L.H. Selman Ltd.'s Fall 2000 Paperweight Price Guide & Auction

L. H. Selrnan Ltd

Fa ll

2000

PAPERWEIGHT PRICE GUIDE & Auction “What was any art but a mold in which to imprison for a moment the shining elusive element which is life itself—life hurrying past us and running away too strong to stop, too sweet to lose.”

— Willa Cather (1876-1947), The Song of the Lark

L o t s a r e a v a il a b l e f o r v i e w i n g

September 29 to October 12, 2000 by appointment or on our website L a s t d a y t o p l a c e in it ia l b id s

October 13, 2000 at 5 pm

pdt

B id s m a y b e p l a c e d b y

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Auction N umber 24

L. H. Selman Ltd. 123 Locust Street, Santa Cruz, California 95060 • pwAuction.com • paperweight.com $25.00

Part I: Antique Paperweights & Related Objects “To take sand and ashes and, by submitting them to the transmuting agency of fire, to produce an infinity of forms, colours and textures, is the magic of the glass-maker’s art.”

— An Illustrated D iction ary o f Glass, H arold N ew m an (1977)

1. Pantin m agnum three-dim ensional dark green sala­

w ork m anship and delicate flora fo u n d in this paperw eight

m ander paperweight w ith an up righ t m u lti-tiere d p in k

are a challenge to any m o d ern day glass artist. T u rning sin u ­

flow er o n sandy ground . O n e o f only twelve kn ow n “G reat

ously o n itself, a h arleq u in d iam o n d p attern w raps arou nd its

Lizards,” created d uring the m id -n in e te en th cen tu ry by the

torso, w hile perfectly graduated dots travel the entire length

little-k n o w n French facto ry called P antin . T h e artisan s p ro ­

o f its body. W ith deep b o ttle -g re e n velvet skin infused w ith

duced these rare reptiles as well as a sm all n u m b e r o f floral

golden threads, the Salam an d er is coiled o n w hat appears

paperw eights. T h e lizards, however, are am o n g the m o st

to be w et m ossy gro u n d — this p ap erw eigh t’s scene has a

high ly prized exam ples o f this art. A great deal o f m ystery

palpable, p rim eval aura. W ith a subtle tilt to its head, the

re m a in s reg ard in g th e ir p ap erw eig h t p ro d u c tio n . “T h e

Salam an d er seem s to engage w ith its co u n te rp art flower. T h e

P an tin factory, o ften referred to as ‘T h e F o u rth F a cto ry ’

b lo o m itse lf has cloverlike w hite petals o p ened to reveal a

(since B accarat, Clichy, and S ain t Louis p ro d u ced m o re) is

w in e-b lu sh interior. T h e crow ning flow er head tow ers over

kn ow n fo r its tech n ical su p erio rity and the th re e -d im e n sio n ­

seven pleated leaves, edged in golden yellow. T h e size o f this

al qu ality o f the (salam and ers) and d elicate, realistic flow ers.

paperw eight alone, over fo u r in ch es, m akes the ann ealing

In ad d itio n , the veined leaves and sandy back g ro u n d in the

process a challenge even w ith to d ay’s co m p u ter-d riv en fu r­

reptile w eights create a n atu ralistic en v iro n m en t and show ­

naces. D atin g fro m the late 1 8 0 0 ’s, this very rare m asterp iece

case the artist’s ability to express h im s e lf freely.”— Glass

fro m the Fren ch P an tin glassw orks, epitom izes the end u ring

C ollector's D igest (V o l. X IV , N o. 2, A u g ./S e p t. 2 0 0 0 ) “A P aperw eight Full o f R id d les" by C arol B aldw in . T h e

pow er to en tran ce, lies in the p ro sp ect o f catch in g , in

Salam an d er is a legend ary figure in the art glass w orld,

you r ow n hand, so m eth in g m ysterious and m ythical. “T h ese

an cien tly associated w ith the elem en t fire. Salam and ers cou ld

exo tic (P an tin ) reptiles hypnotize us w ith th e ir m ysterious

pu rp o rted ly travel to the fiery un d erw orld and retu rn ,

ro o ts o f o r ig in ... T h e y are high ly prized, the rare jew el in a

appeal o f glass paperw eights. T h e S alam an d er’s captivating

th eir p retern atu rally co o l skin un scathed . A ccord in g to the

c o lle c tio n .. . ”— A n n u al B ulletin o f the P aperw eight Collectors'

lore, th ey dwelled in the glassw orker’s fu rn ace. E x -p a trio t

A ssociation, Inc. (1 9 9 8 ) “ T he Seven S alam an d ers o f D elm o

glass w orkers w ho dared peddle th eir skills in an o th er c o u n ­

Tarsitano," by D ebbie Tarsitano.

try, were claim ed v io len tly by the creature in revenge. O n e

D iam eter 4 5 /1 6 ".

supposes it was an effective m yth, as few glass w orkers m ig ra te d

fro m

th e ir to w n s d u rin g th e V ic to r ia n

E ra.

E m erg in g now fro m a cen tu ry in private c o lle ctio n , the rare P an tin Salam and er belies its secretive m an ner, and brazenly flaunts its charm s in glo rio u s v irid escen t detail. T h e in tricate

2

FALL 2000

$ 1 5 0 ,0 0 0 -2 0 0 ,0 0 0

Pantin Salamander

2. Rare Russian floral plaque, previously attrib u ted to the

blossom s and 12 fully realized leaves. M ade at-th e-lam p o f

artists at the A m erican glass facility, M o u n t W ashington. T h is

w hite glass, w ith colo r overlays, set on a cu shion o f colorless

im p o rta n t piece represents one o f eleven kn ow n plaques now

glass, the stalks tied w ith a cobalt blue twist. E ach b lo o m

believed to have b een created in Russia d u ring the 1800s.

exhibits natu ralistic, individuated detail. “It will presum ably

T h ese glass designs, w hich c o n ta in m o re flow ers th an any

be som e tim e before a com prehensive survey o f Russian

o th er kn ow n an tiq u e lam p w ork paperw eight, represent a

lam pw ork is available. N evertheless, these paperw eights rank

m arvel o f ingen u ity and tech n iq u e. Very few an tiqu e b o u ­

am on g the m ost beautiful and m o st sophisticated in the

quets display lam p w ork flow ers in relief, and this piece is a

genre.”— W iener Kunst A uktionen (T h e Vienna A rt Auctions),

un iqu e record o f this challeng in g skill. “R u ssian o rigin is

Paperw eights— Collection Friedrich B ader, Dec. 1, 1999, Expert:

highly p ro bable fo r the paperw eights... (w hich have) lam p -

M ichael Kovecek. T h e flowers appear to be clem atis, w hich

w orked flow ers w ith a cen ter in clu d in g pistils.”— A nnual

in b o tan ical language, are said to invoke “m en tal beauty.”

Bulletin o f the P aperw eight C ollectors A ssociation, Inc. (1 9 9 5 ) uT h e M altsov D yn asty o f R u ssia ” by S iby lle Ja r g s to r f

Yet, the petals are so volu m inous they m ay even be interpreted

A few have b een fo u n d w ith R u ssian in scrip tio n s o r nam es

taste.” T h e floral cho ice seem s apt. Intellectual, unstable, b u t

as dahlias, w hich trad itionally signify “instability” or “good

engraved in to the surface, th o u g h th at is likely an after­

w ith u n erring aesthetics, this rare Floral Plaque reflects the

th o u gh t. L ittle is kn ow n as to the facto ry o r glass artists th at

tum ultuou s history o f a briefly blossom ing art fo rm in Russia

prod uced these extrao rd in ary w orks. D w ight L an m o n , fo r­ M useum o f Glass, fo u n d frag m ents o f paperw eights c o n ta in ­

(See A nnual Bulletin o f the P aperw eight Collectors Association, Inc. {1992} uR ussia-P aradise o f the P aperw eight?” by R alph W agner an d Ralph G oehr). Faceted edges. Sm all annealing split

ing the sam e style o f glassw ork in the archives o f the Im p erial

on upper right and upper left flowers.

Glass F a cto ry and the H erm itage lo cated in St. Petersburg.

D im en sio n s 3" by 5" by 1".

m er D ire cto r o f the W in te rth u r M useum and T h e C o rn in g

T h is Flo ral P laque is rectangular, the b o u q u e t con sistin g o f 7

4

FALL 2000

$ 6 0 ,0 0 0 -8 0 ,0 0 0

R ussian F loral P laque

3. Im p ortan t Saint Louis bouquet paperweight. T h e clear glass is set w ith a cen tral scarlet d ahlia w hose cen tral stam en con sists o f a cogw heel cane co n tain in g a tiny blu e and w hite flow er w ith green stem and leaves. T h e dahlia is e n c o m ­ passed by n in e sm aller flow ers, in clu d in g tw o fuchsias, o n c o n jo in e d green stem s. S tar-cu t base (See Paperweights —

Flowers W hich C lothe the M eadow s, Hollister an d Lanm on (1 9 7 8 ), p. 76; N o. 2 0 7 , fro m the A rt In stitu te o f C h icag o ).

Two dahlia petals show sm all sep aration .

D iam eter 3 1 /1 6 ”.

$ 8 ,0 0 0 -1 0 ,0 0 0

4. Rare B accarat trico lo r bouquet paperweight. T h e w hite d ouble clem atis features the d istin ctive yellow, w hite and ru by star h o n ey co m b cen ter; the red and w hite strip ed p rim ­ rose offers a w hite stard u st/b u ll’s-eye cane; and the blue fo r­ g e t-m e -n o ts each have a w hite stardu st cen ter aro u n d a baby blue circu lar cane. T h e leaves su rrou n d in g the fo rg et-m e nots are o f a brig h ter green th an the b o u q u e t’s o th e r leaves, and show fine detail. T h ere is a sep aratio n fro m the top o f the stem . T h e arran g em en t floats above a clear star-cu t grou nd ; six and o n e facets m u ltip ly the flow ers.

D ia m e te r 3 1 /2 ”.

$ 1 8 ,0 0 0 -2 5 ,0 0 0

5. E xtrem ely rare C lichy th ree-flow er b ouq u et p ap er­ weight. Insid e, a pansy and two d ou ble clem atis flow ers, each flow er w ith a m atch in g bud , are tied at the base w ith a p artial ru by rib b o n , o n a clear ground . T h e pansy is n atu ralistically colo red in deep royal purple and b u tter yellow, and b o th cle m a tis

e x h ib it

v ig o ro u s

la m p w o rk

w ith

p e p p e rm in t

strip ed veins in the petals and elabo rate canes as stam ens.

D iam eter 2 1 1 /1 6 ”.

6

FALL 2000

$ 2 0 ,0 0 0 -2 5 ,0 0 0

6. Clichy m ulti-faceted paperweight, w ith cen tral rin g o f six feathery p in k roses, su rrou n d in g a green and p in k pastry m old cane. T h e cen ter is th en en circled by two pair o f cin q u e ­ foil garlands, divided by a ring o f five bo ld ly spaced cobalt blue canes, o n strips o f w hite lace. “ (C lich y w as) foun d ed at B illa n co u rt n ear Paris in 1 8 3 7 ...It was n o t lo n g b efo re the paperw eights m ade in the crystal w orks were in d em and in the shops in Paris. As early as 1849 the crystal w orks at Sain t Louis were in fo rm e d by a Paris dealer th at C lich y cou ld n o t deliver as m an y paperw eights as w ere w anted.”— Paperweights

o f the World, M onika Flem ing an d Peter Pom m erencke.(1993) D iam eter 3 1/8"

$ 9 ,0 0 0 -1 1 ,0 0 0

7. Rare Clichy piedouche paperweight w ith five co n ce n tric rows o f co m p lex m ille fio ri in shades o f pink, jad e, cobalt, w hite, and cabbage purple. A circlet o f eight u n ifo rm p in k roses aro u n d a cen tral p astry m o ld cane, are all exp ertly set in a cu rv in g basket o f alternative tu rq u o ise and w hite staves, w hich fo rm the pedestal. C lear glass fo o t. F ro m the H enry S tern c o lle ctio n (See Sotheby & Co. London, 22 July, 1953, lot

113; see also C hristies N ew York, 24 Septem ber, 1997, lot 170).

D iam eter 2 5 /8 ".

$ 1 5 ,0 0 0 -2 0 ,0 0 0

8. Baccarat panel-design paperweight com posed o f com plex m illefiori in shades o f royal blue, coral, s h a m ro c k green and w hite o n a h o n ey co m b carp et ground o f pale aqua.

“C arp et grou nd colo rs in c lu d e .. .pale aqua (h o n e y c o m b )... and several subtle ground s o f no p red o m in atin g to n ality th at have the qu ality o f n eed lep o in t.”— T he E ncyclopedia o f Glass

Paperw eights, P aul Hollister, Jr. (1969) D iam eter 2 3 /4 ".

$ 9 ,0 0 0 -1 0 ,0 0 0

FALL 2000

7

9. B accarat snake paperweight, o n an upset m u slin ground . T h e m o t­ tled salm o n p in k and green reptile, w ith rap to r-lik e orange eyes, is lying in a relaxed coiled p o sitio n . “ ...( T h e ) tiny b u tto n eyes w ith an expression o f...d r u n k e n bliss i f it is b lack pupil o n red o r orange.”—

T he E n cyclopedia o f Glass Paperw eights. T h e body, su rrou nd ed by typ ical air in clu sio n , is in a o n e -a n d -a -h a lf tu rn , w ith the snake’s nose resting on its th ick torso. To place the lam pw ork snake on the ground and cover it w ith glass m u st have been extrem ely difficult as all o f the snake paperw eights appear w ith an alm ost con tin u o u s air inclu sion betw een the coils (See The Encyclopedia o f Glass Paperweights, pp 7 3 -7 4 ).

E xhibited B ritish A ntiques D ealers A ssociation, Ltd. F ro m the H o m er P erkins co llectio n .

D ia m e te r 3 1/8".

$ 6 ,0 0 0 -9 ,0 0 0

10. B accarat faceted waterfowl and swan paperweight. A ho llo w glass co n tain in g tw o w hite swans and a green and pu rple m erganser, or green egret; cu t w ith top and six circu lar side facets set o n a disc fo o t.

E n clo sin g the trio is a ring o f m ica-fleck ed tran sp aren t green glass n ear the periphery. T h e green grou nd p erfectly m im ics vivid algae th at w ould, o f cou rse, be a natu ral co m p a n io n to rip arian birds. T h e starcu t base has b een re-cu t. “As co m m ercial p rod u cts, (this classic era o f) paperw eights represented the best th at cou ld be tu rned o u t in q u a n ti­ ty at low cost. C on sid ered in this light, the high qu ality o f m o st F ren ch and m an y A m erican paperw eights is alm o st beyond belief. It ind icates an inventive en thu siasm and a tech n ical k n o w -h o w co m b in e d in a way th a t w ould n o t be possible today— that, in fact, was n o t possible at any o th e r tim e in history.”— Glass P aperw eights o f the N ew -York H istorical

Society, Paul H ollister (1974). F ro m the H o m er Perkins co llectio n .

D iam e te r 3".

$ 9 ,0 0 0 -1 5 ,0 0 0

11. B accarat green snake paperweight. T h e reptile, w ith red and b lack eyes, is coiled o n a p ebbly green and beige ground , flecked w ith m ica. T h e n atu ralistic appearan ce o f the ground allows this snake a fam iliar h abitat, rath er th an a fantasy cu sh io n o f glassm aker art. “In 1880, B accarat issued for the first tim e th e so-called ro ck w eights, som e of

th e m

in c lu d in g

re p tile s,

an d

a

few

in c lu d in g

flow ers.”—

P aperw eights, Sibylle Ja rg sto rf (1 9 9 1 ). “R eptiles were relatively rare am o n g the an im al m o tifs o f the classic perio d , alth o u g h they were c o m m o n sym bols o f renew al and you th.”— Glass P aperw eights in T he

A rt Institute o f C hicago, G eraldin e J. C asper ( 1991).

D iam e te r 3 3 /1 6 ".

