- STEUBEN CRYSTAL PHEASANTDESCRIPTION:
STEUBEN CRYSTAL PHEASANTDESCRIPTION: Steuben crystal pheasant sculpture.
Pressed and cut Lead Glass
Cast as a solid block in the shape of a sitting pheasant with a flat base and no visible feet. Head, breast, wings and long tail are wheel-cut and polished with grooves simulating feathers.
Rockwell Gallery, N.Y. label attached.
Reference:
Fig. 6504, p.236 Paul V. Gardner.
Shown in the 1932 catalog at p. 11 for $35.
Shown p. 164 of Objects of Desire: The Art of Frederick Carder by Alan Shovers.
Shown at p. 281 of Steuben Glass An American Tradition in Crystal by Mary Jane Madigan. Shown as a stock piece. Shown as 1932 with design credit to Bolas Manikowski and Frederick Carder.
Shown in The Collectors Encyclopedia of American Art Glass by Shuman, page 170.
In the Steuben line in 1934. Dimitroff p.75. Pheasant was popular and examples are numerous. “For a designer who was said to have disliked cut glass, Carder certainly produced a lot of it. His cut designs of the post-1918 period, in contrast to the 1903-15 group, are bold and unconventional. They are nothing like the designs created by his American competitors.” P. 163 Dimitroff. In faceted pieces Carder used cutting to shape the outline of the glass.
See Fig. 2.40, p. 24 of Dimitroff where it is stated: “Relatively few brilliant cut items were designed by Carder at Steuben.” Further, at p. 256 the author states: “Carder’s deep, brilliant cut pieces are just plain rare in any shape or in any color.”
In Frederick Carder: Portrait of a Glassmaker by Paul V. Gardner at p.28 the author states: His skilled cutters produced about 200 decorative patterns on elaborate console sets, stately covered jars, monumental centerpieces, and a few table services. Among the rarest cut pieces are an ornamental peacock, pheasant, eagle, and Pegasus, a fanciful concept of the fabled winged horse.
“Steuben made many articles in pressed glass--ashtrays; Lincoln and Washington Head plaques with metal bases; eagle, pheasant, gazelle, duck, and pigeon figurines (later cut and polished to remove the mold marks);” p. 178, American Art Nouveau Glass by Albert Christian Revi.
Seen at p. 41 of article Carder Steuben Glass by Robert Mueller, in Glass Collectors Digest, Volume XIV, Number 6, April/May 2001. At p. 43, Some of Carder’s most impressive cut engraved work appears on figural animals, such as the pheasant, eagle, and pigeon. These table display sculptures were mold pressed, then hand cut to add details to the design.
Shown in 1926 House and Garden ad by Steuben Glass Blown and molded(id) at Steuben Furnaces, Corning, N.Y. AD labeled Precious pieces of Modern Glass hand wrought in the old tradition. Inscription reads The crystal birds are a triumph of glass making art.
In Steuben Seventy Years of American glassmaking by Perrot, Gardner and Platt, the authors say p. 55: In addition to the pigeon, cut crystal eagle, pheasant, duck and peacock table ornaments were made. These objects were among the few Carder Steuben pieces in which the basic shape was formed in a mold and the feathers and other details added by the glass cutters after the piece was annealed.
In The Complete Cut and Engraved Glass of Corning by Estelle F. Sinclaire and Jane Shadel Spillman, the author’s state at p. 198: Such art objects as the Carder-Steuben birds illustrate another characteristic Carder use of cutting: as texture or background. In the Steuben eagle, cutting reminiscent of the hollow or St. Louis diamonds suggests the texture of feathers.
A pair pictured at p. 153, of Encyclopedia of American Cut and Engraved Glass by Albert Christian Revi. At p. 150 author says, “Beautifully cut crystal pheasants were made in pairs as mantel ornaments.”
Provenance:
Estate of Mr. and Ms. Alan Shovers
Purchased from Rockwell Gallery of Corning, N.Y. on 7/26/00.
