulled feather design in iridescent blue
Vase
Moulded in ribbed form with 24 radiating ribs from off-centre base; globular shape of the bowl area has a wide cylindrical neck extending for 5.0 cm. and of 7.9 cm. in diameter; purple/metallic blue iridescence with multi-coloured feather-drawn band in spiral pattern trailed around the vase; flat-cut rim
Vase
Iridescent glass in pale pink-gold, with opaque pink swirl design of linear motif; vase has a circular, round edged base, surmounted by three similar shapes of graduating size, which form the lower part of the bowl, then continues in a plain expanding shape to the flared rim
Bowl
Clear, iridescent bowl in moulded vertical linear design, with straight flared rim; five applied purple iridescent tree trunk or branch motifs support the bowl and extend to form the feet
Vase
Orange, blue-grey tones in "End-of-Day" glass, cased in iridescent glass; slightly domed foot, two pinched-in sections in lower bowl area of the tulip shaped vase; flat-cut rim.
Bowl
Orange, yellow and black "End-of-Day" glass; yellow on the base and mostly below the pinched-in lower section of the bowl; upper section is basically alternating vertical panels of orange and red in scalloped design; cased in clear glass
Vase
Baluster shaped vase, main body in red, cased in clear glass; multi-coloured base in "End-of-Day" style around base and hooked-up over the body, extending to the rim, in eight lines
Vase
Cylindrical form, expanding gradually from base to rounded shoulders and outward curving, flat-cut rim; interior white, exterior iridescent with pulled design in a gold/yellow tone
Bud vases (pair)
Vases are of narrow, cylindrical form, with flat circular base; iridescence is shades of blue, with darker blue markings on the stem of the vase. Steuben "Aurene" glass.
Decanter
Shouldered decanter engraved with fruiting vine and the label "WHITE WINE". Disc-shaped, facet-cut stopper; both stopper and neck have been ground. Rough pontil mark. Plain neck.
Wine glass
Light baluster wine glass in round funnel form. Stem formation has an angular knop above a small knop and an elongated inverted baluster with slanting air bubbles. The engraved border contains scrolls and sprays of leaves with alternating fan and cornucopia. Glass is of three part construction.
Salt
The salts are of circular shape and have been fitted with replacement blue glass liners; Three feet cast in the form of a beaver on a branch support each cellar; Engraved with maple leaf and lyre decoration formed by the placement of the beaver feet
Jam, butter dish
Shallow circular dish with green liner; The loop handle is of silver wire-work divided at the base and extending in a curved and upswept form, joining under the rim of the dish in a solid triangular section set with a green oval cabochon; The green (flashed) glass liner is original
Cabinet on chest
Profile of the piece is serpentine and bombe. The chest has chamfered and rounded corners. The four drawers have alternating convex and concave profiles, following the contour of the corner design. The front feet are carved talon and ball; the back feet ogee. The deep apron piece at the base of the chest is characteristic of Dutch design. Rococo-style handles and keyhole escutcheons. Back and shelves have velvet lining.
Self Sealing jar
A self sealing jar with wire fastening device and blue glass cover. Brown glazed in different tones of brown - almost irridescent in places. Approximately a one pint size.
Salt
Circular base supporting pedestal bowl, which is decorated with a band of gadroon design below a series of rectangular 'cut-out' segements. Clear glass liner.
Cruet stand
Sheffield plate cruet stand with eight cut glass condiment bottles. The cruet stand is square with centre handle - scroll, shell, and foliate decoration. Circular ribbed bands hold condiment bottles in place. Silver covers for mustard and pepper containers. The glass is flat-facet cut with radiating star motif on the base. Dry mustard bottle has a silver-plated spoon fixed to the stopper.
Mustard pot, spoon
Slightly spreading foot, with body pierced in leaf pattern, containing a green glass liner. Domed and hinged cover with chrysoprase inset in both finial to cover and spoon.
Salt
The bowl is of openwork form, with diagonal leaf-shaped banding on circular domed feet with raised dot decoration. The bowl has a green glass liner.
Salt
The bowl is of openwork form, with diagonal leaf-shaped banding on circular domed feet with raised dot decoration. The bowl has a green glass liner.