8

FALL 2000

$ 7 ,5 0 0 -1 0 ,0 0 0

12. Saint Louis green carpet ground paperweight w ith a

15. B accarat interlaced trefoil garlands paperweight, w ith

central cane cluster encircled by five silhouette canes, including

a co m p lex cen ter cane, encircled by a ring o f canes, and two

a dog, dancing couple, dancing devil, a m an and a woman.

in terlaced garlands o n clear, star-cu t ground , in an em erald

“Incorporation o f these canes may also have occurred m ore

green flash overlay, w ith top and side facets. M in o r chips to

or less sim ultaneously with that o f their rival (B accarat). .. W hen­

overlay and facets.

ever they first appeared... St. Louis silhouettes are hom e-grow n

D iam eter 2 3 /4 ".

$ 2 ,2 5 0 -3 ,5 0 0

designs with no indication o f any outside influence .”— The Glass

16. B accarat interlaced trefoil garlands paperweight, held

Menagerie, John D. Haw ley (1995).

D iam eter 2 15/16".

$ 1 0 ,0 0 0 -1 2 ,0 0 0

alo ft in the crystal o n a bed o f m u slin. T h e cen ter cane has six -p o in t w hite stars w ith red cen ters, divided by section s o f

13. Rare Baccarat red and white stardust carpet ground paperweight. A form al array o f com plex cog canes pop out o f

laced trefo il garlands. S ix and one facets.

the ground in cobalt blue, salm on and lettuce green. Sharply

D iam eter 3 1/8".

arrow canes, en circled by a co m p lex garland, and tw o in te r­ $ 4 ,5 0 0 -5 ,5 0 0

detailed silhouettes include a butterfly, deer, horse, dog, rooster, elephant, pigeon and goat. “C arpets form ed o f sparkling white stardust canes m ake brilliant settings in w hich the

17. Saint Louis dated co n cen tric m illefiori m u sh room paperweight, the tuft com posed o f five rows o f com p lex canes,

colored canes stand out like gem s .”— Flowers W hich Clothe

around a cen tral cane in ruby, salm on, chartreuse, royal blue,

the M eadows.

w hite and pale green. T h e stem extends downward to a star-

D iam eter 3".

$ 1 0 ,0 0 0 -1 2 ,0 0 0

cut ground, inside a blue and w hite lace filigree torsade.

SL 1848 signature/date cane. Provenance: from the Charles

14. Baccarat scattered millefiori paperweight with a central

Gaylord collection.

com plex sham rock cane, flower portrait canes, nine Gridel canes

D iam eter 3 1/16".

$ 3 ,5 0 0 -4 ,5 0 0

and an 1847 signature/date cane on upset m uslin with twists.

D iam eter 3".

$ 3 ,0 0 0 -3 ,5 0 0

FALL 2000

9

18. Clichy trefoil garland paperweight, com posed o f m agenta

21. Clichy chequer paperweight w ith scattered co m p lex

and grass green floret canes en circlin g a large cen tral p in k

m illefio ri, in clu d in g a cen tral p in k and green rose, divided by

and green rose. T h e lo o p in g garland m ean ders arou nd six

strips o f w hite latticin io . “H owever, usually, the very large

c o m p le x p astry m o ld can es, in b o ld p in k , royal b lu e,

florets, in clu d in g fine C lich y roses in various colors, stand

tu rq u o ise and w hite, o n clear ground .

o u t rich and b o ld against the w hite filigree, the g ro u n d ’s

D iam e te r 3 1/8”.

$ 2 ,7 5 0 -3 ,5 0 0

o p acity rein fo rced by parallel filigree rods placed b en eath it .”— T he E ncyclopedia o f Glass Paperw eights.

19. Clichy bold-faced pansy paperweight. W ith two crow ning

D iam eter 2 7/8".

$ 3 ,0 0 0 -3 ,7 5 0

purple upper petals, and three lower petals in yellow and purple.

A closed purple bud hangs to the right. The m iddle lower petal

22. Clichy scrambled millefiori paperweight w ith whole and

displays the in d en t th a t was a C lich y trad em ark , and the real­

partial com plex canes in pink, m oss green, cobalt blue, aqua,

istic green leaves and stem are arranged th ree-d im en sio n ally

yellow, and including one white rose cane. “T h e purest and

on clear ground . In n in e te e n th -c e n tu ry flow er language the

m ost thoughtful m inds are those w hich love colour the m ost.”

pansy sym bolized ten d er th o u g h ts and friendship.

— John Ruskin (1819-1900), from The Stones o f Venice.

D iam eter 2 3/4 ".

D iam eter 3 1/8”.

$ 5 ,5 0 0 -7 ,0 0 0

$ 2 ,0 0 0 -3 ,0 0 0

20. Clichy faceted cinquefoil paperweight. T h e sim plicity and

23. Clichy faceted spaced concentric millefiori paperweight

airiness o f the com position is belied by the com plexity o f each

with a blue, red and white center cane encircled by a ring o f

cane. T h e garland has lapis blue pastry m old canes alternating

eight pink and green roses o n clear ground. T h e geom etric

with pink and white bu ll’s-eye canes, w ith cross cane centers. As

faceting creates dram a in this small artwork.

it winds around the clear ground it fram es a central green and

D iam eter 2 5/8".

white com plex cane. T he five facets and vertical flutes seem to m ultiply this arrangem ent.

D iam eter 3 1/8”.

10

$ 1 ,6 0 0 -1 ,9 0 0

FALL 2000

$ 1 ,5 0 0 -2 ,5 0 0

24. Clichy open concentric colorground millefiori paper­

27. Clichy miniature open concentric millefiori paperweight

weight. Com posed o f a central pastry m old cane in white and

w ith a pom egranate, green and white cog cane center, encircled

green w ith a pink flounce, encircled by a chain o f com plex flo­

by two rings o f com plex canes on clear ground.

ret canes in green, pink and white. T h e center is fram ed by a

D iam eter 1 3/4".

$ 6 0 0 -8 0 0

border garland containing six sets o f pink and green roses; set on an opaque turquoise ground. “Coloring is w arm er and

28. Clichy miniature scattered com plex millefiori paper­

richer than B accarat and m ore decisive than Saint Louis. Clichy

weight w ith a central pink and green rose, encircled by spaced

rose canes are num erous and m ay appear in variety and quanti­

pastry m old and cog canes on clear ground. “ .. .(In ) 1851, as the

ty in a single weight.”— T he Encyclopedia o f Glass Paperweights.

only French factory to show at the Crystal Palace in London,

D iam eter 2 1/4".

$ 2 ,0 0 0 -3 ,0 0 0

(Clichy) received international acclaim . It is suggested that Clichy glassworkers were hired by English firm s to set up sim i­

25. Clichy spaced com plex millefiori paperweight, w ith

lar production lines because its glass was so highly regarded.”

n in eteen individual styles o f typ ical C lich y canes in v ib ran t

— All A bout Paperweights.

hues, set o n clear ground . T h e colo rs in clu de pale to salm on

D iam eter 1 3/4".

$ 1 ,1 0 0 -1 ,5 0 0

pink, m oss green, tu rq u o ise, cobalt blue, pu rple, m a ro o n and w hite, o n clear ground . Inclu des o n e sy m m etrical w hite

29. Clichy scattered complex millefiori paperweight, includ­

and green rose.

ing three pink and green roses, on clear ground. “Clichy pre­

D iam eter 2 1/2".

$ 1 ,3 0 0 -1 ,8 0 0

sum ably produced the greatest num bers o f all French paper­ weights. A total o f about 10,000 pieces seems re alistic... After

26. Clichy colorground paperweight. At the center, a snow

1870 (and the Franco-Prussian W ar) no further paperweight

w hite p astry m o ld can e an ch o rs the fo u r clusters o f m illefio ri

production is known.”— Paperweights o f the World.

garlands in green, tu rq u o ise, pink, claret and w hite. Studded

D iam eter 2 3/16".

$ 1 ,4 0 0 -1 ,8 0 0

at p o in ts betw een the b lo o m s o f canes, is a sm aller pastry m o ld cane in claret, th a t seem s to be ju st break in g th ro u gh the surface o f a lu x u rio u s purple o paqu e ground.

D iam eter 2 5 /8 ".

$ 1 ,5 0 0 -2 ,5 0 0

30. Clichy spaced concentric com plex m illefiori paper­ weight w ith a cen tral green p astry m o ld cane, en circled by a rin g o f eight w hite and p in k roses, o n clear ground .

D iam e te r 2 1/16".

FALL 2000

$ 1 ,0 0 0 -1 ,2 0 0

11

31. Baccarat red and white primrose paperweight. The flower

34. Baccarat miniature royal blue and white six-petal wall­

is com posed o f five, shaded, red and white striped petals about

flower paperweight. Each o f the four green leaves is unique

a blue cane stam en, surrounded by two rings o f white stardust

in style, including a slender red-veined leaf. T h e m o tif is en cir­

canes, and grows from a sturdy stalk with six leaves exhibiting

cled by a m illefiori garland, w hich shows the m inute detailing in

typical Baccarat veining. T he blossom is crow ned by couplets

the stardust and arrow canes that m ake B accarat paperweights

o f green leaves, and is encircled by a blue and white com plex

so delightful, especially on a m iniature scale. O n clear, star-cut

m illefiori garland o f cog and floret canes on clear ground.

ground; w ith all-over printies. D iam eter 2".

D iam eter 3 1/8".

$ 2 ,0 0 0 -2 ,5 0 0

$3 ,0 0 0 -3 ,5 0 0

35. Baccarat double clematis paperweight w ith ribbed mauve 32. Baccarat clematis and bud paperweight, the flower w ith

petals, a rogue red bud, green leaves and stem s o n a clear, star-

six ridged, red and white petals. T h e central details o f this flower

cut ground; six and one facets. “A fine antique French paper­

show the deft skills o f the glass artist. T h e center o f the clem atis

weight is indubitably, by any standard, a com bination o f beauty

is a hexagonal shape m ade up o f a bu ll’s-eye cane surrounded by

and harm ony, execution and technique. I f it is true that the

two rows o f stardust canes. Tiny beads o f air float between

artistic m erits o f an o b ject are in proportion to the success

each o f the six leaves and emphasize its three-dim ensionality.

with w hich draftsm anship or craftsm anship has been b len ­

A bursting red bud emerges from the wilds o f the green leaves,

ded w ith taste, then antique French paperweights m ust score

suspended in its clear crystal ground.

very high .”— A G arland o f Weights, Frank J. M an heim (1967).

D iam eter 3 1/16".

$ 3 ,5 0 0 -4 ,5 0 0

33. Baccarat red and white primrose paperweight, with a white stardust/bufl’s-eye cane center. T h e blo om seem s to seep

D iam eter 2 7/8".

$2 ,5 0 0 -3 ,0 0 0

36. Baccarat cobalt blue and white striped primrose paper­ weight with a stardust/bull’s-eye center. D ark green leaves nod

red over the dark green leaves, set o ff by a star-cut ground.

sm oothly near the stem ; serrated sm aller ones crow n the flower

D iam eter 2 7/8".

head. T he blossom rests on a clear star-cut ground.

$1 ,6 0 0 -2 ,0 0 0

D iam eter 2 7 /1 6 ".

12

FALL 2000

$ 1 ,0 0 0 -1 ,5 0 0

37. Rare Saint Louis four-color crown paperweight w ith ruby

floret cane in white, salmon, and cobalt (See The Art o f the Paper­

and cadm ium green twists, alternating with white latticinio

weight—Saint Louis, p. 13; A Collectors Guide to Paperweights, pp.

spokes and lim e green and cobalt blue twists, originating from a

34-35; Paperweights for Collectors, pp. 13,53,68). Bottom is chipped.

large pink, white and blue central cog star cane. “T h e crown

Diameter 2 7/8".

$2,500-3,500

weight is perhaps the m ost distinctive o f all the Saint Louis d esign s”— A Collectors Guide to Paperweights (See All About

40. Saint Louis egg-shaped paperweight w ith an upright

Paperweights, p.17; Identifying Antique Paperweights, Lampwork, p.

68 and plate 51; Paperweights and Other Glass Curiosities, pp. 33-34).

bouqu et o f assorted lam pw ork flowers and dark green leaves;

D iam eter 2 1/2".

in a gentle lady’s hand, a V ictorian technique to cool the palms.

$ 3 ,0 0 0 -4 ,0 0 0

all-over circular facets. T he oblong glass was intended to be held H eight 2 1/2".

$ 3 ,0 0 0 -4 ,0 0 0

38. Rare Saint Louis magnum two-color crown paperweight w ith red and cobalt blue twists, alternating with white latticinio

41. Saint Louis upright bouquet paperweight w ith lam pw ork

spokes, projecting from a central com plex six-pointed star/bun-

and com plex cane flowers, and green leaves, encircled by a blue

dled rod cane in yellow, white, green and red. “T he precision

and white torsade; all-over rectangular facets.

w ith w hich the glassm aker placed the parts o f the design to ­

D iam eter 2 13/16".

gether is a phenom enal dem onstration o f skill.”— The Art o f the

Paperw eight— Challenging Tradition (See T he Art o f the Paper­ weight , p. 90; The Encyclopedia o f Glass Paperweights, pp. 98-101; Glass Paperweights in the A rt Institute o f Chicago, p. 34).

D iam eter 3 9/16".

$ 3 ,5 0 0 -5 ,0 0 0

$ 3 ,0 0 0 -3 ,7 5 0

42. Saint Louis antique multi-tiered pink dahlia paperweight w ith a yellow and blue cog cane center and six radiating green leaves on a clear, star-cut ground. “ (Saint Louis) was founded in 1767 under the patronage o f the French King Louis XV. T he ‘Royal Glassworks’ o f Saint-Louis can presently trace its history

39. Saint Louis four-color crown paperweight with ruby and lime

back to 1586, when the original glassworks were founded at that

green twists, alternating with white latticinio spokes and cobalt blue

locality in the Argenthal region.”— Paperweights o f the World.

and salmon twists, originating from a large central complex cog and

D iam eter 2 13/16".

FALL 2000

$ 5 ,0 0 0 -6 ,0 0 0

13

43. Saint Louis pom pon paperweight. T h e flower, w ith

46. Saint Louis flat pansy bouquet paperweight over a clear

feathered w hite petals arou nd a sm all co m p lex blue and yel­

ground ; side facets and fan cy -cu t top. Im p ressio n istic lam p -

low m illefio ri cane, b lo o m s o n a stalk w ith a w hite bud and

w ork in the pansy and a singular blu e and w hite star can e in

variegated em erald green leaves, over a w hite d ou ble-sw irl

its co m p an io n blu e flower. P astry tip leaves, show ing great

la tticin io ground , w ith tran slu cen t p in k glass sandw iched

detail, fram e the b o u q u e t in citru s green.

betw een the swirls o f the filigree. “U nlike B accarat, the flow er

D iam eter 3 1/16".

$ 2 ,2 5 0 -3 ,0 0 0

petals here are o ften carefully bled o u t into the su rrou n d in g clear glass, giving the flow er a gossam er qu ality th at is o n e o f

47. Saint Louis salm on pink pom pon paperweight w ith a

the triu m p h s o f pap erw eigh t-m akin g .”— T he E ncyclopedia o f

co m p lex cane center, a p in k bu d and green leaves, o n a

Glass Paperw eights. S o m e striatio n in the d om e.

d o u ble-sw irl w hite latticin io cu sh ion . T h e suppleness in the

D iam eter 2 15/16".

$ 2 ,7 5 0 -3 ,5 0 0

flow er’s petals is p alpable, they alm o st seem to un fo ld b efo re you r eyes. “Like th e ir A m erican co u n terp arts, S ain t-L o u is

44. Saint Louis large blue double clematis paperweight with

p o m -p o m s often in d en t th eir ground s, im p artin g a wave to

green leaves and stem s, on swirling white latticinio; side facets.

the latticin io .”— Glass Paperweights o f the New-York H istorical

“These flowers do n o t occur so frequently as the dahlia, about

Society.

one in six o f the St. Louis flower type being a clem atis. The flow­

D iam eter 3".

$ 3 ,0 0 0 -3 ,7 5 0

ers are usually double, with gentian b lu e ... and yellow cen ­ tres. . . ”— Paperweights an d Other Glass Curiosities.

48. Saint Louis “true fuchsia” paperweight, show casing the

D iam eter 3".