CIRCA: Early 1900s
DIMENSIONS: H: 6.75" x D: 11.5"
CONDITION: Great condition. Normal signs of age. See lot description for details on item condition. More detailed condition requests can be obtained via email (info@akibaantiques.com) or SMS 305-332-9274. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Akiba Antiques shall have no responsibility for any error or omission.
- STEUBEN CUT CRYSTAL EAGLE ORNAMENTALDESCRIPTION:
STEUBEN CUT CRYSTAL EAGLE ORNAMENTALDESCRIPTION: Steuben cut crystal eagle ornamental sculpture.
Pressed and cut lead glass.
Signed "Steuben" (script acid stamp)
Reference:
Shape #6502, p. 236 Paul V. Gardner.
Pictured at p. 165 of Objects of Desire, The Art of Frederick Carder by Alan Shovers
Shown at p. 98, Ill. 152 of The Glass of Frederick Carder by Paul V. Gardner.
Shown in 1932 Steuben Glass Catalogue at p. 11 for a retail of $15.00
Also shown in Fig. 7.35 p. 163, and Fig. 4.116 p. 88 of Frederick Carder and Steuben Glass by Thomas P. Dimitroff.
Shown as a Stock Piece in catalogue, as set forth p. 281 of Steuben Glass An American Tradition in Crystal. Shown as designed by F.C.
A pair of Eagles are shown in Exhibition and Sales Room of Steuben Glass, Inc., N.Y., N.Y. Pictured at p. 43 of American Architect, Number 2622 for March 1934.
In the Steuben line in 1934. Dimitroff p.75. Pheasant was popular and examples are numerous. A for a designer who was said to have disliked cut glass, Carder certainly produced a lot of it. His cut designs of the post-1918 period, in contrast to the 1903-15 group, are bold and unconventional. They are nothing like the designs created by his American competitors. P. 163 Dimitroff. In faceted pieces Carder used cutting to shape the outline of the glass.
See Fig. 2.40, p. 24 of Dimitroff where it is stated: A relatively few brilliant cut items were designed by Carder at Steuben. Further, at p. 256 the author states: ACarder=s deep, brilliant cut pieces are just plain rare in any shape or in any color.
In Frederick Carder: Portrait of a Glassmaker by Paul V. Gardner at p.28 the author states: His skilled cutters produced about 200 decorative patterns on elaborate console sets, stately covered jars, monumental centerpieces, and a few table services. Among the rarest cut pieces are an ornamental peacock, pheasant, eagle, and Pegasus, a fanciful concept of the fabled winged horse.
Steuben made many articles in pressed glass--ashtrays; Lincoln and Washington Head plaques with metal bases; eagle, pheasant, gazelle, duck, and pigeon figurines (later cut and polished to remove the mold marks) p. 178, American Art Nouveau Glass by Albert Christian Revi.
Seen at p. 41 of article Carder Steuben Glass by Robert Mueller, in Glass Collectors Digest, Volume XIV, Number 6, April/May 2001. At p. 43, Some of Carders most impressive cut and engraved work appears on figural animals, such as the pheasant, eagle, and pigeon. These table display sculptures were mold pressed, then hand cut to add details to the design.
In Steuben Seventy Years of American glassmaking by Perrot, Gardner and Plautt, the authors say p. 55: In addition to the pigeon, cut crystal eagle, pheasant, duck and peacock table ornaments were made. These objects were among the few Carder Steuben pieces in which the basic shape was formed in a mold and the feathers and other details added by the glass cutters after the piece was annealed.
In The Complete Cut and Engraved Glass of Corning by Estelle F. Sinclaire and Jane Shadel Spillman, the authors state at p. 198: Such art objects as the Carder-Steuben birds illustrate another characteristic Carder use of cutting: as texture or background. In the Steuben eagle, cutting reminiscent of the hollow or St. Louis diamonds suggests the texture of feathers.