Vase
Two layer opaque coloured, cameo glass, acid-etched in stylized geometric pattern inspired by flowers (wisteria ?). The design is both abstract and decorative. The inner layer is yellow with pale yellow streaking. The surface is matte. The outer layer is a deep orange with red streaking around the base of the vase, rising to to mottled dark brown at the full convexity and everted rim area. The incised script 'Le Verre Francais' indicates a line of art glass, vases, bowls, lamps, urns and ewers that used this trademark exclusively.
Inkstand
Victorian silver inkstand, the base with applied foliate and scroll border, cast in base metal and silverplated. It is accepted that applied borders are cast and plated. The inkstand is supported on four pierced feet. The raised center section has two square holders for the shaped, cut glass and silver mounted bottles for pen and ink. The bottles flank the central, urn-shaped wafer box, which supports a taper stick with scroll handle and a cone-shaped extinguisher attached to the handle by ring and chain. The bottle holders and the wafer box with taper stick are secured under the base with six wing nuts.
Water pitcher
Pitcher has domed foot. Six slender beaded ovals extend around the body of the pitcher. Space between each oval contains a linear fan- shaped motif. High pouring spout, with the remaining rim area in scallop form. Half gallon.
Marine Scene
Work is a combination of low relief, sculpture and painting, which depicts a marine scene. A sculpted tall ship navigates through a strait. throughout the composition, are numerous islands modelled in low relief in gesso. Three white buildings, two in relief, populate the islands. Two couples, too large for the scale of the buildings and islands, appear to be searching for something or someone. There is a woman stranded on a small island directly behind the tall ship. Waves are crashing against the shoreline of this island and she is in an agitated state. A small boat with six occupants can just be discerned in the water coming to her resuce. The background is flat, without relief, and shows a blue sky, brown mountains and a green tree line.
Vase
Vase is ovoid shaped with onion shaped cover and metal side handles. Gilded decoration all over in scrolling design and slender branches of leaves. Ground is a regular spaced dot pattern in lines. Colour of glass is a emerald green. The centre medallion portrait is of a woman painted in enamel.
Salt
Four, Adam-style salt cellars with blue glass liners. Gadroon-style rim. Pierced wall in linear ornament and applied husk festoon supported by three oval-shield paterae and a fourth shield with engraved crest. Ball and claw feet.
Condiment set
Footed, triangular condiment stand with chamfered corners holding three faceted glass containers: open salt, silver-mounted pepper and mustard. Each item of silver is hallmarked. Design in the style of Christopher Dresser. The maker’s mark is yet to be identified (per Kathleen Campbell, Curator Emerita)
Table lamp
Large table lamp consisting of a separate dome top over a tall tapered base - the dome top having large cut glass prisms dangling from the base. The cut design has been produced with a machine, not by hand - the cutting is very even in depth. Total height, 37”. Marked on the edge of cover with a three-leaf clover and GCCo. (per Helen Delacretaz, Curator of Decorative Arts)
One Drawer Coffee Table
Glass-topped coffee table constructed from birch with an ebony finish. The table has one drawer with brass pulls.
Inkstand
Rectangular-shaped stand. The applied border and feet are of a plated base - metal alloy. Two cut-glass bottles with slip-on covers: one a pen holder (cover has three holes), the other an ink holder (cover has one hole), together with a Sheffield Plate candle holder. Sheffield Plate is constructed of copper rolled between, and fused with, sheets of silver. An inexpensive substitute for solid silver. Sheffield plate is usually unmarked but this example has the impressed star marks of Matthew Boulton.
Inkstand
The main body of the inkstand is hemispherical with an applied band of decoration. The band is of pierced design with two reeded threads twisted to form repeating ovals. In some places the band has been either damaged during application or mis-cast. The join is not perfect. The damaged or mis-cast areas in the band should not affect the aesthetic or historical value of the work. Errors or miscalculation during the process of manufacture are not considered detrimental, and the inkstand is in the same condition as when sold. The inkstand is supported on three ball and bead feet. The hinged and domed cover, and glass inkwell, are set in a widely-flaring rim and surrounded by six vertical supports applied under the rim to the main body. The surface has a manner-mark surface.