$ 2 ,0 0 0 -2 ,7 5 0

signature p in k and blue fuchsia blo sso m , w ith red buds and

45. Saint Louis yellow-centered feathery white pom pon paperweight w ith green leaves, a tig h t bud and stem , o n a

latticin io cushion . “O nly one tru e St. Louis flow er in ten is a

d ou ble-sw irl p in k la tticin io cu sh ion .

D iam eter 2 7/8".

green leaves, attached to a m auve stem , o n a sw irling w hite

D iam eter 2 13/16".

14

fuchsia ”— Paperweights an d O ther Glass Curiosities.

$ 2 ,7 5 0 -3 ,5 0 0

FALL 2000

$ 3 ,0 0 0 -4 ,0 0 0

49. Saint Louis cherries paperweight. W ith a gestural ener­

52. Baccarat strawberry paperweight w ith three ripening

getic style, the lam pworked branch, leaves and fruit seem to

berries, one new and em erald green, the other two growing

spring away from each other. The red cherries lo ok ready to

larger and fleshier in pink, yet w ith a pale pearly cast that unripe

ju m p from the stems. Yet, the patterned printies b o th reign in,

strawberries display.

and add complexity to the image. “The various faceting treatments

French fleur-de-lis. A dram atic star-cut ground radiates through

T he stylized green leaves fan out like

give the illusion o f ... more cherries on a bough. This is imaginative

the clear glass. “The artisans at Baccarat ingeniously fused

paperweight-making.”— The Encyclopedia o f Glass Paperweights.

hexagonal rods together to create the dim ensional berries in

D iam eter 2 5/8".

this in terp retatio n o f the s tra w b e rry ...”— T he A rt o f the

$ 2 ,2 5 0 -3 ,2 5 0

Paperw eight— Challenging Tradition.

50. Saint Louis fruit paperweight in a still-life under glass. The

D iam eter 2 13/16".

$ 2 ,5 0 0 -3 ,5 0 0

casual arrangem ent contains a robust apple, two Rubenesque pears and three oversized cherries on a bed o f rich green leaves.

53. Saint Louis vegetable paperweight w ith a form al arrange­

T h e w arm ly colored fruits are form ally arranged in a swirling

m ent o f five turnips: two purple, two white and one red,

white latticinio basket (See Paperweights , Jargstorf, p. 28).

each w ith cropped leafy green tops, in a swirling white latticinio

D iam eter 3 1/4".

basket. In the V ictorian b o o k The Language o f Flowers, turnips

$ 1 ,2 5 0 -1 ,7 5 0

are said to represent “charity.” “T h e day is com ing w hen a

51. American New England Glass Company red cherries paperweight, the ripe fruit growing from a taupe stem with

single carrot, freshly observed, will set o ff a revolution.”—

detailed green leaves, over clear ground; m ultiple circular facets.

D iam eter 2 1/2".

Paul C ezanne (1839-1906). $ 1 ,2 0 0 -1 ,8 0 0

“D uring his years at the New England, George Dale is know n to have m ade m any paperweights, am ong them scram bles, fruits

54. Saint Louis grapes paperweight w ith

and a crow n weight, now in possession o f his lineal descen­

purple grapes hanging from a leafy branch. The all-over faceting

dants.”— The Encyclopedia o f Glass Paperweights.

o f this elegant paperweight accents the “multiplicity” o f the fruit.

D iam eter 2 11/16".

$ 2 ,2 5 0 -3 ,0 0 0

D iam eter 2 5/8".

FALL 2000

velvety, royal

$ 3 ,0 0 0 -3 ,5 0 0

15

Detail photo 6 (Lot 60): Francis Joseph I, Emperor of Austria of 1848 to 1916: “Ferdinand I was forced to abdicate in favor of his nephew Francis Joseph, whose youth and popularity it was believed would make it easier to harmonize the conflicting interest of the monarchy, especially in Italy7—“Miniature

Portrait Canes, or murrine “Franchinis first silhouettes were crude, especially when compared to their French counterparts. He created his canes by a lampwork process, employing a simple lamp that was fueled by animal fat. In this freehand method, the glassworker heated small glass components, such as rods, in a flame and formed them into the desired shape with simple tools. That Giacomo Franchini was later able to pro­ duce beautifully detailed subject and portrait canes by this method is almost unbelievable.”— The Glass Menagerie: A Study of Silhouette Canes in Antique Paperweights. “Encouraged by the successful results achieved with their millefiori canes, the Franchini’s hit upon the idea of making canes containing motifs other than the geometric patterns they had produced hitherto... As far as the Franchini’s were concerned, murrine made from animal-shaped dip molds (regarded as the height of finesse by Bohemian and French paperweight manufacturers) were only the starting point for far more elaborate creations...— Miniature Masterpieces—Mosaic Glass 1838-1924 (See Miniature Masterpieces, pp. 33-90).

“Francis Joseph I”(Lot 60)

“Garibaldi” (Lot 60) Detail photos 1 and 2 (Lot 55): Giacomo Franchini canes, ca. 1841, representing figures in the Commedia delTArte, a popular Italian theatrical form. The canes are portraits of the characters, “Arlecchino” (Harlequin) the clownish valet, and “Pantalone” a penny-pinching merchant. “(Origi­ nating in northern Italy in the 1550s and flourishing for 200 years... The (stock types) of the Commedia were instantly recognizable to enthusiastic specta­ tors and upheld the unique, slapstick humor of the theater form... (The) actors also developed individ­ ual comic routines, called Iazzi, which they could execute on demand, especially when it was felt that a sudden laugh was needed.”(Source: Encarta Online Encyclopedia, Mel Gordon, Professor of Dramatic Arts, UC Berkeley, 2000).

“FI Eagle” (Lot 55)

“Rialto Bridge”(Lot 64)

“Ferdinand I”(Lot 60)

16

Detail photo 5 (Lot 60): Ferdinand I Emperor of Austria from 1835 to 1848: “Because of his age and weakness the various provinces of Italy began to fall away from his grasp to join the nationalistic movement towards a united Italy under Victor Emanuel II.”

Detail photo 8 (Lot 64): The murrina of a bridge is most certainly the famous landmark, the Rialto Bridge, as durable an icon as gondolas or Carnavale masks. An emblem of Venetian engineering and the only bridge to cross the Grand Canal until the nineteenth century.

Detail photo 9 (Lot 66): African, Asian, and “nonEuropean” faces appear in canes as exotic archetypes. “The flasks with Chinese and other foreign faces were made to celebrate the uniting of all the small principalities under one king, Umberto I.”—A. Christian Revi.

“Chinese/Africanyouths”(Lot 66)

Portraits in Glass Rods’,' by Albert Christian Revi, Bulletin of the Paperweight Collector’s Association, Inc. June 1958.

Detail photo 4 (Lot 60): Portrait of Pope Pius IX: “Pope Pius IX, 1846 to 1878, perhaps the most mem­ orable pope of this name, alike because of his long pontificate and early liberalism in politics (until checked by Mazzini’s attempt to establish a republic in Rome, in 1849.) ” Recently moved to beatified status by the Vatican, this decision has been furious­ ly contested by Italian Jews who cite his historic anti-Semitism as a definitive barrier to sainthood (Source: “Italian Jews Denounce Vatican’s Decision to Beatify Pius IX’,’ NewYork Times, June 28,2000).

Detail photo 7 (Lot 60): “Men, I’m getting out of Rome. Anyone who wants to carry on the war against the outsiders, come with me. I can’t offer you either honors or wages; I offer you hunger, thirst, forced marches, battles, and death.” Guiseppe Garibaldi (1807-1882), Italian general and nation-a list leader. (Source: Iliya James D’Addezio, DAddezio.com, 2000). “(Garibaldi) whose conquest of Sicily and Naples contributed to Italian unity under the royal House of Savoy.”— The Glass Menagerie, John D. Hawley. In other canes of the period, Garibaldi is portrayed as an older gentle­ man, but is recognizable in his “guerrilla” redshirt.

(Source: John D. Hawley) (See Sarpellon, p. 130;

Miniature Portraits in Glass Rods; Miniature Masterpieces, p. 89.)

“Pantalone”(Lot 55) Detail photo 3 (Lot 55): This was the insignia of the Austrian Emperor Ferdinand I (1835-1848). It shows the emblematic double-headed eagle, (one for Austria, one for Hungary) and the initials FI for Ferdinand Imperator—the cane, however, was placed in the paperweight backwards.— “Miniature

Portraits in Glass Rods,” by Albert Christian Revi, Bulletin of the Paperweight Collector’s Association, Inc. June 1958.

“St. Marks Lion”(Lot 67)

Detail photo 10 (Lot 67): The single portrait cane shows the patron of Venice, San Marco’s emblematic “lion”: the iconic feline face framed by wings and an open book, presumably the eponymous gospel. A savvy murrine maker obviously knew it was appro­ priate decoration for a fashionable, yet devout mem­ ber of Venice society. “Here it is S. Marco, the tow­ er, the piazza, Palazzo Ducale. Probably such a jewel doesn’t exist anywhere else in the world.”— Hippolyte Taine (Source: Dr. Claudio Raffael, 1996-2000,Venetia.com.)

Detail photo 11 (Lot 68): The two portraits show identical American Indian profiles, die one on the back displayed in reverse. (See Miniature Portraits in Glass Rods, p. 28, fig. 8; Miniature Master­ pieces, p. 89, figs. 688-96.) “Millefiori plaques did not present...any particular technical prob­ lems ... (Scent botdes) required greater skill because “American Indian”(Lot 68) the glass mass was liable to break unless it was heated and...cooled slowly and evenly.”—

FALL 2000

Miniature Masterpieces.

55. Important rare Pietro Bigaglia/Giacomo Franchini Venetian dated scrambled millefiori paperweight containing a superb 1847

58. Venetian lampworked six-sided scent bottle with four portraits of

date cane. Pietro Bigaglia purchased millefiori canes from the Franchini family to create paperweights. An important top central cane, which

rounded by gold and copper aventurine and swirls of blue, green, teal,

Pius IX, Ferdinand I, Francis Joseph I, and three gondola canes, sur­

was put in backwards, bears the image of a double-headed eagle herald

and rose glass; topped with a silver stopper and cork, and silver chate­ laine chain. Unknown Venetian manufacturer, late nineteenth century.

and the initials FI (Ferdinand I) (See detail p.16). Also included are

Height 2 5/8".

$2,000-2,500

eight canes, ca. 1841, representing figures in the Commedia dell’Arte, a popular Italian theatrical form. ( detail, p.16) The weight also contains

59. Venetian scent bottle with portrait canes of two women;

numerous animal silhouettes and complex geometric millefiori canes,

a brunette with a necklace and a white flower in her hair, and the

as well as gold aventurine and colored twists in blue, red, pink, tur­ quoise, yellow, and white. An unusual and very important feature is the red and blue twists, which are arranged to create a checkerboard pattern, so this may be one of the first “chequer weights” and could have been the inspiration for the wonderful Clichy and Baccarat specimens to follow.

Diameter 2 3/4". $7,500-10,000

profile o f a pouting blond woman in green, amidst swirls o f gold

56. Rare Bigaglia/Franchini Venetian dated scrambled millefiori paperweight with one PB 1846 date cane (See Sarpellon, p. 66) and two partial date canes, as well as two canes bearing the “FI” eagle emblem.

In smaller canes one can spot the popular Commedia characters.

Diameter 2 3/4". $4,000-5,000

57. Venetian scrambled paperweight with sections o f twists, latticinio and copper aventurine;round knopf on the top. Composed o f complex geometric millefiori canes, as wellas tri-colored twists.

Diameter 2 9/16". $500-800

aventurine and swirls o f colored glass. Unknown manufacturer, late nineteenth century. The identities o f these women are hitherto unidentified (See Miniature Masterpieces, p. 89).

Height 2 15/16".

$900-1,200

60. Venetian lampworked ovoid scent bottle with six portrait canes; including Pius IX, Ferdinand I, Francis Joseph I, Garibaldi, and one cane showing a bridge (See detail, p.16). Swirls o f aventurine, and other rich colors, with collar and remains o f a chatelaine chain.

Unknown manufacturer, late nineteenth century. From the A. Christian Revi collection. Exhibited at the Corning Museum of Glass, 1960s.

Height 2 13/16". $1,500-2,000

61. Italian “Bigaglia” small round scent bottle. Six portrait canes, likely Francis Joseph I, and an unidentified stylishly accessorized lady— scattered on swirling blue, green, and gold aventurine; cork stopper.

Length 2 7/16".

FALL 2000

$1,500-2,000

17

62. Rare and highly decorated Venetian lampworked round scent bottle, with seven portrait canes and swirls o f eye catching color.

Finished with metal filigree collar, stopper with cork and chatelaine chain. The portraits include: Ferdinand I, Pope Pius IX in liturgical collar; two portraits in opposite profiles o f a gentleman with a han­ dlebar mustache, possibly Victor Emmanuel II, King o f Italy from 1861 to 1878; and three identical canes o f a hirsute man in a red mili­ tia coat, likely Garibaldi. Unknown Venetian manufacturer, late nine­ teenth century. From the A. Christian Revi collection.

Height 2 3/8". $1,500-2,000

65. Venetian lampworked round scent bottle with nine portrait canes, and two gondola canes, in swirls o f festive color, topped with brass stopper, cork and chatelaine chain. The murrina include three of Ferdinand I, two o f Pope Pius IX, two o f Garibaldi, one o f Francis Joseph I, and Victor Emmanuel II. “In the liquefied transparency o f the punctiform colours o f the ‘murrine’ we still have that diffuse aura (the luminous quintessence o f uniqueness) whose death has been decreed... by industrial production (and reproduction.)”

— murrinAURA, Michela Giacon, catalogue: Mario Dei Rossi exhibit.

Unknown Venetian manufacturer, late nineteenth century. From the A. Christian Revi collection. Height 2 3/8".

$1,500-2,200

63. Opalescent Venetian lampworked round scent bottle with six portrait canes and one gondola cane. “Once the (gondola) cane had been formed and drawn out until it was slender enough to be reheat­ ed... it was enclosed by a ring o f stars, circles, or other motifs to pro­ duce a charming and character'* be souvenir for the delectation o f the countless tourists who poured into Venice.”— M iniature Masterpieces. The depths o f the glass reveal a peacock’s tail o f blue, turquoise, green, and teal, topped with metal filigree collar, stopper with cork and chatelaine chain. The portrait canes include the patri­ ot Garibaldi, and Pope Pius IX. Unknown Venetian manufacturer, late nineteenth century. From the A. Christian Revi collection.

Height 2 3/8". $1,200-2,000

64. Ornate Venetian lampworked round scent bottle with seven portrait canes. One murrina showing a bridge (See detail, p.16).

Aventurine and myriad glass tumble together exquisitely. Topped with metal filigree collar, stopper with cork and chatelaine chain. The remaining portraits feature Guiseppe Garibaldi, Pope Pius IX, Ferdinand I, and one o f Francis Joseph I. From the A. Christian Revi collection. Height 2 7/16". $1,200-2,000

18

66. Unusual Venetian lampworked ovoid scent bottle with five portrait canes, and swirls o f metallic foil glass in mixed hues, topped with a brass hinged stopper and chatelaine chain. The murrina show a variety o f men (See detail, p. 16). Unknown manufacturer, late nine­ teenth century. Small annealing crack down the middle o f both sides.

From the A. Christian Revi collection. Height 2 13/16". $600-800 67. Important Venetian lampworked round scent bottle with a portrait cane, an homage to Saint Mark (See detail, p.16). Metallic foil glass blooms through the glass in shades of rich gold, rose, silver and yellow. The chatelaine chain is intact, topped with a hinged stopper set with a blue glass “gemstone.” Small vertical annealing crack on front.