Provenance:
Estate of Mr. and Ms. Alan Shovers
Acquired 8/31/01 from Cottones Auctions of Mt. Morris, NY.
CIRCA: Early 1900s
DIMENSIONS: H: 8" x D: 4"
CONDITION: Great condition. Normal signs of age. See lot description for details on item condition. More detailed condition requests can be obtained via email (info@akibaantiques.com) or SMS 305-332-9274. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Akiba Antiques shall have no responsibility for any error or omission.
- STEUBEN AMETHYST CRYSTAL ANIMAL CHAMPAGNE
STEUBEN AMETHYST CRYSTAL ANIMAL CHAMPAGNE GLASSDESCRIPTION: Steuben amethyst crystal animal Champagne glass.
Cased, engrave (intaglio) lead glass.
Reference:
Shape #8351, pp. 196, Engraved Lion’s Head pattern (“Lyon’s Head”, see Paul V. Gardner p.)
Marked in block letter “STEUBEN"
Pictured in The Glass of Frederick Carder by Paul V. Gardner p. 102, Ill. 158.
Pictured in Frederick Carder: Portrait of a Glass Maker by Paul V. Gardner p.87
Pictured in American Art Glass by John Shuman III p. 166 from Corning Museum collection.
Pictured in The Complete Cut and Engraved Glass of Corning by Estelle F. Sinclaire and Jane Shadel Spillman at page 199, fig. 551 where it notes this was probably engraved by Henry Keller.
Provenance:
Estate of Mr. and Ms. Alan Shovers
Acquired 4/3/2011 from Dick Stark of Bethesda, Maryland.
CIRCA: Early 1900s
DIMENSIONS: H: 8" x D: 4.25"
CONDITION: Great condition. Normal signs of age. See lot description for details on item condition. More detailed condition requests can be obtained via email (info@akibaantiques.com) or SMS 305-332-9274. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Akiba Antiques shall have no responsibility for any error or omission.
- RARE STEUBEN CINTRA PAPERWEIGHT STYLE
RARE STEUBEN CINTRA PAPERWEIGHT STYLE COLOGNE BOTTLEDESCRIPTION: Steuben faceted crystal paperweight style cologne bottle with pink to blue shaded controlled Cintra internal decoration and controlled bubbles. c. 1927-31. Factory records call this a tall cologne originally retailed at $37.50.
Clear cased, deep cut lead glass with bubbles with clear stopper.
Shape # 6687 p. 242 Paul V. Gardner book.
Reference:
Pictured p. 58 of Objects of Desire: The Art of Frederick Carder by Alan Shovers.
Shown on the cover of Vanity Vessels: The Story of the American Perfume Bottle by Gay LeCleire Taylor in a publication produced by the Museum of American Glass at Wheaton Village in Millville, NJ for an exhibit held on April 10 through October 24, 1999. At p. 6 the author states: No two designs better illustrate the new Deco trends than the Cintra cologne bottles made by the Steuben Glass Works (cover:3) and Ruba Rombic.
Shown in 1932 Steuben Catalogue at plate V. See, p. 315 in The Glass of Frederick Carder by Paul V. Gardner.
Shape in Cluthra shown at Fig. 6.34 p. 147 of Frederick Carder and Steuben Glass by Thomas P. Dimitroff. In figure 6.11 p. 140 the author states: Paperweight cologne is the term collectors have applied to these heavy bottles. It was not a term officially used at the time of production. They are also sometimes referred to as Cintra colognes, although many actually have a core of Cluthra glass rather than Cintra.
Color combination shown at Plate XVII, A shown in The Glass of Frederick Carder by Paul V. Gardner. The description states: The heavy crystal casing encloses controlled bubbles.
Color combination shown in a full page plate in a different shape at p. 54 of Steuben Glass An American Tradition in Crystal by Mary Jean Madigan.
Color combination also seen in Paper-Weight bottles in The Fieldstone Porch Presents Creations by Carder of Steuben His American Art Glass.