Sugar basket
Pedestal basket, with swing handle and original blue glass liner, used for sugar although the possibility of it being a cream pail could be considered. The handle is formed in an alternating plain and twisted rope design. The foot and bowl rims have applied and strengthened bands of beading, particularly useful at the bowl rim to take the stress of the swing handle. The stepped foot and the main body are pierced in geometric linear, circle and oval patterns and incorporate two bands of slight dot-and-oval engraving. A small oval for engraved initials on crest is left vacant. The deep blue glass liner effectively reveals the pierced work.
Tray
Pâte-de-verre tray, moulded and coloured in the form of a lily pad and flower, on which a bee has alighted. The tray is a light shade of green, darkening in the flower and bee area due to the high relief providing additional density. The moulding is naturalistically sculpted, and typical of Walter design. Some works also bear the name of a collaborator, for example, Henri Bergé, but not in this case.
Inkstand
Moulded, circular inkstand, with grooved pen rest and covered inkwell. The stand is coloured in a greenish-yellow at the front, (before the pen rest) then merges to an orange-brown tone from which rises the inkwell. The inkwell is sculpted to resemble the main stem of a wild rose bush, while strewn over the stand are branches coloured deep green with red-brown thorns and rosehips, the latter in a particularly rich red-brown. The cover is surmounted by a bee which acts as the finial. The moulding is naturalistically sculpted, and typical of Walter Studio productions.
Preserve Jar, Cover
Clear, cranberry glass jar with an interior raised dot design, giving added interest to the exterior surface which then appears to be "dimpled". The rim of the jar has a brass collar mount with attached swing handle, applied with a decorative motif. The slightly domed brass cover has small floral designs stamped into the metal, a cut-out space for the spoon, and an attached finial. The exterior surface is painted in white enamel, the design being a series of wild flowers rising from the base. The flowers include daisy, harebell, Queen Anne's Lace (or cow parsley), and additional leaf stems. The painting is freely done, emphasizing the lightness and delicacy of the flowers. Shading is achieved through a varied density of enamel application.
Wine glass
The glass is a deep, aqua-green. The mould-blown, hollow stem has a flared foot, a band of decorative raspberry prunts (impressed with a tool, and a feature of German römers), and a flat angular knop. The focal is somewhat hemispherical or ovoid in shape. The pontil mark is left rough,
Toilet Bottle, Stopper
The bottle is of press-moulded, two-part construction in Lozenge shape, with sloping shoulders, high neck, and an everted rim. The interior of the neck is unevenly frosted to receive the octagonal facet-cut stopper. The mould seams show a denser shade of blue. The neck and rim areas had a gilded linear decoration, now mostly worn away. The white enamel painting is in the "Mary Gregory" style, depicting scenes of children in landscape or fanciful settings. The dress and leaning forward stance of the child is typical. The quality and detail of "Mary Gregory" painting is variable.
Sugar Bowl, Cream Jug
Blown glass, the pontil mark left rough, particularly so on the sugar bowl. The bowl is clear glass, with an applied pale green base and pinch-work feet. The applied pinch-work band encircling the bowl is clear, and above it the pale cranberry shade has been partially reheated to bring out the opalescence. The colours reflect upon each other, and in various lights and different angles the glass takes on blue, mauve and white tints. The cream jug has the same decorative elements and colours, with the addition of a handle in the pale green shade. The rims of both bowl and jug were formed by pressing on to fixed bars to set the formation required.
Candlestick
Four-sided baluster form rising from octagonal (unequal with longer lengths at the sides, shorter angled corners) foot undercut with radiating sunburst pattern. The flared mouth terminates in a smaller, flattened octagonal platform (mirroring base) with central holder for candle. The rim of the platform features slight cusping on the lower straight edges. Marked with the cloverleaf and G C Co. (per Helen Delacretaz, Curator of Decorative and Historical Art)
Rummer
A funnel-bowl rummer on capstan-stem. The bowl is quite generous and of slight irregularity to form (not perfectly circular). The slight browny, pink cast to the glass suggests soda-glass. Overall the glass is quite thickly blown with a rough pontil.
Decanter
Body cut with bands of large cross-cut diamonds. Neck with two triple rings. Base with vertical moulded flutes. Engraved initials. Deep mushroom stopper.
Dry Mustard pot
Dry mustard pot. High domed cover set on teardrop vessels on raised pedestal foot. One with reeded flutes. Mould-blown body and mould-pressed base. Made independently and then joined.