Unknown Venetian manufacturer, late nineteenth century. From the A. Christian Revi collection. Height 2 1/2". $1,200-1,500 68. Venetian lampworked ovoid scent bottle with two “American Indian” murrine (See detail, p.16). Unknown Venetian manufacturer, late nineteenth century. From the A. Christian Revi collection. Exhibited at the Corning Museum of Glass, 1960s. Height 2 13/16". $1,500-2,000

FALL 2000

69. W h itefriars crystal inkwell and

71. W h ite fria rs-ty p e close packed

two p aperw eights w ith

m illefiori paperweight w ith assorted

c o n c e n tr ic

m illefio ri in b rig h t p astry -icin g colors.

cog canes in red, blue, green, p in k and

B o ld shaped cog canes in h o t p ink,

w hite, en circled by a garland o f w hite

gold en rod , blue, and w hite, exh ib it a

staves. T h e floret faces o f the canes

p recisio n , rath er th an an overly p re ­

extend , aided by th e crystal d o m e’s

ciou s design. T h e set, in fo rm a tio n and

m ag nifying effect, as i f bu rstin g o u t o f

c o lo ra tio n , resem bles an a sso rtm en t

holid ay crackers. T h e colo rs are kept in

o f rich cakes o r sweets, set o u t fo r a

a m in im al yet vivid array, giving the

v ery p ro p er, E n g lish h igh tea. T h e

paperw eight the exu berance o f b u n tin g

inkw ell has a m atch in g stop per and a

and stream ers.

clear, fo o ted base.

D iam e te r 2 15 /1 6 ".

$ 1 ,1 0 0 -1 ,6 0 0

Inkw ell height: 6 9 /1 6 ".

Paperweights diam eters:

72. G old-colored Pinchbeck p aper­

3 1/4" and 3 3/8".

weight w ith tw o m en o n h o rseback ,

$2 ,2 5 0 -3 ,0 0 0

follow ing a you ng cou ple th ro u g h the

70. Outstanding Bacchus magnum close concentric millefiori paperweight w ith

w oods; fo o ted base covered w ith felt.

five rows o f com plex, ruffle, cog, and sixpointed star canes around a large central com bin atio n cane containing tw entyfive canes. Displaying a m astery o f co n ­ trasts, the paperweight design teases the eye w ith diaphanous recesses, alternating w ith bold, graphic canes that pop to the surface. T h e coloration is also distinct; from feathery lavender/opal to a rich navy blue. This exam ple is significant for its size and extensive use o f com plex canes. “Com pared to the output o f the French glass works o f Clichy, B accarat and S ain t Louis, the B acch u s p ro ­ duction was very lim ited, possibly four hundred o r so in total.”— Old English Paperweights (See Old English P aper­ weights, p. 51; T he Encyclopedia o f Glass Paperweights , pp. 152-159).

Diam eter 3 1/2". $10,000-12,000

oped a co p p er-zin c alloy w hich was

FALL 2000

T h o m a s P in ch b e ck (1 6 7 0 -1 7 3 2 ) devel­ p o p u lar d uring the V ic to ria n era fo r its re s e m b la n ce

to

gold.

“As

M rs.

B erg stro m p o in ts o u t, the skills o f je w ­ eler, chaser, and glassm aker are all requ ired here, and it is unlikely th at a P in ch b e ck paperw eight was the w ork o f o n e artisan o r even one factory. T h e fin e

w o rk m a n sh ip

an d

re m a rk a b le

detail o f the su b jects, to g eth er w ith the m ysterious effect created by the m a g n i­ fying lens, m akes these w eights at least as interesting and successful d ecorative o b je c ts

as

th e

s u lp h id e s ...”— T he

E ncyclopedia o f Glass Paperw eights.

D iam e te r 3 1/4".

$ 9 0 0 -1 ,5 0 0

19

73. Sandwich Glass Company double clematis paperweight

76. Gillinder concentric millefiori paperweight, com posed o f

com posed o f ten cobalt blue petals around a central pink and

com plex cog canes; five and one facets. The claret color seems to

yellow center. T h e w horl o f the flower’s center has a pearly

seep out from w ithin the heart o f the snow-white blo om o f

seashell quality. T h e vividness o f the petals is fram ed w ith a

m illefiori. “W ith few V ictorian excep tio n s... paperweights were

short green stem and five serrated leaves; white double-sw irl

critically ignored; naturally enough, since in the V ictorian

latticinio (See The Boston & Sandwich an d N ew England Glass

em porium o f objects o f unparalled hideousness, o f aesthetic

Companies, pp. 140-141).

horribilia on the grand scale, paperweights were alm ost the

D iam eter 2 3/4".

$ 8 0 0 -1 ,2 0 0

only genuinely beautiful objects m ade, and being small, were easily passed over.”— The Encyclopedia o f Glass Paperweights.

74. Rare Sandwich Glass Company blue and yellow speckled

D iam eter 2 1/2".

$2 ,2 5 0 -3 ,0 0 0

white wheatflower paperweight w ith a com plex cane center and green leaves o n a sw irling w hite latticin io cushion .

77. Rare Gillinder concentric millefiori paperweight w ith a

“Sandwich employed latticinio very rarely, usually only in the

central Q ueen V ictoria silhouette, encircled by two rings o f

m ixed fruit weights, w ith an occasional flow er... for variety.”—

com plex canes, in a white stave basket. “ ...(A m e ric a n ) designs

The Art o f the Paperw eight— The Boston & Sandwich an d N ew England Glass Companies.

were freely interchanged, and there was traffic betw een com p a­

D iam eter 3 1/8”.

Art Center.

$ 1 ,5 0 0 -2 ,5 0 0

nies in the canes themselves.”— Glass Paperweights o f the Bergstrom D iam eter 2 13/16".

$ 3 ,0 0 0 -4 ,0 0 0

75. New England Glass Company double-tiered blue poinsettia

paperweight with white complex cane center and green leaves on

78. Sandwich Glass Company fruit paperweight w ith a form al

double-swirl white latticinio. “According to some authorities, (New

arran gem en t o f fru it con tain in g five blushing pears and

England Glass Company) led all New England glasshouses in the

four ruby cherries, nestled in a bed o f green leaves on a double­

production o f high-quality glassware.”— Glass Paperweights o f the

swirl latticinio basket.

Bergstrom Art Center. Diameter 3 1/4".

D iam eter 2 5/8".

20

$800-950

FALL 2000

$ 4 5 0 -6 0 0

79. Bohemian miniature millefiori paperweight w ith a burst

82. Miscellaneous curtain tieback com posed o f long, twisted,

o f white stardust and a bu lls-ey e center, encircled by a ring o f six

latticinio ribbons, or filigrana, encased in clear crystal. T he canes

spaced pale blue and white com plex cog canes, and a border

are gently curved, and are com prised o f a triple weave o f rose

garland that appears to exponentially increase in cane detail.

colored strands, wrapped in a w hite-thread spiral (See M in­

T h e sym m etry o f this com pact design is set o ff elegantly by

iature M asterpieces, pp. 2 3 -2 7 , fig. 3 8 -3 9 ,4 0 ).

the clear ground.

Length 10", including a 1" silver ring o n each end.

D iam eter 1 7/8".

$ 1 2 0 -1 5 0

$ 3 2 5 -4 5 0

83. Whitefriars low-domed millefiori paperweight w ith four 80. Nailsea high-domed green bottle paperweight w ith a large

con centric rings o f white canes around a central red-lined white

center flower, com m only referred to as a “lily.” T he larger lily

cane; border o f hollow white canes. T h e spacious arrangem ent

arches its petals over three sm aller flowers, all spaced in a slen­

exhibits the individual canes very well, and beaded air bubbles

der vase. T h e vase and lilies are created from thousands o f tiny

catch the light, adding sparkle. Clear, footed base.

bubbles. “T he glassworkers were encouraged in m ost factories to

D iam eter 3 1/4".

$ 5 0 0 -6 5 0

test their skills with this spare glass, usually on their own

84. Saint Louis clematis bouquet paperweight w ith one pink

tim e.”— Old English Paperweights.

H eight 4 15/16".

$ 3 5 0 -4 5 0

blossom , one blue blossom and light green serrated leaves on clear ground; all-over rectangular facets. “W e tend to fo rg et...

81. Baccarat scrambled paperweight w ith sections o f canes,

that as handm ade objects (paperweights) were subject n o t only

twists and latticinio in electric blue, red, green, pink, yellow and

to the habits and capabilities o f the artists w ho m ade them but

white. A lthough this w ork is from the classic period o f paper­

also to wide variations in the quality and content o f the glass.

weights, the playful chequered design has an O p-A rt quality,

Paperw eight-m aking was an art, no t a science.”— Glass Paper­

w ith its unique twists and spliced latticinio. An antique w ith a

weights o f the New-York H istorical Society.

futuristic sensibility.

D iam eter 2 3/8".

D iam eter 3 1/8".

$ 1,000-1,500

$70 0 -1 ,0 0 0

FALL 2000

21

85. Rare Em il L arso n m agn u m yellow

88. A m erican turquoise cross on a rock

crim p rose paperweight, ca. 1940, w ith fo u r

paperw eight

opaque lim e green leaves, in m in t con dition,

“R O C K O F A G E S” in blue p rin t, on opaqu e

containing all o f the characteristics o f a Larson

w h ite

crim p

rose: i.e. ap p roxim ately

16 petals

fram ed by th e in scrip tio n

g ro u n d ;

c irc u la r

to p

fa cet.

“M idw estern glass facto ries w ere established

su rrou nd in g a p ro m in e n t cen tral stam en.

follow ing the discovery o f n atu ral gas, w hich

Th e size, let alone the vivid color o f the rose,

p ro v id ed a c o n sta n t fu el so u rce. P a p e r­

is audacious.

w eig h ts

H eight 3 3 /4 ”; D iam eter 3 3/8 " $ 3 ,7 5 0 -4 ,5 0 0

P ittsbu rg h area, to m an y facto ries in O h io

86. Millville desk set w ith ink-well and

b e tte r k n o w n ), an d to

m atching paperweight, w ith a th re e -d im e n ­

P aperw eights o f the B ergstrom A rt Center.

sio n al u m b rella in the paperw eight, inkw ell

D iam e te r 3 11 /1 6 ".

have

been

a ttrib u te d

to

th e

(R av en n a and Z an esv ille are am o n g th e In d ia n a .”— G lass $ 2 0 0 -3 0 0

base, and m atch in g stopper, each having panels o f royal blue, teal and red over w hite.

89. A m erican frit paperweight w ith a cozy

C o lla re d ,

hou se, fro n t yard and leaf-bare tree, and the

c irc u la r

fo o t;

p o n til

m a rk .

A ttribu ted to E m il Stanger, ca. 1900 (See T he

in scrip tio n “H O M E S W E E T H O M E ,” over a

A rt o f the P aperw eight , p .57, plate 3 .2 7 ).

wavy, m u lti-co lo red ground. “ (V )e ry p o p ­

Inkw ell w ith stop per H eig h t 8 3/4 ";

u la r ... were those beds o f granular chips

Inkw ell D ia m e te r 3 5 /1 6 ".

o f co lo re d

Paperw eight H eight 3 1/3"; D iam eter 3 3 /1 6 ".

gro u n d fo r p re se n ta tio n and an n iv ersary

$ 1 ,7 0 0 -2 ,5 0 0

w e ig h ts ... b e a rin g M o th e r/

87. John

D egen h art

pink

crim p

rose

‘M y

H o m e ’ . . . ”— T h e

paperweight w ith m o ttled p ink and w hite

Paperw eights.

petals. T h e n atu ralistic wavy edges suggest

D iam e te r 3 1/4".

a real p e ta l still u n fo ld in g , su p p le and d elica te

(S e e

T he E n cy clo p ed ia o f G lass

P aperw eights , p. 2 4 8 ). F ro m the A. C h ristian Revi co llectio n .

D iam eter 2 1 1/16".

22

glass th a t fo rm e d

$ 2 0 0 -3 0 0

FALL 2000

th e b a c k ­

th e

in s c rip tio n s

Fath er,’

‘H o m e

E n cy clop ed ia

of

‘To Sw eet

G lass

$ 1 0 0 -2 0 0

90. Czechoslovakian three-dimensional sulphide paperweight with a lion in repose in a light brown gazebo, on green, blue, red and white jasper ground; geometric facets with pointed top.

Height 3 7/8".

$450-600

91. Millville frit paperweight depicting a white sailing ship, over a clear, footed pedestal base.

H eight 3 3/4".

$ 1 ,2 0 0 -2 ,0 0 0

92. Val St. Lambert sulphide paperweight o f an unknow n bearded m an in uniform , (possibly Leopold II, king o f Belgium , 1865-1909) surrounded by a pea green, grey and white twist on translucent cobalt blue ground. W hile little d ocu m entation is available on Val St. L am bert weights, this Belgian factory “was founded in 1825, the sam e year the B oston 8c Sandw ich Glass C om pany was founded. ...T h e com pany prospered from the beginning and, from tim e to tim e, bou g ht and absorbed other factories. In 1878 it employed 1,600 workers and by 1896 the n u m b er had risen to 7,8 7 2 .”— T he Encyclopedia o f Glass

Paperweights. From the A. C hristian Revi collection.

D iam eter 3 3/4".

$ 2 5 0 -5 0 0

93. Sulphide paperweight o f an unidentified m an o n clear ground. “ (Sulphid es).. .w ith a silvery lo ok im parted to the white clay by the thin pocket o f air between the cam eo and the enclos­ ing glass.”— Glass Paperw eights o f the New-York H istorical

Society.

D iam eter 2 1/16".

$ 2 0 0 -3 0 0

94. Saint Louis pressed lion paperweight, the frosted feline rendition reposes on a fancy ribbed glass base. Signed “St. Louis” o n the base. “W h at is n o t well know n is that the Cristalleries de St. Louis also produced pressed weights during the period 1875 to

1 8 8 0 ”— A nnual B ulletin o f the P aperw eight Collectors

Association, Inc. (1998) p. 47.

Length 5 5/8"; H eight 2 11/16".

$ 2 0 0 -3 0 0

95. French sulphide paperweight w ith a cam eo o f N apoleon III in profile, over clear ground.

D iam eter 3 1/4".

$ 2 0 0 -3 0 0

96. Baccarat circular plaque paperweight w ith a sulphide cam eo o f J. Francois Regnard, after a m edal by Joseph Eugene D ubois. D iam eter 2 1/8".

$ 3 0 0 -4 5 0

97. Art Nouveau advertising paperweight for the U. S. Glass Co., Pittsburg, PA, the pressed glass oval decorated with the p ro­ file o f a young w om an w ith an olive w reath in her hair, in relief, circled by a band o f gold beads, also in relief.

W idth 2 3/4"; Length 4 7/16"; Thickness 7/8".

$ 1 0 0 -1 5 0

98. Miscellaneous crystal marble w ith the three-dim ensional sulphide o f a girl wearing a long, hooded cape.

D iam eter 1 3/4".

$ 1 0 0 -1 5 0

FALL 2000

23

99. Unusual Saint Louis latticinio decanter, a Persian style, w ith a flared b o ttle attach ed to a bo w l-sh ap ed base. Two tru m p e t-sh ap e d section s o f sw irling w hite la t­ ticin io have been sandw iched to geth er to create the fitted stopper. A p ink, w hite and blue spiral filigree torsade d ecorates the piece w here the b o ttle m eets the base, at the m o u th o f the b o ttle and o n the stopper.

H eig ht 13"; D iam e te r o f bow l 5 11/16".

$ 3 ,0 0 0 -5 ,0 0 0

100. B accarat glass decanter w ith a g o ld -le af design o f flow ers, leaves and vines, and a faceted glass stop p er encasing a red and w hite clem atis.

H eig ht 8 1/2".

$ 1 ,5 0 0 -2 ,5 0 0

101. Dom inick Labino vase, com p o sed o f petal-like layers o f irid escen t blue frosted crystal, w ith an ov al-shap ed m o u th . “H ere the laym an finds the e x p lan atio n o f a very fascin atin g m ystery o f glass: Just barely liqu id and ju st solidified are very close. T h e co n d itio n s are sep arated o n ly by a sm all tem p eratu re d ifference o f a few degrees— alm o st w ith o u t tran sitio n . T h is special qu ality o f glass is w hat gives the glass artist the ch an ce to realize all o f his creativ ity in w orks o f a rt .”— P aperw eights o f the World.

Signed /d ated 1970. H eight 6 3 /4 ".

$ 1 ,2 0 0 -1 ,5 0 0

102. M onart Glass bowl w ith p e a ch -co lo red m o ttled sw irls o n clear, d ecorated w ith gold av enturine and b lack along a o n e -in c h w idth aro u n d the rim . M o n a rt glass was p ro d u ced fro m 1924 un til 1961, by Salvador Y sart and his sons, Paul, A nto in e, V in ce n t, and A ugustine. T h is piece co n tain s the ch aracteristic b u tto n p o n til o f M o n a rt pieces (See Y sart Glass , T he Pontil M arks , pp. 2 0 -2 1 and p. 51 plates 1 -6 ).