In plate Number 45 of Collector’s Choice Review on a paperweight cologne the author states: Despite his acknowledge disdain for the Art Deco style, Frederick Carder was fully aware of this trend and did indeed produce some forms and decoration in this style (Venetian). Outstanding among them, and in marked contrast to his delicate Venetian-style glass, was a series of massive, boldly cut cologne bottles more sculptural than utilitarian usually referred to today by collectors as Paperweight Colognes (Gardner line drawings 6687, 6707-8, 6712, 6916-7, 6941-2, 6944-45.
His inspiration for these pieces was most likely the massive individual pieces created by Maurice Marinot as one of Europe's most outstanding glass makers. Each example of Carders massive colognes made of brilliant colorless lead glass incorporates different colors, ranging from light green to deep brilliant blue often accompanied by irregular bubbly glass like Cintra(as found in some Marinot pieces) or by a controlled pattern of bubbles formed of air traps. Other colored glasses are enclosed with mica flecks and patterns of opaque white cane. All are enhanced by the broad, bold cutting that defines each final form.
The massive cologne bottle shown here is expressive of Carders ability to adapt techniques inspired by the work of other artists and glass makers to create a new, distinctive form and type of decoration by imaginatively combining these various elements in an unusual and distinctive manner. These sculptured colognes are outstanding examples of American glass in the Art Deco style.
Color combination shown at p. 51 of Steuben Seventy Years of American Glassmaking by Perrot, Gardner, Plaut. At p. 54, The vibrant pinks and blues in the Cintra glass center of this massive cologne bottle are partially veiled by the network of controlled bubbles and enhanced by the depth of the crystal casing. Broad panel and facet cuttings on the outer surface create a prismatic illusion which is heightened by a kaleidoscopic play of colors as the piece is viewed from various angles. Very few of these bottles were produced, all differ in form, the color of the Cintra core, the pattern of the included bubbles, and type of surface cutting. This piece is probably unique.
In The Complete Cut and Engraved Glass of Corning by Estelle F. Sinclaire and Jane Shadel Spillman 198, the authors state: Cutting-as-shaping distinguishes a group of paper-weight cologne bottles and vases made in the 1920s. Though enclosed color gives them much of their charm, deep channel cuts add a new drama to their shapes. At fig. 549, p. 194 a cut paperweight cologne is shown.
Provenance:
Estate of Mr. and Ms. Alan Shovers
Acquired 9/15/02 from Thomas P. Dimitroff of Corning, NY
CIRCA:1927-1931
DIMENSIONS: H:10.5" and 4" in diameter
CONDITION: Good condition exterior. Has chip along stem of stopper. Normal signs of age. More detailed condition requests can be obtained via email (info@akibaantiques.com) or SMS 305-332-9274. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Akiba Antiques shall have no responsibility for any error or omission.
