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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.
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.
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.
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.
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.
The button has gilding in the Greek Key design
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.