H eig ht 3 3 /4 "; D ia m e te r 8 1/2".

$ 4 0 0 -5 0 0

103. Vasart glass basket in green and m aro on , w ith a pressed cross-hatch pattern at the top o f the handles. Vasart script signature. Located in Perth, Scotland “Vasart Glass p ro ­ duced fro m 1946 to 1956, w ith acid -etched script ‘V asart’ sig n a tu re... Vasart glass tends to have a smaller, m o re roughly finished p ontil than M o n art and never has the rim o f the base ground. O n e co m m o n Vasart colou r schem e used a lighter shade at the b o tto m o f the piece w ith a darker one towards the to p .”— Ysart Glass.

H eight 3 7 /1 6 "; W id th 3"; L ength 5 3 /1 6 ".

24

FALL 2000

$ 1 2 0 -1 8 0

T he C onsummate R osebush T riple

104. Rick Ayotte 1994 The Consummate Rosebush Triple paperweight. This design is com posed o f three successively larger paper­ weights, fused together, a feat which has only been accom plished by very few m od ern paperweight makers. T h e top tier is as in h o m ­ age to the pink Clichy Rose. T hen an open yellow breath o f life rose, bedded on wild tuberoses. Lastly a trium varite o f “pure and love­ ly” A m erican Beauty red roses. “Ayotte cap tu res... perfect flowers in glass w ith elegance and grace.”— Songs W ithout Words: The Art

o f the Paperw eight— Rick Ayotte, Law rence Selman, 1997. Signed and dated.

H eight 5 11/16".

$4 ,5 0 0 -6 ,0 0 0

105. Rick Ayotte 1987 one-of-a-kind pedestal paperweight.

108. Rick Ayotte magnum pond scene paperweight w ith a

A sheartail hum m ingbird hovers next to three crim son red

green frog, an upright water lily and green lily pads; tadpoles

and purple fuchsia blossom s, w ith white stam ens and green

dart about under the surface o f the water. Signed/dated 1990.

leaves. Signed and dated (See Songs W ithout Words, p. 94; “Tall

Lim ited edition o f 50.

Sculptural Paperweights,” by M ark Smithy Annual Bulletin o f the Paperw eight Collector s Association, Inc., 1999, p. 60).

D iam eter 3 7/8".

H eight 4 3/8"; D iam eter 3 11/16".

$ 2 ,5 0 0 -3 ,0 0 0

$ 1,800-2,250

109. Rick Ayotte miniature upright pink cabbage rose paper­ weight, the flower, w ith dark green leaves, floats over a clear

106. Rick Ayotte “Illusion” upright paperweight w ith a pair o f

ground; six and one facets. Signed/dated 1991.

purple-throated sapphire hum m ingbirds sharing the nectar o f

D iam eter 1 15/16".

pink and purple fuchsia blossom s. A blo om o f am ethyst color creates depth, along w ith the boldly cut, radiant facets. Signed and dated 1994.

H eight 4 1/8".

$ 1 ,3 0 0 -1 ,6 0 0

$ 3 5 0 -4 5 0

110. Rick Ayotte miniature upright red poinsettia paper­ weight w ith red-tipped yellow stam ens and green leaves over clear ground; signed and dated 1997.

D iam eter 2 1/2".

$ 3 5 0 -4 5 0

107. Rick Ayotte large brown, black and white hawk owl paperweight. The sage bird is perched on a bare branch over black ground. R ich detailing in the coloring o f the ow ls face m ask and wing bars. Signed/dated 1980. Lim ited edition o f 75.

D iam eter 3 1/2".

$ 1 ,2 0 0 -1 ,5 0 0

“What is one to think of those fools who tell one that the artist is always subordinate to nature?

Art is a harmony parallel with nature.”

— Paul C ezan ne (1 8 3 9 -1 9 0 6 )

to Jo a ch im G asqu et in 1897

26

FALL 2000

“Every artist dips his brush into his own soul, and paints his own nature into his pictures” — H enry W ard Beecher

(1813-1887)

111.

C hris Buzzini Oxeye Daisy paperw eight w ith two

115. Chris Buzzini pink apple blossoms paperweight, the

yellow -centered white flowers, a closed bud, four long green

flowers w ith yellow -tipped, com plex stam ens, p ink pearl-

leaves and trailing roots over clear ground; signed/dated 1997.

b u tto n bu d s and d ark green leaves over clear grou nd ; signed/dated 1997. O n e o f one.

O ne o f one.

D iam eter 3 7/16".

$ 8 0 0 -1 ,0 0 0

D iam eter 3 3/8".

$ 1 ,2 0 0 -1 ,4 0 0

112. Chris Buzzini Sky Pilot Bouquet paperweight w ith

116. Chris Buzzini blue asters paperweight w ith two yellow-

entw ined stem s o f blue and white speckled blossom s, blue buds

centered flowers w ith buds, dark green leaves, tap ro o t and pink

and green leaves, over clear grou nd ; signed/d ated

ribbons looped around the stem s; signed/dated 1997. O ne

1997.

o f one.

O ne o f one.

D iam eter 3 1/2".

$ 1 ,8 0 0 -2 ,2 0 0

D iam eter 3 3/8".

$ 1 ,5 00-1,800

w ith five bushy white thistles and prickly green leaves, over clear

117. Chris Buzzini upright teal and coal black laminated paperweight. T h e confine design has tangible energy in the

ground; signed/dated 1997. O ne o f one.

lam pw ork, above “ground ” and below. A wild tangle o f white

113. Chris Buzzini Peregrine Thistle Bouquet paperweight

D iam eter 3 1/2".

$ 1 ,8 0 0 -2 ,2 0 0

thistle, blue sky pilots, coneflowers, and shooting stars, all balan ced

on

the

114. Chris Buzzini pale yellow rock roses paperweight with

Signed/dated 1997.

two full blossom s, poised yellow buds, green leaves, ro o t system

H eight 8 1/2".

search in g

ro o ts

and

speckled

rocks.

$ 8 ,0 0 0 -1 0 ,0 0 0

and blue ribbo ns looped around the stem s; signed/dated 1997.

O ne o f one.

D iam eter 3 7/16".

$ 1 ,5 0 0 -1 ,8 0 0

FALL 2000

27

118. Randall Grubb pink lilies paperweight w ith two flow ­

122. Randall Grubb turquoise colum bine paperw eight

ers, slend er buds, green leaves and stem s, over clear ground .

w ith a cen tral b lo sso m acco m p an ied by flam e-o ran g e, b e ll­

T h e lilies have curved petals like rib b o n candy, p u ttin g th eir

shaped flow ers, a blue bud and b rig h t green leaves, w ith

d elightfu l profiles o n display. Signed /dated 1993. L im ited

stripes over clear ground . Signed and dated 1986.

e d itio n o f 25.

D iam eter 3 1/16".

D iam eter 3 1/8".

$ 4 0 0 -6 0 0

$ 4 5 0 -6 0 0

123. Randall Grubb daisy bouquet paperweight. A m o d est 119. Randall Grubb mauve rose and buds paperweight

flower, b o ld ly translated . F u ll-fro n tal, black -ey ed Susans,

in a u n iqu e co rn flo w er-blu e, sp iral-cu t, single overlay w ith

w hite daisies, buds and green leaves o n clear ground ; sig n a­

a fro n t-w in d o w facet. T h e flow er is given a sop histicated

ture cane. Signed /dated 1992.

p re s e n ta tio n , b a th e d

D iam eter 3".

in cry stal b lu e lig h t. S ig n ed and

$ 4 5 0 -6 5 0

dated 1988.

D iam eter 3".

$ 7 0 0 -9 0 0

120. Randall Grubb lavender bellflowers paperweight. T h e oval bud s, green leaves and curved stem are designed in an elegant arabesque. O ver clear ground . Signed /dated 1988.

D iam eter 3 1/8".

C£I feel flowers have the ability to speak to people.

It is this influence I have tried to bring to my work.”

$ 4 0 0 -6 0 0

121. R andall G rubb sprigs o f m istletoe paperw eight w ith w hite b erries and green leaves, tied w ith a red bow,

— Randall G rubb, fro m “T he Evolution o f Reflections,”

A nnual Bulletin o f the Paperw eight Collectors1Assoc., Inc., 1996

over clear ground ; signed/d ated 1989.

D iam e te r 3".

28

$ 5 0 0 -7 0 0

FALL 2000

124. Paul Stankard cloistered botanical block. Pale pink, near­

127. Paul Stankard early miniature red-centered white clema­

ly translucent Indian pipes flowers grow from an earth ground;

tis paperweight with green leaves and stems, on opaque light

roots, flowers and spirit underground. T he fleshy aspect o f the

blue ground. T h e clem atis’ slender leaves are outstretched like

flowers, like blood -tinted skin, and the obelisk shape o f this

gulls’ wings, filling up this small paperweight. PS signature cane.

paperweight, suggest a reliquary— a sacred space housed w ithin

D iam eter 1 1 5 /1 6 ".

$ 1,400-1,800

the glass. Three cobalt blue sides. Signed/dated 1988.

H eight 5 1/2".

128. Paul Stankard early miniature pedestal paperweight

$ 1 2 ,0 0 0 -1 4 ,0 0 0

w ith a double clem atis, having pink-and-blue-striped white

125. Paul Stankard

white goatsbeard flower

paperweight.

W ith a proud flower, em erging bud and green leaves on a

petals, over a clear footed base. S signature cane.

H eight 1 11/16".

$ 1 ,4 0 0 -1 ,8 0 0

brow n-speckled green twisted stem w ith bulbous roots. The subtle earth tones are set o ff well by a translucent mauve

129. Paul Stankard bloodroot plant paperweight w ith a white

ground. Signed/dated 1989. D iam eter 31/4".

flower, bud, green leaves and bulbous root on cobalt blue

$ 2 ,5 0 0 -3 ,5 0 0

ground; S signature cane. Dated 1982.

126. Paul Stankard pair of pink wild roses paperweight on

D iam eter 3 1/8".

$ 2 ,0 0 0 -2 ,5 0 0

stem s w ith a rose hip, pink bud and green leaves, over clear ground; S signature cane. Dated 1983. Lim ited edition o f 100.

130. Paul Stankard 1979 Sippewisset Bouquet paperweight

D iam eter 2 15/16".

containing three pink wild roses, w ith upright yellow filam ent

$ 2 ,5 0 0 -3 ,5 0 0

stam ens, two stocks o f white foxglove, three blackberries and two yellow cactus blossom s with upright orange stam ens on gathered stems.

D iam eter 3 1/16".

FALL 2000

$ 2 ,5 0 0 -3 ,5 0 0

29

131. Paul Stankard block paperweight. As if burst from a

134. Paul Stankard early miniature pedestal paperweight

fissure in a sea-wall, this fall-colored bouqu et is m ade for high

with a w hite-centered blue clem atis, bud and green leaves on a

dram a. O range arbutus flowers, red raspberries, and white flow­

curved stem ; red footed base. S signature cane.

ers harm onize w ith green leaves and stems. T h e dark green base

H eight 2".

and

b ack g ro u n d provides

stro n g con trast.

Signed

$ 1 ,4 0 0 -1 ,8 0 0

and

dated 1987.

135. Paul Stankard pair of red forget-me-nots paperweight

H eight 4".

with buds, pale green leaves and roots on translucent yellow

$ 6 ,0 0 0 -8 ,0 0 0

ground; PS signature cane. Dated 1973.

132. Paul Stankard red-centered

orchids paperweight.

D iam eter 2 5/16".

$ 1 ,4 0 0 -1 ,8 0 0

Seem ing like an extra-terrestrial botanical, these five white cym bidium orchids on a curved stem , hover inside the clear

136. Paul Stankard environmental paperweight. Balance within

crystal, growing from a cluster o f green leaves. Signature cane.

nature, reduced to a m icrocosm within glass. W ith a white flower,

Dated 1978.

accompanied by red-centered yellow flowers, buds and green

D iam eter 2 3 /4 ”.

leaves on a loamy, earth ground; S signature cane. Dated 1983.

$ 1,400-1,800

Diameter 3 3/16”.

$2,500-3,500

133. Paul Stankard burnt orange paphiopedilum orchid paperweight with green leaves and roots on translucent cobalt

137. Paul Stankard bouquet paperweight w ith flam ing red

blue ground; five and one facets. S signature cane. Dated 1980.

St. A nthony’s fire, yellow m eadow reath, blue forget-m e-n ots,

D iam eter 3 1/8”.

white blossom s, bellflowers and buds on clear ground; signature

$ 1 ,6 0 0 -2 ,0 0 0

cane. Dated 1978.

D iam eter 2 7/8".

30

FALL 2000

$ 3 ,2 5 0 -4 ,0 0 0

138. Jim Donofrio pair of geese paperweight with two um ber

143.

winged birds in flight over a translucent blue-green lake;

jockey in bright silks nearly standing on his brow n and white-

Jim Donofrio jockey and racehorse paperweight, with a

signed/dated 1998.

socked horse, pushing to the finish line. T hey gallop over the

D iam eter 3 3/8".

green and brow n track, under blue sky; signed/dated 1998.

$ 1,400-1,600

D iam eter 3 1/2".

$ 1 ,0 0 0 -1 ,4 0 0

139. Jim Donofrio brown, black and white goose paper­ weight. T h e bird in full w ing-span flight over a dark blue sea w ith white caps; signed and dated 1997.

D iam eter 3 3/8".

$ 1,000-1,400

140. Jim Donofrio compound paperweight depicting Icarus, wearing his fragile wings and flying over an eagle. T hey both soar above white clouds, high over the ocean; signed/dated 1998.

D iam eter 3 7/16".

$ 1,400-1,600

141. Jim Donofrio “Bronco Buster” paperweight w ith a cow­ boy riding a high-kicking, brow n-spotted white horse on sandy ground; signed/dated 1997.

D iam eter 3 3/8".

$ 1,000-1,400

£<In 1988 Jim ...m oved the family to Midway, Kentucky, and set up a studio there. By 1991 Jim had perfected his art... (H)e introduced Indian pottery, lizards and Southwest desert vegetation into his designs... As an artist and a paperweight maker, Jim has been challenged to bring realism and dimension to his glass. He seeks to emphasize a departure from traditional designs and to bring paperweights and paperweight collectors into a new era.”

142. Jim Donofrio pale green lizard paperweight, the reptile — T h e K aplan fam ily, “Jim D on ofrio:

resting near a bran ch displaying two pink flowers, on convinc­

F rom R ealism to Fantasy,” A nnual B ulletin o f the P aperw eight

ingly arid and sandy ground; signed/dated 1991.

D iam eter 3 1/8".

$9 0 0 -1 ,2 0 0

FALL 2000

C ollectors’ A ssociation, Inc., 1995

31

144. Victor Trabucco 1992 magnum egg-shaped paperweight

148. Ray Banford basket of iris blossoms paperweight with

w ith a large red rose, bud, green leaves, and small white bloss­

purple, thalo blue and lem on yellow iris blossom s, buds and

om s on clear ground. Signed and dated; signature cane (See

green leaves in a clear, fancy-cut basket. Signature cane.

“Egg S haped P aperw eights: A D epartu re fr o m

D iam eter 3".

T radition al

$ 2 ,2 5 0 -3 ,5 0 0

Spherical Presentation ” by M ark A. Smithy A nnual Bulletin o f the Paperw eight Collectors' Association, Inc., 1993-94 , p. 44).

149. Bob Banford strawberries paperweight w ith a trio o f

H eight 4 7/16"; D iam eter 3 3/8".

ju icy red berries and one green berry, white blossom s, green

$ 2 ,7 5 0 -3 ,5 0 0

leaves and stems on clear ground. Signature cane.

145. Victor Trabucco “Knotweed Bouquet” paperweight with

D iam eter 3 3/8".

$ 9 0 0 -1 ,2 0 0

a lavender rose and bud, red berries, purple knotweed, pink clover blossom s and green leaves on upset m uslin; signed/dated.

D iam eter 3 5/16".