- STEUBEN CRYSTAL PHEASANTDESCRIPTION:
STEUBEN CRYSTAL PHEASANTDESCRIPTION: Steuben crystal pheasant sculpture. Pressed and cut Lead Glass Cast as a solid block in the shape of a sitting pheasant with a flat base and no visible feet. Head, breast, wings and long tail are wheel-cut and polished with grooves simulating feathers. Rockwell Gallery, N.Y. label attached. Reference: Fig. 6504, p.236 Paul V. Gardner. Shown in the 1932 catalog at p. 11 for $35. Shown p. 164 of Objects of Desire: The Art of Frederick Carder by Alan Shovers. Shown at p. 281 of Steuben Glass An American Tradition in Crystal by Mary Jane Madigan. Shown as a stock piece. Shown as 1932 with design credit to Bolas Manikowski and Frederick Carder. Shown in The Collectors Encyclopedia of American Art Glass by Shuman, page 170. In the Steuben line in 1934. Dimitroff p.75. Pheasant was popular and examples are numerous. For a designer who was said to have disliked cut glass, Carder certainly produced a lot of it. His cut designs of the post-1918 period, in contrast to the 1903-15 group, are bold and unconventional. They are nothing like the designs created by his American competitors.” P. 163 Dimitroff. In faceted pieces Carder used cutting to shape the outline of the glass. See Fig. 2.40, p. 24 of Dimitroff where it is stated: “Relatively few brilliant cut items were designed by Carder at Steuben.” Further, at p. 256 the author states: “Carder’s deep, brilliant cut pieces are just plain rare in any shape or in any color.” In Frederick Carder: Portrait of a Glassmaker by Paul V. Gardner at p.28 the author states: His skilled cutters produced about 200 decorative patterns on elaborate console sets, stately covered jars, monumental centerpieces, and a few table services. Among the rarest cut pieces are an ornamental peacock, pheasant, eagle, and Pegasus, a fanciful concept of the fabled winged horse. “Steuben made many articles in pressed glass--ashtrays; Lincoln and Washington Head plaques with metal bases; eagle, pheasant, gazelle, duck, and pigeon figurines (later cut and polished to remove the mold marks);” p. 178, American Art Nouveau Glass by Albert Christian Revi. Seen at p. 41 of article Carder Steuben Glass by Robert Mueller, in Glass Collectors Digest, Volume XIV, Number 6, April/May 2001. At p. 43, Some of Carder’s most impressive cut engraved work appears on figural animals, such as the pheasant, eagle, and pigeon. These table display sculptures were mold pressed, then hand cut to add details to the design. Shown in 1926 House and Garden ad by Steuben Glass Blown and molded(id) at Steuben Furnaces, Corning, N.Y. AD labeled Precious pieces of Modern Glass hand wrought in the old tradition. Inscription reads The crystal birds are a triumph of glass making art. In Steuben Seventy Years of American glassmaking by Perrot, Gardner and Platt, the authors say p. 55: In addition to the pigeon, cut crystal eagle, pheasant, duck and peacock table ornaments were made. These objects were among the few Carder Steuben pieces in which the basic shape was formed in a mold and the feathers and other details added by the glass cutters after the piece was annealed. In The Complete Cut and Engraved Glass of Corning by Estelle F. Sinclaire and Jane Shadel Spillman, the author’s state at p. 198: Such art objects as the Carder-Steuben birds illustrate another characteristic Carder use of cutting: as texture or background. In the Steuben eagle, cutting reminiscent of the hollow or St. Louis diamonds suggests the texture of feathers. A pair pictured at p. 153, of Encyclopedia of American Cut and Engraved Glass by Albert Christian Revi. At p. 150 author says, “Beautifully cut crystal pheasants were made in pairs as mantel ornaments.” CIRCA: 1903-1932 ORIGIN: USA DIMENSIONS: L: 11.5” W: 3" H: 6.25". Have a similar item to sell? Contact: Info@Akibaantiques.com. CONDITION: Great condition. See lot description for details on item condition. More detailed condition requests can be obtained via email (info@akibaantiques.com) or SMS(305)-332-9274. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Akiba Antiques shall have no responsibility for any error or omission.