Sweetmeat glass
Tall: Stem with very dense enamel twist (almost a mesh). Single ogee bowl. Scalloped, everted edge. Foot moulded with radial ribs. Short: Double ogee bowl with rim drawn out into repeating series of points. Short stem with ball knop (with tear). Foot moulded with radial ribs.
Covered Sweetmeat jar
High domed cover with diamond cutting, set within a fluted collar with serrated rim. Band of finely cut panel cutting. Band of diamond cutting (cross-hatched or strawberry). Also features fluting. Jar rises from slightly domed fluted foot. Cover terminates in cut knop.
Water jug
Jug with high looped handle. Body features diamond cutting (with cross hatching ?). Band of herringbone cutting at neck and also on handle. Bands of horizontal and curved prism cutting at neck and base. Base with flutes around circumference.
Covered urn
Classic urn-shaped vessel on stepped, square pedestal foot with slight domed cover with cut spire knob. Band of cross cut diamonds. Angled flat cut fluting give sense of motion to the design on both vessel and cover. Base undercut with star design.
Covered Butter cooler
Oval, straight-sided butter cooler with horizontal everted, serrated rim. Body has bands of fluting and diamond cutting. Stepped dome cover set with a scalloped and supporting rim, faced cut knob slightly off-set. Likely had stand originally.
Sugar Crusher
Glass rod with one end terminating in a rounded knob and the other end pressed flat. For use when sugar served as a large piece and bits were chipped off for individual need. The rounded end was pressed down to crush the sugar in the cup. These were not used for elegant gatherings, but rather in the informal domestic setting.
Fruit bowl, stand
Cut with large bands of diamonds with lunar slice cutting. Rim extends generously at terminal ends of bowl to form handles. Stand has generous rise.
Water jug
Cut with band of panels containing diamond cutting. Repeating band of flat-cut ovals at top. Rim with decorative, irregular scallops. Handle does not rise above lip.
Butter dish
Butter or preserve dish and stand cut with a large band of diamonds as well as lunar slice cutting. Domed cover with cut-spire knob. The cover and stand are possible replacements, c. 1800 - c.1810
Footed Sugar bowl
Footed bowl with diamond and horizontal prism cutting; fluting at rim. Short stem on plain foot.
Piggin
Cup cut with diamond and horizontal prism patterns with vertical panels. Serrated rim. Handle emerges from top rim on one side in a fan escallop.
Ship decanter
Semi-ship decanters or "Rodneys", so called after Admiral Rodney. Flat cut fluting. Triple banded neck. Star cut mushroom stopper.
Piggin
Diminutive piggin with diamond cutting as well as horizontal prism cutting. A serrated rim with a plain serrated rim handle
Mixing glass
Quite rare. Footed, bucket-shaped glass with simple pouring spout at rim. Cut with band of fine diamonds over flat cut panels. Stem with annular knop. Single ogee stem terminating at spread foot ring.
Rummer
Square, bucket form, engraved with floral and initial decoration. Annular knop. Rommer originates from the German term Römer, which was an ample, sturdy vessel with large bowl.
Fire Screen
A folding fire screen composed of seven panels of painted and leaded glass, all but one of autumnal shaded branches and leaves. The largest, central panel is composed of a circular roundel of leaded glass depicting a woman with long curly blond hair dressed in a red robe with white column. Her right hand clasps a peach, the left hand is raised at 90º to her face with index finger pointing to her right. The carved wooden oak frame features a spindled skirt on outswept legs.
Barbed Wire Connection
Installation piece which runs approximately 50 feet along a gallery wall and consists of three main components: the Christ Head, the car fender and the large tangle of the barbed wire with three wolf skulls. The Christ head is placed low, directly on the gallery floor and cut in half.
Between Views
The installation consists of three, freestanding, wall-sized elements. The first is a two-sided, curved, black screen, each side displaying a different narrow black and white painted image of a deteriorating garden. There are also two gingham-covered walls.
Gallery Hours
Tuesday through Sunday 11am - 5pm
Friday 11am - 9pm
Closed Mondays
Open on the following holidays:
- Victoria Day
- Canada Day
- August Civic Holiday
- Remembrance Day (open 1-5pm)
- Christmas Eve
- Boxing Day
- New Year's Day
- Louis Riel Day
Closed on the following holidays:
- Easter Monday
- Labour Day
- Thanksgiving
- Christmas Day