$ 9 0 0 -1 ,0 0 0

146. David and Jon Trabucco 1993 egg-shaped paperweight w ith a bouqu et o f pink roses, blue blossom s, red berries and green leaves on clear ground. Signed and dated; signature cane (See “Egg Shaped Paperweights ”).

H eight 3 3/4"; D iam eter 2 7/8".

$1 ,2 0 0 -1 ,5 0 0

147. Bobby Banford bouquet paperweight w ith u p right, coral-colored haw thorn blossom s, w ith white stam ens and

“Here the layman finds the explanation of a very fascinating mystery of glass: Just barely liquid and just solidified are very close. ...(S)eparated only by a small temperature difference of a few degrees— almost without transition. This special quality of glass is what gives the glass artist the chance to realize all of his creativity in works of art.”

green leaves, over clear ground. Signature cane.

D iam eter 2 15/16".

32

$40 0 -6 0 0

FALL 2000

— P aperw eights o f the W orld

150. James Kontes holly paperweight over clear ground; five

153. Delmo Tarsitano strawberry paperweight containing a

and one facets. The festive, bright red berries are m atched well

dim ensional red berry, w ith yellow seeds and green sepals, hang­

by the young, green leaves; whose serrated edges are very natu-

ing from a stem bearing two white blossom s, w ith upright yel­

ralistically rendered. T he printies optically add berries and

low stam ens and em erald green leaves over a clear ground.

m ovem ent to the piece. Signature cane. “T he Kontes brothers,

Signature cane. “I was always curious. I didn’t care for spiders for

Jam es and N ontas, began w orking w ith glass in 1939 at a small

a long tim e b u t now, as you can see from m y work, I consider

glass factory in Vineland, New Jersey. In 1943 the two form ed

them m y frie n d s... T hey keep evolving. I ju st keep going.”—

their own bu sin ess... w hich specialized in the production o f lab­

D elm o Tarsitano, from All A bout Paperweights.

oratory and research glass.”— All A bout Paperweights.

D iam eter 2".

D iam eter 2 7/8".

151. Ronald Hansen clematis bouquet paperweight. T h e pert bloom s are gathered in a com plem entary array o f blue, lavender, pink, and red and white strips, w ith green leaves on blue flash ground; signature cane. Six and one facets.

D iam eter 2 1/16".

$ 8 0 0 -1 ,2 0 0

$ 2 ,5 0 0 -3 ,5 0 0

$ 3 0 0 -4 0 0

154. Ronald Hansen upright bluebird on a branch paper­ weight w ith the bird perched on a bough bearing four green aventurine leaves on opaque blue ground; signed/dated 1967. “ . ..( I ) n w hat way does a weight com m u nicate w ith you? ...I t would be hard to visualize a fine weight that could arouse any e m o tio n

o th e r th an

pleasure

and

152. Francis Whittemore pedestal paperweight w ith a dark pink

H ansen, from All A bout Paperweights.

crim p rose and green leaves over a clear, fo o ted base;

D iam eter 2 3/8".

signature cane. “ . . . (H )e was particularly intrigued w ith the M ill­

en jo y m en t.”— R onald $ 4 0 0 -5 0 0

ville rose, and subsequently em barked o n an attem pt to duplicate it. W hittem ore s roses, although m u ch smaller in size ... are as

155. Francis W hittemore green aventurine and white hum ­ mingbird paperweight on a plant w ith a blue bellflower and

beautiful and perhaps m ore delicate.”— Catalogue an d Price

green leaves, over a garnet flash ground; signature cane.

Guide o f Collectors' Paperweights, Law rence Selman.

D iam eter 2 7/16".

H eight 3".

$ 4 5 0 -5 5 0

$500-700

FALL 2000

33

156. Ken Rosenfeld red and green tom atoes on vines p aper­

160. Ken Rosenfeld red cherries paperweight. P lenitud e

weight. T h e fo rm al arran g em en t draws the eye arou nd to

exudes from these succulent fruits, wearing p ink blossom s, buds

each fleshy “lo ve-ap p le”— the green to m ato is a visual full-

and green leaves on a sepia bough, over clear ground; signature

stop, allow ing you to appreciate the individual w ork th at

cane. Signed/dated 1998.

each fru it requires. W ith dark green leaves, over clear ground ;

D iam eter 3 1/4".

$ 5 0 0 -8 0 0

signature cane. Signed /dated 1998.

D iam eter 3 1/4".

$ 6 0 0 -9 0 0

161. Ken Rosenfeld holiday paperweight w ith assorted m u lti­ colored playfully bulbous ornam ents, holly leaves and berries on

157. Ken Rosenfeld form al bunch of red radishes p aper­

clear ground. Signed/dated 1995. Signature cane.

weight w ith green leaves over clear ground ; signed/d ated

D iam eter 3 3/8".

1996. Signature cane.

D iam e te r 2 7 /1 6 ".

$ 2 5 0 -3 5 0

158. Ken Rosenfeld diminutive pine cone paperweight.

A seasoned b row n b ra n ch w ith green pine needles, and a sprig o f ho lly leaves and b erries, o n w hite grou nd ; signature cane. Signed /dated 1996.

D iam eter 2 1/2".

$ 2 5 0 -3 5 0

“I have always been attracted to the size and shape of a paperweight... I feel the round shape is very pri­ mal; this aspect has always fascinated me. The inner space has a lot of magical powers... captured under that pristine glass— sealed in that environment for eternity.”

159. Ken Rosenfeld small orange pumpkin paperweight.

T h e crow n gem o f fall’s harvest, presented o n a b ed o f green and b row n leaves, over clear grou nd ; signed/d ated 1998.

D iam eter 2 3/8".

34

$50 0 -7 0 0

$ 2 5 0 -3 5 0

FALL 2000

— Ken Rosenfeld, from All A bout Paperweights

162. Ken Rosenfeld orange California poppies paperweight

166. Ken Rosenfeld red and black ladybug paperweight

w ith buds and dark green leaves over clear ground ; signature

w ith tw o b lu e-an d -w h ite strip ed m o rn in g glories, buds,

cane. Signed and dated 1988.

leaves an d te n d rils; tra n s lu c e n t green g ro u n d . S ig n ed /

D iam eter 3 3 /8 ".

$ 5 5 0 -7 0 0

dated 1999.

D iam eter 3 1/8".

$ 5 0 0 -8 0 0

163. Denali Crystal, Ken Rosenfeld collaborative Jewel Cut, rectangular prism w ith pale p ink flow ers, buds and clusters

167. Ken Rosenfeld m iniature golden fantasy flower paper­

o f green leaves over clear ground . Signed and dated 1997.

weight, th e m u lti-tiered b lo sso m cen tered betw een tw o clu s­

H eight 3 3 /4 ".

ters o f p in k flow ers o n tran slu cen t co b alt blue grou nd ; sig na­

$ 1 ,5 0 0 -2 ,5 0 0

ture cane. Signed /dated 1999.

164. Ken Rosenfeld 1992 egg-shaped paperweight w ith a

D iam eter 2 1/2".

$ 2 5 0 -3 5 0

b o u q u e t o f p in k flow ers w ith yellow stam ens, p in k buds, green leaves and stem s o n a clear ground . Signed /dated 1992 (See “Egg S h ap ed P aperw eights ”).

H eight 3 7 /8 "; D iam eter 2 13/16".

$ 1 ,1 0 0 -1 ,6 0 0

165. Ken Rosenfeld small green frog paperw eight w ith m o ttled bro w n m arkings, rests o n sandy ground near a p ink b lo sso m w ith d ark green aventurine leaves; signature cane.

“We are gazing into a mystery whose true dimen­ sions and physical composition our senses are unable to pinpoint, a mystery sealed away in perpetuity. You may look at it but you cannot touch it.”

Signed /dated 1999.

D iam eter 2 1/16".

$ 2 5 0 -3 5 0

FALL 2000

— T he E n cyclopedia o f Glass P aperw eights

35

168. Parabelle Glass scattered millefiori paperweight w ith

172. Parabelle Glass spaced con centric m illefiori paper­

assorted red h eart co m p lex canes and p ink rose canes o n a

weight w ith a cen tral pansy cane, encircled by assorted c o m ­

green av enturine grou nd ; signed/d ated 1997. A rtis ts pro o f.

plex canes on cro ss-h atch ed la tticin io ; signed/d ated 1997.

D iam eter 3 1/16".

L im ited e d itio n o f 10.

$ 8 0 0 -1 ,1 0 0

D iam eter 3 1/4".

$ 8 0 0 -1 ,2 0 0

169. Parabelle Glass central mauve pansy paperweight, en circled by a rin g o f red bu n d led h earts, spaced pansies and

173. Parabelle Glass co n cen tric m illefiori paperw eight

a b o rd er o f hearts and cogs, o n up set m u slin; signed/d ated

w ith a cen tral pale p in k rose, en circled by altern atin g rings o f

1998. L im ited e d itio n o f 10.

p in k roses and m oss canes o n up set m u slin ; signed/d ated

D iam eter 3 1/8".

$ 1 ,0 0 0 -1 ,4 0 0

1998. A rtist’s proof.

D iam eter 3 1/16".

$ 1 ,1 0 0 -1 ,4 0 0

170. Parabelle Glass spaced con centric paperweight w ith a cen tral red rose en circled by red bellflow er/yellow rose

$ 8 0 0 -1 ,1 0 0

“(Parabelle makes) classic millefiori paperweights, in the style of those made at the French crystal works at Clichy in the past century.”

171. Parabelle Glass co n cen tric m illefiori paperw eight

— P aperw eights o f the W orld

co m p lex canes, and assorted m ille fio ri o n upset m u slin.

Signed. A rtist’s proof.

D iam eter 3 1/8".

w ith a cen tral w hite rose, encircled by co m p lex canes in p ink, lavender, red and w hite o n upset m u slin; signed/d ated 1997.

L im ited e d itio n o f 10.

D iam eter 3 1/8".

$ 8 0 0 -1 ,1 0 0

“Life is very nice, but it lacks form. It’s the aim of art to give it some” — Jean A n o u ilh (born 1910), T he R ehearsal, 1950

36

FALL 2000

174. Drew Ebelhare white, green and aqua carp et ground

178. Drew Ebelhare close concentric com plex millefiori

paperweight w ith a cen tral signature cane, en circled by a

paperw eight in pastel tu rq u o ise, p in k and w hite, in a

rin g o f p in k rose canes, in a w hite stave basket. Signed and

tu rq u o ise

dated 1995.

Signed /dated 1994.

D iam eter 2 1/4".

$ 2 0 0 -3 0 0

an d

w h ite

D iam eter 2 1/4".

stave

b a sk e t;

sig n a tu re

can e.

$ 2 0 0 -3 0 0

175. Drew Ebelhare m iniature pink carpet ground paper­

179. Drew Ebelhare m iniature close con centric millefiori

weight w ith a cen tral signature cane en circled by a ring o f

paperweight w ith a cen tral signature cane encircled by a ring

w hite roses; co b alt blu e and w hite stave basket. Signed and

o f w hite roses; green and w hite stave basket. Signed /dated

dated 1996.

1996. D iam e te r 1 3 /4 ".

D iam eter 1 3 /4 ".

176. Drew Ebelhare

close co n ce n tric m illefiori p ap er­

weight in blu e, red, pink , green, tu rq u o ise, yellow and w hite, in clu d in g h o llo w canes and a p in k stave basket; signed/d ated 1998.

D iam eter 2 1/4".

$ 3 0 0 -4 0 0

177. Drew Ebelhare m iniature close con centric millefiori paperweight, inclu d ing a cen tral signature cane and o n e ring

“First and foremost, I’d like (collectors) to enjoy the combination of colors and the design. Then I’d like them to take out a magnifying glass and study the intricacies of the canes. As they become more acquainted with a piece, I’d like them to find the tricks I used to create the colors.”

— D rew Ebelhare, “A New H eir to the M illefiori Throne ”

o f w hite roses; red and w hite stave basket. Signed.

D iam eter 1 3 /4 ".

$ 1 5 0 -2 0 0

$ 1 5 0 -2 0 0

$ 1 5 0 -2 0 0

FALL 2000

Law rence Selm an , Annual Bulletin o f the PCA , 1997

37

180. A ndrew Fote m agn u m scu lp tu re paperw eight. In

184. A ndrew Fote “ The Seeker,” clear-en cased h e a rt-

relief, a p ainted ch eru b, her arm s crossed in fro n t, w ith a

shaped paperweight w ith m o ttled purple and w hite o n the

gentle, alm o st bem u sed , expression on her golden face.

in terio r, and a cop p er h u m an figure engraved o n the surface.

C o p p er-en cased sides w ith b lo ck -sh ap ed w indow s.

W id th 2 1/4".

D iam eter 4 1/2".

$ 7 0 -9 0

$ 5 0 0 -7 0 0

185. Andrew Fote clear, round paperweight w hich is silver 181. Andrew Fote “Straw berry H eart” paperweight. A fresh

encased , e le ctro fo rm ed to th e crystal— w ith th ree lively

perspective o n a trad itio n al V alentine im age. A clear-en cased

h u m an figures. T h e y dance and m ove, playing w ith negative

h eart o f m o ttled red and w hite. Signed.

and positive shapes, at the surface o f th eir in te rio r blue wave

W id th 2 3 /8 ".

$ 7 0 -9 0

swirl. Signed.

D iam eter 3".

$ 2 5 0 -3 5 0

182. Andrew Fote m agnum sculpture paperweight w ith an an tiq u e-sty le sulphide o f a ch eru b playing a guitar, lost in a m u sical reverie. O n w hite grou nd ; co p p er-en cased sides w ith three w indow s.

D iam eter 4 1/2".

$ 5 0 0 -7 0 0

183. Andrew Fote round, gold-encased paperweight w ith

“It is weight that gives meaning to weightless­ ness... I realized that lightness added to lightness does not add tension but diminishes it.”

— Isam u N ogu chi (born 1904), S cu lptors W orld

several raised circu lar w indow s o f various sizes, revealing the w hite frosted interio r. A lso, the silh o u ette o f a m an , in F o te ’s in im ita b le Fauvist style. Signed.

D iam eter 3 1/4".

$ 2 5 0 -3 5 0

“One must not imitate the sun, one must make oneself into a sun.”

— R aou l D u fy (1887-1953)

38

FALL 2000

186. Saint Louis m illefiori-based penholder, o r vase, w ith close co n ce n tric c o m ­ p lex canes fo rm in g a cu sh ion ed b o tto m pedestal, and sw irling w hite latticin io , as airy as silken threads follow ing the glass’ curves. 1973 sig natu re/d ate cane. L im ited e d itio n o f 125.

H eight 5 1/4".

$ 1 ,0 0 0 -1 ,3 0 0

187. Saint Louis pair of seal handles, o n e tran slu cen t red and o n e tran slu cen t blue, each w ith lengthw ise th in w hite threads. T h e elegant lines and satisfying curves o f th e crystal, seem apropos fo r the fo rm al act o f w axing and sealing a n o te or letter. Signed /dated 1974. L im ited ed itio n o f 1000.

Length 4 1/4".

$ 2 5 0 -4 5 0

188. Saint Louis millefiori-based penholder, w ith scattered canes on upset m uslin; hollow red and white drawn canes in the cup. T h e effect is like liquid continuously running down into the vase’s m outh. 1977 signature/date cane. Lim ited edition o f 450.

H eight 5 1/4".

$ 1 ,0 0 0 -1 ,2 0 0

189. Rare Saint Louis 1974 m illefiori newel post. T h is m asterfu lly executed piece con tain s close packed co m p lex canes, in clu d in g florets, cogs, cross and star-sh aped canes in p istach io , m auve, p ink, w hite, blue and red, in clu d in g “the cross o f L orrain e.” L im ited e d itio n o f 300. Brass base (See T he A rt o f the P aperw eight —

S ain t Louis , revised edition, A nnual L im ited E ditions section).

H eight 6 3 /4 "; D iam eter 3 9 /1 6 ".

$ 1 ,3 0 0 -1 ,5 0 0

“Today... the master glassblowers of Saint Louis have proven that they are as skilled as their predecessors. What can be said about this modern production? W ithout the markings which distinguish them, no way would be available to tell which were the old ones and which the new. Millefiori canes, silhouette canes, filigreed cushions and multi-colored torsades are comparable in every w ay...”