- RARE STEUBEN CINTRA PAPERWEIGHT STYLE
RARE STEUBEN CINTRA PAPERWEIGHT STYLE COLOGNE BOTTLEDESCRIPTION: Steuben faceted crystal paperweight style cologne bottle with pink to blue shaded controlled Cintra internal decoration and controlled bubbles. c. 1927-31. Factory records call this a tall cologne originally retailed at $37.50. Clear cased, deep cut lead glass with bubbles with clear stopper. Shape 6687 p. 242 Paul V. Gardner book. Provenance: Purchased From Joan Miller in 1998 Reference: Pictured p. 58 of Objects of Desire: The Art of Frederick Carder by Alan Shovers. Shown on the cover of Vanity Vessels: The Story of the American Perfume Bottle by Gay LeCleire Taylor in a publication produced by the Museum of American Glass at Wheaton Village in Millville, NJ for an exhibit held on April 10 through October 24, 1999. At p. 6 the author states: No two designs better illustrate the new Deco trends than the Cintra cologne bottles made by the Steuben Glass Works (cover:3) and Ruba Rombic. Shown in 1932 Steuben Catalogue at plate V. See, p. 315 in The Glass of Frederick Carder by Paul V. Gardner. Shape in Cluthra Shown on Fig. 6.34 p. 147 of Frederick Carder and Steuben Glass by Thomas P. Dimitroff. In figure 6.11 p. 140 the author states: Paperweight cologne is the term collectors have applied to these heavy bottles. It was not a term officially used at the time of production. They are also sometimes referred to as Cintra colognes, although many actually have a core of Cluthra glass rather than Cintra. Color combination Shown on Plate XVII, A shown in The Glass of Frederick Carder by Paul V. Gardner. The description states: The heavy crystal casing encloses controlled bubbles. Color combination shown in a full page plate in a different shape at p. 54 of Steuben Glass An American Tradition in Crystal by Mary Jean Madigan. Color combination also seen in Paper-Weight bottles in The Fieldstone Porch Presents Creations by Carder of Steuben His American Art Glass. In plate Number 45 of Collector's Choice Review on a paperweight cologne the author states: Despite his acknowledge disdain for the Art Deco style, Frederick Carder was fully aware of this trend and did indeed produce some forms and decoration in this style (Venetian). Outstanding among them, and in marked contrast to his delicate Venetian-style glass, was a series of massive, boldly cut cologne bottles more sculptural than utilitarian usually referred to today by collectors as Paperweight Colognes (Gardner line drawings 6687, 6707-8, 6712, 6916-7, 6941-2, 6944-45. His inspiration for these pieces was most likely the massive individual pieces created by Maurice Marinot as one of Europe's most outstanding glass makers. Each example of Carders massive colognes made of brilliant colorless lead glass incorporates different colors, ranging from light green to deep brilliant blue often accompanied by irregular bubbly glass like Cintra(as found in some Marinot pieces) or by a controlled pattern of bubbles formed of air traps. Other colored glasses are enclosed with mica flecks and patterns of opaque white cane. All are enhanced by the broad, bold cutting that defines each final form. The massive cologne bottle shown here is expressive of Carders ability to adapt techniques inspired by the work of other artists and glass makers to create a new, distinctive form and type of decoration by imaginatively combining these various elements in an unusual and distinctive manner. These sculptured colognes are outstanding examples of American glass in the Art Deco style. Color combination Shown on p. 51 of Steuben Seventy Years of American Glassmaking by Perrot, Gardner, Plaut. At p. 54, The vibrant pinks and blues in the Cintra glass center of this massive cologne bottle are partially veiled by the network of controlled bubbles and enhanced by the depth of the crystal casing. Broad panel and facet cuttings on the outer surface create a prismatic illusion which is heightened by a kaleidoscopic play of colors as the piece is viewed from various angles. Very few of these bottles were produced, all differ in form, the color of the Cintra core, the pattern of the included bubbles, and type of surface cutting. This piece is probably unique. In The Complete Cut and Engraved Glass of Corning by Estelle F. Sinclaire and Jane Shadel Spillman 198, the authors state: Cutting-as-shaping distinguishes a group of paper-weight cologne bottles and vases made in the 1920s. Though enclosed color gives them much of their charm, deep channel cuts add a new drama to their shapes. At fig. 549, p. 194 a cut paperweight cologne is shown. CIRCA: 1927-1931 ORIGIN: USA DIMENSIONS: L: 3.5” W: 3.75" H: 10.75". Have a similar item to sell? Contact: Info@Akibaantiques.com. CONDITION: Tip of stopper has light shaving.. See lot description for details on item condition. More detailed condition requests can be obtained via email (info@akibaantiques.com) or SMS(305)-332-9274. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Akiba Antiques shall have no responsibility for any error or omission.