— T he A rt o f the P aperw eight— S ain t Louis FALL 2000

39

190. Saint Louis blue and white carp et ground p aper­ weight, w ith a field o f aq u am arin e and w hite cog canes in

weight, w ith bu d and green leaves, o n tran slu cen t cob alt blue

precise m illefio ri fo rm atio n . A co m p lex cen ter cane, in p ista­

grou nd ; six and one facets. T h e flower, w ith a d ouble tier o f

c h io , ruby, w h ite an d b lu e , a n c h o rs th e c o m p o s itio n .

petals su rrou n d in g a yellow and w hite signature/d ate cane, is

W ith 1972 sig natu re/d ate cane. L im ited e d itio n o f 4 0 0 (See

resp len d ent on a vigorous em erald stalk. T h is design was

T he A rt o f the P aperw eight— S ain t Louis , revised ed ition , A nnual L im ited E ditions section).

prod uced in the first year th at S ain t Louis began to m ake lim ­

D iam e te r 2 7/8".

D iam eter 3 1/4".

$ 5 0 0 -6 5 0

193. Saint Louis 1970 pistachio double clem atis paper­

ited ed itio n s. L im ited e d itio n o f 800. $ 4 2 5 -5 0 0

191. Saint Louis th ree-co lo r m arbrie paperweight. T h e

194. Saint Louis clem atis bouquet paperweight in

design con sists o f aq u am arin e, w hite and p istachio lo op ed

blue-over-w hite double overlay, w ith one salm on and one

a

band s em an atin g fro m a signature/d ate cane at the top.

turquoise double clem atis; five-and -one facets. T he lam p-

Flow ing like w ater ripples dow n the sides o f the sphere, the

worked petals each exhibit the subtle coloration and matchless

three colo rs create d ifferent d epths in th eir opacity. L im ited

annealing skills collectors’ expect from Saint Louis artisans.

ed itio n o f 4 0 0 in 1971.

D iam e te r 3 1/8".

1975 signature/date cane. Lim ited edition o f 450. $ 4 5 0 -5 5 0

D iam eter 3".

$ 5 0 0 -6 5 0

192. Saint Louis p atterned m illefiori paperw eight w ith

195. Saint Louis white flower paperweight w ith rou nd ed ,

spaced co m p lex canes, in red, pink , ch artreu se, royal blue,

cane petals, a w hite bu d and slender green leaves o n an

cad m iu m green and w hite. T h e design o f circles is set o ff

opaqu e tan g erin e grou nd ; cen tral 1973 sig natu re/d ate cane.

by dividing cables o f w hite filigree. A rich o paqu e thalo blue

T h e design is v ib ran t, and the fantasy flow er w ith its ru ffled

g rou nd co m p lem en ts the can es’ hues. 1972 sig natu re/d ate

petals seem s to dance and tw irl. L im ited e d itio n o f 800.

cane. L im ited e d itio n o f 400.

D iam eter 3 1/8".

D iam eter 3 1/4".

40

$ 5 0 0 -7 0 0

FALL 2000

$ 3 5 0 -4 5 0

196. Saint Louis cu rran ts paperweight w ith a clu ster o f red

199. Saint Louis m illefiori garlands paperw eight, w ith

cu rran ts and green leaves grow ing fro m a slender b ra n ch , o n

altern atin g lo op s o f w hite and blue canes arou nd a co m p lex

opaqu e w hite ground ; circu lar top facet. T h e cu t o f the facet

cen ter cane, o n red ground . T h e lo op s sw ing aro u n d the

suggests an elegant bow l, filled w ith th e harvest o f plum p

cen tral cane in a teard rop shape. T h e tw o colo rs stand o u t

trom pe Voeil berries. 1992 sig natu re/d ate cane.

strongly o n th e to m ato red o f the grou nd , and appear to be

D iam eter 2 1/2".

$ 2 0 0 -2 5 0

sp in ning, as i f they were a pinw heel p ro m p ted by a bu rst o f air. 1973 sig natu re/d ate cane. L im ited ed itio n o f 4 0 0 .

197. Saint Louis red cherries with green leaves p aper­

D iam eter 3 1/8".

$ 4 5 0 -5 5 0

weight, in fo rm ally arranged o n a sw irling w hite latticin io again is em ployed to m u ltip ly the “freshly p ick ed ” fru its, and

200. Saint Louis Bicentennial com m em orative A m erican eagle sulphide paperweight, o n co b alt blue gro u n d ; red-

the la tticin io adds d elicacy to the co m p o sitio n . L im ited ed i­

o v er-w h ite d o u b le overlay w ith five and o n e facets. A

cu sh ion ; faceted. 1975 sig natu re/d ate cane. T h e faceting

d ram atic com p o sitio n : the eagle w ith fasces in its talon s, alert

tio n o f 4 5 0 .

D iam eter 3 1/8".

$ 4 5 0 -6 0 0

and in d ep en d en t in its co b alt blue enclosure. T h e stately ele­ gance o f the paperw eight suggests the rich ness o f Fed eral-

198. Saint Louis blue topaz double clem atis paperweight

style design. L im ited e d itio n o f 4 0 0 in 1976.

w ith cen tral sig natu re/d ate cane and green leaves o n sw irling

D iam e te r 3 1/8".

$ 3 5 0 -4 5 0

w hite la ttic in io ; six and o n e facets. T h e tran sp aren t qu ality o f the petals, and laciness o f th e gro u n d em phasizes delicacy.

201. Saint Louis icy-pink carpet ground paperweight w ith

T h e clem atis in all its reserved “m en tal beauty.” L im ited

six spaced clusters o f co m p lex m illefio ri and a 1972 sig n a­

e d itio n o f 4 0 0 .

tu re/d ate cane; lim ited ed itio n o f 4 0 0 .

D iam eter 3 1/8".

$ 4 5 0 -6 0 0

D iam eter 3".

FALL 2000

$ 3 5 0 -4 5 0

41

202. Baccarat bouquet paperweight w ith two red, white and

arrangem en t, brings dram a to each o f the sm all flowers.

blue arrow cane flowers, two pink flowers, several buds and light

The dark depths o f the ground, enhance the effect. 1970 signa­

green leaves on white ground; 1971 signature/date cane. T h e

ture/date cane.

bouqu et is an adroit blend o f fantasy and botany.

D iam eter 3 1/4".

D iam eter 3 1/4".

$ 4 0 0 -6 0 0

$ 4 0 0 -6 0 0

206. Baccarat close packed complex millefiori paperweight, 203. B accarat w arbler perched atop a flowering branch

with zodiac silhouette canes. 1970 signature/date cane. T he

paperweight with pink com plex cane “cherry blossom s” and

design is sim ilar to the antique Baccarat C hurch Weight. “In

green leaves on aqua ground; dated 1989. This French design

O ctober, 1951, a m agnificent m illefiori paperw eight was found

seems to be inform ed by Chinese w atercolor in its blithe,

in the cornerstone o f the old parish church at B a cc a ra t... (it)

gestural com position. Lim ited edition o f 200.

D iam eter 3 1/4".

contained 233 m illefiori c a n e s... T h e discovery o f the ‘Church $ 5 5 0 -6 5 0

Weight,’ as it has com e to be called, helped rekindle interest in paperweight m aking at B accarat .”— All A bout Paperweights.

204. Baccarat multi-tiered red rose paperweight w ith a red

D iam eter 3 1/16".

$ 5 0 0 -7 0 0

bud, green leaves and stem s on clear, star-cut ground; 1976 sig­ nature/date cane. A vivacious lampworked blood -red rose, presented bold ly against a cro w n in g rad ian ce o f facets.

LE o f 150.

D iam eter 3".

207. B accarat multi-tiered yellow and red striped dahlia paperweight, w ith green leaves, o n translucent blue ground; 1972 signature/date cane. “There is som ething m agical about

$50 0 -7 0 0

the nam e B a cc a ra t... for those w ho collect paperweights it co n ­ jures up visions o f som e o f the m ost beautiful flowers and m ille­

205. Baccarat three lampwork flowers paperweight, one blue,

fiori decorated weights that the world has ever know n.”— (Peter

one pink and one pale pink, and green leaves o n dark translu­ cent aqua ground; six and one facets. The m inim al design o f

Lazarus, Collectors' G uide magazine, February 1970) from All A bout Paperweights.

three, rem in iscen t o f trad itio n al Japanese ik eb a n a flow er

D iam eter 2 7/8".

42

FALL 2000

$ 5 0 0 -7 0 0

208. Baccarat scramble or macedoine paperweight, com posed

211. Baccarat close concentric millefiori m ushroom paper­

o f short segm ents o f blue, pink, green and yellow striped white

weight. T h e tuft is com prised o f circlets o f com plex cog and

canes. Baccarat insignia o n the base. An unusual design, which

floret canes, in pink, yellow and white. A three-dim ensional

suggests a dish o f wrapped sweets laid out for special guests.

stem extends down and balances en poin te fashion, inside a

D iam eter 2 1/2M.

tom ato-over-w hite double overlay w ith five and one facets.

$ 2 5 0 -3 0 0

1973 signature/date cane.

209. Baccarat Gridel pelican paperweight encircled by con cen­

D iam eter 3 1/8".

$ 5 0 0 -8 0 0

tric canes, including a ring o f the eighteen Gridel silhouettes, on upset m uslin. T he playfulness o f the silhouettes is inherent to

212. Baccarat Gridel rooster paperweight, encircled by con cen ­

their original creator, a nine-year old boy entertaining him self

tric m illefiori, including one ring o f the eighteen Gridel canes,

w ith cut-outs in 1847. D ue to young Joseph s preternatural

on upset m uslin. 1971 signature/date cane. Lim ited edition o f

graphics skills, “ ...B a c ca ra t had the idea, around 1970, o f pro­

1200. “(M )illefiori canes m ade in the sixties and seventies are

ducing m illefiori weights based on the collection o f the 18

particularly outstanding Baccarat p ro d u cts... (T )h ere appeared

Gridel anim als that had adorned and becam e the tradem ark o f

a series o f paperweights w ith old Gridel m o tifs... T h e m ain

the Baccarat m illefiori o f the nineteenth century.”— A History o f

m o tif is always a large silhouette in the center, surrounded by a

B accarat M odern Paperw eights. 1974 signature/d ate cane.

circle o f all (18) silhouettes.”— Paperweights o f the World.

Lim ited edition o f 240.

D iam eter 3 1/8".

D iam eter 3 1/8".

$ 5 0 0 -6 0 0

$ 5 0 0 -6 5 0

210. Baccarat concentric complex millefiori paperweight in

213. Baccarat close concentric com plex millefiori paper­ weight, predom inantly yellow, also w ith cobalt blue, pale blue,

shades o f green, blue, crim son , yellow and white, and including

pink, and white canes, around a central com plex star cane;

two rings o f clear canes, which draw the eye into the depth o f the

1970 signature/date cane. “H ow lovely yellow is!”— V incent Van

crystals interior.

G ogh (1853-90), letter to his brother, Theo.

D iam eter 3 1/16".

$30 0 -5 0 0

D iam eter 3 1/8".

FALL 2000

$ 3 5 0 -5 0 0

43

214. B accarat Pope Pius X II sulphide paperweight o n su n ­

218. B accarat Thom as Paine overlay sulphide paperweight;

b u rst-c u t ground ; d o u ble overlay w ith five and one facets.

lim ited ed itio n o f 4 00.

L im ited e d itio n o f 2 84.

D iam eter 3 3 /1 6 ".

D iam eter 3 1/8".

$ 2 0 0 -3 0 0

$ 3 5 0 -4 5 0

219. B accarat Pierre Laval sulphide paperweight in a b lu e215. B accarat M t. R ushm ore sulphide paperw eight o n

over-w hite d ouble overlay; five and one facets. L im ited ed i­

tran slu cen t blue grou nd in a red -o ver-w h ite d ouble overlay;

tio n o f 100.

large top facet and eight oval side facets. L im ited e d itio n o f

D iam eter 3 1/8".

$ 6 0 0 -8 5 0

1000 in 1976.

D iam eter 3 1/2".

$ 5 0 0 -7 0 0

216. B accarat Adlai Stevenson sulphide paperweight in a purple flash overlay, w ith fo u r and o n e facets, and starbu rst cuts o n the sides. Clear, star-cu t base. L im ited e d itio n o f 4 7 2 .

D iam eter 3 1/8".

$ 2 5 0 -3 5 0

217. B accarat Abraham Lincoln sulphide paperweight in a d ouble overlay w ith clear ground ; faceted. M a rk near o n e o f the facets. L im ited e d itio n o f 197 in 1954.

D iam eter 3 1/8".

$ 4 0 0 -6 0 0

“In 1953 paperweight collector and connoisseur Paul Jokelson suggested that Baccarat experiment with making sulphides. Their first attem pt... proved to the craftsmen that encasing cameos in glass was possible.

That same year the factory produced its first success­ ful contemporary sulphide commemorating the coronation of Queen Elizabeth II of England.”

— All A bou t P aperw eights

44

FALL 2000

220. B accarat John F. Kennedy sulphide paperweight on

225. B accarat Andrew Jackson sulphide paperweight o n a

a tran slu cen t evergreen ground ; faceted. L im ited ed itio n

green flash star-cu t base w ith top and side facets; lim ited ed i­

o f 3572.

tio n o f 2 4 0 0 .

D iam eter 2 3 /4 ".

$ 2 5 0 -3 5 0

D iam e te r 2 3 /4 ".

$ 8 0 -1 5 0

221. B accarat C oronation sulphide paperweight o f Q u een E lizabeth II and

P rin ce P hilip, on tran slu cen t ru by ground

w ith six and o n e

facets. L im ited ed itio n o f 1492 in 1953.

D iam eter 2 5 /8 ".

$ 3 0 0 -4 0 0

222. B accarat W oodrow W ilson sulphide paperweight o n a tran slu cen t aqua ground ; six and o n e facets. L im ited ed itio n o f 240 0 .

D iam eter 2 3 /4 ".

$ 7 0 -1 2 0

223. B accarat Napoleon B onaparte sulphide paperweight o n tran slu ce n t ru by gro u n d ; six and o n e facets. LE o f 2 0 0 0 in 1974.

D iam eter 2 3 /4 ".

c<The art of cameo under glass called 'sulphide5comes from this observation (of Apsley Pellatt, Curiosities o f Glassmaking, London, 1849) that the 'drops of rain or dew give a silvery aspect to the leaves which are villous and rough to the touch. From this it has been deduced that an unpolished object which does not melt at the temperature of crystal could, incrusted in its depth, simulate silver.555

$ 9 0 -1 2 0

â&#x20AC;&#x201D; Sulphides, The A rt o f C am eo Incrustation, P aul Jokelson

224. B accarat zodiac sulphide paperweight w ith the scales o f the L ibra zod iac cam eo o n blue grou nd ; faceted.

D iam eter 2 3 /4 ".

$ 1 8 0 -2 0 0

FALL 2000

45

226. D’Albret Christopher Columbus sulphide paperweight

230. D ’Albret M enachen Begin and Anwar Sadat sulphide

in a cobalt blue flash overlay w ith a clear su nbu rst-cu t ground;

paperweight in a laven der-over-w hite d ouble overlay; seven

top facet and fancy side printies. Dated 1966. Lim ited edition

and o n e facets. L im ited ed itio n o f 120 in 1977.

o f 200.

D iam e te r 3 1/8".

D iam eter 2 7/8".

$ 3 0 0 -5 0 0

$ 2 5 0 -3 0 0

231. D ’Albret Gustaf VI Adolf, King of Sweden, sulphide 227. D’Albret John Paul Jones sulphide paperweight in a

paperweight o n a tran slu cen t aqua, c ro ss-cu t base; six and

red -o ver-w h ite d o u ble overlay w ith a clear, star-cu t base;

o n e facets. L im ited e d itio n o f 1000.

faceted. D ated 1974. L im ited e d itio n o f 170.

D iam e te r 2 3/4 ".

D iam e te r 3".

$ 2 0 0 -3 0 0

228. D’Albret John F. and Jacqueline Kennedy sulphide paperweight in an evergreen flash overlay w ith gold le a f filigree; clear, su n b u rst-cu t base. Faceted. L im ited ed itio n o f 3 0 0 in 1967.

D iam e te r 3".