- FOUR CUT GLASS TABLE OBJECTSlate 19th/early
FOUR CUT GLASS TABLE OBJECTSlate 19th/early 20th century, comprising: Sinclaire pen holder, 3-1/4 x 3 x 2-7/8 in.; Mt. Washington sugar sifter, possibly Fauchon pattern, 4-1/2 in.; Libbey compote, marks for Libbey on base, 6-1/8 in.; lidded pickle jar with silver fork and handle, 5-1/2 x 4-1/2 in.
Provenance: Private Collection
Condition:
scattered surface scratches and flea bites, silver tarnished
- SINCLAIRE GLASS VASE WITH ENGRAVED TULIP
SINCLAIRE GLASS VASE WITH ENGRAVED TULIP DESIGNAmerican, late 19th/20th century, marks for Sinclair on base, bulbous, tapered form with flared lip, 9-3/4 in.
Provenance: Private Collection
Condition:
surface dirt and accretion, scattered surface scratches and flea nicks
- WATERFORD CRYSTAL SINCLAIRE BOWL CENTERPIECEWaterford
WATERFORD CRYSTAL SINCLAIRE BOWL CENTERPIECEWaterford Society Sinclaire limited edition centerpiece bowl. Centerpiece is numbered 774/1000 on bottom edge, marked Waterford & (WS 1997) Waterford Society mark on the bottom. The centerpiece is in excellent condition. There are no chips or flaws. Measures 6 3/4" tall x 8 3/4" diameter.
- WATERFORD CRYSTAL SINCLAIRE VASE CENTERPIECEWaterford
WATERFORD CRYSTAL SINCLAIRE VASE CENTERPIECEWaterford Society Sinclaire limited edition centerpiece vase. Vase is numbered 980/1000, marked Waterford & (WS 1997) Waterford Society mark on the bottom. Excellent condition. There are no chips or flaws. Measures 13" tall.
- WATERFORD SOCIETY CRYSTAL VASE CENTERPIECEWaterford
WATERFORD SOCIETY CRYSTAL VASE CENTERPIECEWaterford Society Sinclaire limited edition vase. Vase is numbered 540/1000, marked Waterford & (WS 1996) Waterford Society mark on the bottom. The vase is in excellent condition. There are no chips or flaws. Measures 9 1/8" tall x 6 1/2" wide.
- FOUR H.P. SINCLAIRE & COMPANY ETCHED
FOUR H.P. SINCLAIRE & COMPANY ETCHED CRYSTAL CANDLESTICKSFour H.P. Sinclaire & Company etched crystal candlesticks, Circa 1904-1927; Corning, New York Each signed: Sinclaire; Further numbered: 96 / 97 / 98 / 99 Each crystal candlestick with columnar stem, octagonal flared foot, and etched floral motif throughout, 4 pieces Each: 12.25" Hx 6.25" Dia. Dimensions: Each: 12.25" Hx 6.25" Dia.
- TWO ETCHED AND MOLDED GLASS VASES, INCLUDING
TWO ETCHED AND MOLDED GLASS VASES, INCLUDING H.P. SINCLAIRE CO., H OF TALLER: 12 1/2 IN. (31.8 CM.)Two Etched and Molded Glass Vases, Including H.P. Sinclaire Co.,, Dimensions: H of Taller: 12 1/2 in. (31.8 cm.)
- SINCLAIRE CUT AND ENGRAVED CRYSTAL SERVING
SINCLAIRE CUT AND ENGRAVED CRYSTAL SERVING PIECESThree Sinclaire Cut and Engraved Crystal Serving Pieces , marked, incl. octagonal plate, dia. 10 in.; bread plate, l. 13 1/2 in.; and celery tray, l. 11 1/4 in . Provenance: Estate of Gordon and Vera Noakes, Detroit, MI
- COLLECTION OF FIRST EDITION BOOKSincluding
COLLECTION OF FIRST EDITION BOOKSincluding "Chanel: A Woman of Her Own" by Axel Madsen, New York: Holt, 1990; "Point Counter Point" by Aldous Huxley, Garden City: Doubleday, Doran and Co., 1928; "The Work, Wealth and Happiness of Mankind" by H.G. Wells, Garden City: Doubleday, Duran and Co., 1931; "The 42nd Parallel" by John Dos Passos, New York and London: Harper and Brothers, 1930; "It Can't Happen Here" by Sinclaire Lewis, Garden City, Doubleday Duran and Co., 1935; "Manhattan Transfer" by John Dos Passos, New York and London: Harper and Brothers, 1925; "From Bauhaus to Our House" by Tom Wolfe, New York: Farrar, Straus, Giroux, 1981 Condition:
- GEORGE SINCLAIRE (19TH CENTURY) 20"
GEORGE SINCLAIRE (19TH CENTURY) 20" x 24" Country landscape. Oil on canvas, signed lower left corner, in gilt wood frame, overall 26 ¾" x 30 ?".
- SINCLAIRE DIAMOND & SILVER THREADS CUT
SINCLAIRE DIAMOND & SILVER THREADS CUT GLASS GROUP Early 20th c., American, incl. (2) sterling lidded decanters, monogrammed, (1) hexagonal bowl, and (1) round dish, brilliant cut glass, in the "Diamond & Silver Threads" pattern, with diamond cut panels and engraved floral windows, one stopper with acid etched "S" mark, 9.25"h x 4.25"w (decanters), 3.5"h x 10.5"w (bowl), 10"dia (dish)
- Sinclaire Cut Glass Tall Compote fine
Sinclaire Cut Glass Tall Compote fine rose decor 8 1/2'' signed excellent.
- Pair of Compotes by H. P. Sinclaire
Pair of Compotes by H. P. Sinclaire & Co.in the ''Diamonds & Silver Threads'' pattern patented in 1913 cut and etched glass with fine floral and grape vine decoration one signed on foot rim.8.25 x 8 in. diameterOne with small chip to foot.Private Collection Hampton VA
- Sinclaire Cut Glass Punchbowl on Stand
Sinclaire Cut Glass Punchbowl on Stand brilliant period egg nog size 9'' tall 10'' diameter a beauty!
- Sinclaire Engraved Glass Vase ''Poppy''pattern
Sinclaire Engraved Glass Vase ''Poppy''pattern 12'' tall signed excellent.
- Sinclaire Glass Company Intaglio Optic
Sinclaire Glass Company Intaglio Optic Glass Vase Apprx. 8-1/2"H the optic ribbed clear glass vase has an etched design of meandering flowers and leaves marked on the underside.
- Sinclaire Cut Glass Salt & Pepper sterling
Sinclaire Cut Glass Salt & Pepper sterling silver tops with floral decor signed.
- Cut Glass Bud Vase rock crystal style
Cut Glass Bud Vase rock crystal style cut floral probably Sinclaire 5'' excellent.
- Sinclaire Engraved Glass Handled Tray
Sinclaire Engraved Glass Handled Tray ''Ivy''pattern 8'' x 14'' excellent.
- Sinclaire Cut Glass Compote signed brilliant
Sinclaire Cut Glass Compote signed brilliant period 7'' tall.
- Sinclaire Blue Cut-to-Clear Decanter
Sinclaire Blue Cut-to-Clear Decanter signed scarce color panels of diamonds 17'' tall stunning
- Sinclaire cut and etched glass bowl
Sinclaire cut and etched glass bowl 4" h. 10 1/4" dia. Provenance: The Estate of Virginia Whitely Thornton York Pennsylvania. ?
- Sinclaire etched glass candlestick signed
Sinclaire etched glass candlestick signed on base 18" h. ?
- Monumental Corning Trumpet-Form Vase,
Monumental Corning Trumpet-Form Vase, American, 20th century, extensive intaglio-cut decoration with floral swags, marked with "S" within wreath (Sinclaire, Corning, New York, 1904-1928), 24-1/2 in.,