$ 8 0 -1 5 0

$ 2 5 0 -3 5 0

“This collection of sulphides... was all the more exciting as it forced me into many domains of research, to learn the identity of the person depicted on the cameo and in certain cases, why the person was famous.”

229. D’Albret General Douglas M acA rthur sulphide p aper­ weight in a p erid o t green flash overlay w ith clear su n bu rst-

— P. de Toulgoet, “R eflections fr o m a C ollector” fro m

cu t base; top facet and fancy side facets. L im ited e d itio n o f

T he A rt o f the P aperw eight

3 0 0 in 1968.

D iam e te r 3 1/16".

46

$ 2 0 0 -4 0 0

FALL 2000

232. D’Albret M ark Twain sulphide paperw eight on a

236. Franklin M int sulphide paperweight o f C h arlem agn e

tran slu cen t aqua su n b u rst-cu t base; seven and o n e facets.

o n su n b u rst-cu t tran slu cen t am b er ground ; six and one

D ated 1969. L im ited ed itio n o f 1000.

facets. Signed /dated 1976.

D iam eter 2 7/8".

$ 8 0 -1 5 0

D iam eter 3".

$ 1 0 0 -1 5 0

233. Franklin Mint sulphide paperweight o f Q ueen Elizabeth I

237. D ’A lbret

on su n b u rst-cu t tran slu cen t am ber ground ; six and one

paperweight o n tran slu cen t green, su n b u rst-cu t grou nd ; top

facets. Signed /dated 1976.

facet and eight oval side facets. D ated 1968. L im ited ed itio n

D iam eter 2 7 /8 ".

$ 1 0 0 -1 5 0

G eneral

D ouglas

M acA rth u r

sulphide

o f 1500.

D iam eter 3 1/16".

$ 8 0 -1 2 0

234. D’A lbret Paul Revere sulphide p aperw eight o n tran slu cen t gray, su n b u rst-cu t ground ; top facet and eight oval side facets. D ated 1969. L im ited ed itio n o f 800.

D iam eter 3".

$ 9 0 -1 5 0

235. D’Albret John Paul Jones sulphide paperweight on a tran slu cen t red star-cu t base; faceted. D ated 1974. L im ited e d itio n o f 4 3 0 .

D iam eter 2 7/8 ".

aAs Mrs. Lura Woodside Watkins wrote in an article on medallion paperweights: ‘There are few persons whose interest in glass is so completely abstract that they cannot be stirred to enthusiasm by pieces that have historical significance.’”

$ 8 0 -1 5 0

FALL 2000

— Sulphides , T he A rt o f C am eo Incrustation

47

238. W hitefriars cylinder-shaped m illefiori paperweight

241. Whitefriars five Liberty Bell portrait canes paperweight,

w ith con cen tric canes in blue, red, yellow, aqua, purple and

each w ithin a panel o f canes, divided by latticinio spokes;

white; 1974 signature/date cane. Faceted.

1977 signature/date cane. Five and one facets. Lim ited edition

D iam eter 2 13/16".

$ 4 0 0 -5 0 0

o f 100.

D iam eter 3 1/8".

$ 5 0 0 -6 0 0

239. Whitefriars 1979 Christmas paperweight. A finely de­ tailed partridge perches at the top o f a pear tree. Surrounded by

242. W hitefriars Farfalla butterfly paperweight w ith pink

six blushing pears, green leaves and a bord er ring o f sky blue

and w hite m illefio ri w ings, encircled by a green loop ed

canes; 1979 signature/date cane. Faceted. Lim ited edition o f

garland o n cobalt blue ground; 1978 signature/date cane. Five

1000. “T h e 1970s, w ith the designs o f Geoffrey Baxter, brou ght

and one facets. “In the late 1960s M r. G eoffrey P. Baxter, the

W h ite fria rs to the forefront o f paperw eight m aking, and in the

firm s C h ie f Designer, to o k a personal interest in their p aper­

follow ing years they produced Christm as and lim ited edition

weight prod uction. H e has utilized a wide range o f colors that

paperw eights and inkwells that were the m atch o f any m od ern

W hitefriars em ploys in their stained glass p ro d u ction to

paperw eight o f the day.”— Old English Paperweights.

im prove the appearance o f their weights. ...S ilh o u e tte designs

D iam eter 3".

$ 1 ,2 0 0 -1 ,4 0 0

o f birds and insects, using m illefiori canes o n color grounds, have resulted in som e striking weights.”— “W hitefriars Then

240. W hitefriars close concentric millefiori paperweight

an d Now,” by Evan Pancake, A nnual Bulletin o f the PCA, 1980.

w ith a large, central com plex cane. The pastel canes create

D iam eter 3 1/8".

$ 7 0 0 -8 0 0

subtle variations in close packed color, but each cane still shows its tiny floret o r star features in striking detail. T h e diffuse heart

243. Whitefriars eagle portrait cane paperweight with a central

is encircled by bundled pastel honeycom b canes and a bord er

eagle encircled by concentric millefiori and three spaced eagle por­

garland; 1974 signature/date cane. Faceted.

traits; 1977 signature/date cane. Faceted. Limited edition o f 100.

D iam eter 3 1/8".

48

$ 3 0 0 -3 5 0

D iam eter 3 1/16".

FALL 2000

$ 5 0 0 -6 0 0

244. Whitefriars 1977 Christmas paperweight w ith a portrait

247. Whitefriars Coronation Jubilee paperweight with tri-co l­

cane o f the N ativity and two angels o n a blue carpetground; sig-

ored twists dividing panels o f canes, a crown cane, an “E II R”

nature/date cane. Five and one facets. Lim ited edition o f 1000.

cane, 1952 and 1977 date canes, and a signature cane; faceted.

“Som e o f these lim ited edition weights contain figure canes

D iam eter 3 1/8".

$ 300-400

produced from bunches o f very small m illefiori canes. The appearance that is not seen in sim ilar canes m ade from solid

248. W hitefriars central black swan silhouette cane paper­ weight, encircled by con cen tric m illefiori in pink, purple, red,

color rods. . .. I t is interesting to note that throughout their

green and white; 1978 signature/date cane. Five and one facets.

entire paperw eight producing history W hitefriars has utilized

D iam eter 3".

resulting figure canes have a range o f color and softness o f

only m illefiori canes as their design elem ents. They have never produced any weights using lam pw ork o r ...a n y overlay weights .”— “W hitefriars Then an d Now :” D iam eter 3".

$80 0 -9 0 0

$ 8 5 0 -9 5 0

249. W hitefriars 1976 Olympics paperweight w ith a torch cane and five interlaced circular garlands, in the flag m o tif o f th e p o p u lar in te rn a tio n a l gam es, o n d ark blu e ground .

Signature cane and date canes; faceted. L im ited edition o f 1000.

“W hitefriars Glass, a factory in L ondon that som e believe has

245. Whitefriars Liberty Bell, U.S. flag and eagle portrait canes paperweight spaced w ithin a trefoil garland, encircling

been producing m illefiori paperw eights since about 1848,

a 1976 signature/date cane center. Faceted. Limited edition o f 100.

closed its doors in 1981. Im m ediately thereafter, Caithness

Diameter 3 1/8".

Glass o f Scotland purchased the com plete stock o f W hitefriars

$ 5 0 0 -6 0 0

m illefiori canes, the right to use the com pany’s nam e and logo,

246. Whitefriars three U.S. flagportrait canespaperweight,

and its extensive color library, w hich included form ulas for

encircled by concentric rings o f red, white and blue m illefiori;

several thousand glass colo rs .”— The A rt o f the P aperw eight

1977 signature/date cane. Five and one facets. Lim ited edition

D iam eter 3 3/8".

$ 4 0 0 -5 0 0

o f 500.

D iam eter 3 1/8".

$50 0 -6 0 0

FALL 2000

49

250. Perthshire Paperweights inkwell with a millefiori but­

253. Perthshire Paperweights 1984 pink lam pwork flower

terfly encircled by a spaced garland on blue ground; stopper

and buds paperweight o n a sw irling w hite latticin io cu sh ion ;

has signature cane center encircled by a spaced garland on blue.

red -o ver-w h ite d ou ble overlay. M u lti-faceted . Signature cane.

H eight 5 1/2".

L im ited ed itio n o f 300.

$ 6 0 0 -7 0 0

D iam e te r 3 1/8".

$ 4 5 0 -5 5 0

251. Perthshire Paperweights dragonfly paperweight. T h e la tticin io w ings are rendered expertly, suggesting the ten sio n

254. Perthshire Paperweights lam pwork bouquet p aper­

and fragility o f this fascin atin g insect. T h e d ragonfly is e n ­

weight o n an em erald green cu sh io n in a green -o ver-w h ite

circled by a garland o f co m p lex canes, over clear ground ;

d ouble overlay w ith top facet and two rows o f side facets.

signed/d ated 1970. L im ited ed itio n o f 500.

D iam e te r 2 1/2".

1996 sig nature/d ate cane. L im ited ed itio n o f 200. $ 3 0 0 -5 0 0

D iam e te r 3".

$ 6 0 0 -8 0 0

252. P erth sh ire Paperw eights 1981 honeycom b faceted

255. Perthshire two interlaced trefoil garlands paperweight

paperweight w ith th ree lam p w o rk honeybees. D u e to the

encircling six po rtrait canes, including a rabbit and fox. T he

m u lti-faceted exterio r the overall effect is like a sudden

design rests on a blue cushion, in a blue-over-w hite double

sw arm o f bees, bu sily tend in g to th eir hive. W ith g rid -cu t

overlay; faceted. C entral signature cane. L im ited ed itio n o f

base. L im ited e d itio n o f 2 0 0 . O rigin al certificate: “T h is is

250. “M any weights have been lost to the scrap bin before this

a sm all craft co n ce rn , con stitu ted in 1968 to develop and

type o f (overlay) could be perfected. T h e m any technical

exten d the c re a tio n o f ind iv id u al skills and tech n iq u es

dangers encountered in the con stru ctio n o f the individual lay­

in the m ak in g o f glass p ap erw eig h ts... O n e o f the aim s is

ers due to the glass con tracting unevenly in the heating and

the p ro d u ctio n o f p ie c e s ... w hich will b e co m e rarities in

cooling process, have deterred m any glass houses from even

the futu re.”

trying to m ake this type o f weight as u n econom ical and tim e con su m in g .”— Scottish Paperweights, R obert G. Hall.

H eig ht 3 7/1 6 ".

D iam e te r 3 1/2".

50

$ 2 ,0 0 0 -3 ,0 0 0

D iam eter 3 1/2".

FALL 2000

$ 5 0 0 -8 0 0

blue and yellow flower, w ith lim e green leaves, is encircled by a

259. Perthshire Paperweights Giant Panda hollow paper­ weight. T h e little G iant sits contentedly, enjoying som e tender

m illefiori garland on upset m uslin; eight and one facets.

bam boo, protected inside her dappled environm ent, w ith a blue

256. Perthshire Paperweights pansy paperweight. T h e pale-

Signature/1971 date cane on base. Lim ited edition o f 350.

flash overlay. Top facet and sixteen oval side facets. 1992 signa-

“ .. .This pansy design was a favorite o f the Victorian makers who

ture/date cane. Lim ited edition o f 300.

m ade it in m any colors and sizes... A gift o f a pansy weight

D iam eter 3 3/16".

sym bolized tender thou ghts .

$ 5 0 0 -8 0 0

— Scottish Paperweights.

D iam eter 2 3/4".

$30 0 -3 5 0

260. Perthshire Paperweights miniature lampwork flower paperweight w ith five petals and a central signature cane, over

257. Perthshire Paperweights concentric complex millefiori

clear, grid-cut ground. Top facet and eight side facets. Lim ited

paperweight and a ring o f latticinio twists on translucent dark

edition o f 563.

amethyst ground; 1994 date/signature cane. Limited edition o f 300.

D iam eter 2 1/8".

$ 1 8 0 -2 5 0

“Millefiori canes are cut to quarter-inch lengths and then set in pat­ tern molds before going to the glassworks to be encased in crystal.

The task is slow and skilled, as all canes have to be matched to

261. Perthshire Paperweights Princess Diana com m em ora­ tive paperweight with the golden inscription: “DIAN A 1961-

its neighbor with each piece picked up and placed into position. No

1997.” T h e sim ple, elegant design features a few scattered

gaps between the canes can be allowed. .. ”— Scottish Paperweights.

forget-m e-n ots, on velvet blue ground; faceted. Signature cane.

Diameter 2 1/8".

$120-160

Lim ited edition o f 100. “I f w eve got a secret to all ou r suc­ cess today, it is that rarely can a person com e along and say

258. PerthshirePaperweights patterned

millefioripaperweight

'T h a t’s m ine— I made it.’ O ther hands have been involved.

with five circlets o f canes spaced arounda central cane cluster, on a

In other words, we are really ... developing a te a m . . . ”— All

clear, star-cut ground; signed in the center with a letter “T ”. Part o f the

A bout Paperweights.

1988 Alphabet Series, design PPM. Faceted. Limited edition o f 200.

D iam eter 2 7/8".

Diameter 2 5/8".

$ 4 0 0 -5 0 0

$200-300

FALL 2000

51

262. Perthshire Paperweights 1985 Scottish broom paper­

266. Perthshire Paperweights cushion paperweight w ith p at­

weight with yellow flowers and buds, on translucent green

terned m illefiori and latticinio rods in a pentagon design; top

ground; top facet and three rows o f side facets. Signature cane.

facet and two rows o f side facets. 1972 signature/date cane.

Lim ited edition o f 227. Diam eter 2 1/2".

Lim ited edition o f 300. D iam eter 2 5/8".

$400-550

$ 2 5 0 -4 5 0

263. Perthshire 1996 Paperweights pink blossom paperweight

267. Perthshire Paperweights com plex m illefiori p aper­

with upright yellow stamens, pink buds and green leaves on a

weight w ith six panels o f com plex canes divided by twists on

translucent cobalt blue ground; top facet and two rows o f side

translucent ruby ground; includes a chain o f blue and white

facets. Limited edition o f 250.

h a lf canes. Faceted. 1995 signature/date cane. Lim ited edition

D iam eter 2 3/4".

$400-600

o f 300.

D iam eter 2 7/8".

$ 2 5 0 -3 5 0

264. Perthshire Paperweights 1987 theobroma cacao flower and pods paperweight. This portrayal o f a cocoa bean plant has

weight with yellow center cane, encircled by two rings o f daisy

“I thumbed through that (antique French paper­ weight article) and compared the pieces of junk and rubbish with which I had been so proudly familiar for the last seven years. I showed it to the craftsmen, and they, as all craftsmen do, said ‘We can do as well as that,’ and I said C£Do it.’”

canes. The flowers are captured on a bed o f upset muslin; five and

— P erthshire P aperw eight’s fo u n d er S tu art D rysdale,

a pink and yellow blossom with red stamens on a stalk with three cocoa beans. Scalloped circular top facet and eight side facets.

Limited edition o f 350 (See The Complete Guide to Perthshire

Paperweights, p. 45).

D iam eter 2 3/4".

$400-500

265. Perthshire Paperweights blue lampwork blossom paper­

one faceting. 1996 signature/date cane. Limited edition o f 250.

D iam eter 3".

52

$ 3 00-400

FALL 2000

T he A rt o f the P aperw eight— Perthshire

268. Caithness Glass/Whitefriars “Emerald Dancers” paper­

272. Caithness Glass/Whitefriars “Buttercups & Butterfly”

weight six trefoil flowers dance around a central bloom on green

paperweight. A m iniature pink butterfly passes throu gh a

ground. A “W hiteffiars M onk” cane sits between the blossoms.

triu m p hant w reath o f buttercups. T h e faceting m im ics the

Signed. Lim ited edition o f 50, by Rosette Fleming.

curves in b o th the butterfly wings and the flower petals. Signed.

D iam eter 3 1/16".

$ 5 0 0 -6 0 0

Lim ited edition o f 50, by Rosette Flem ing.

D iam eter 2 7/8".

$ 7 0 0 -9 0 0

269. Caithness Glass “Miniature H eart” paperweight w ith a central red heart encircled by two co n cen tric rings o f m illefiori

273. Caithness G lass/W hitefriars “Eternal Love” paper­

o n translucent cobalt blue ground; faceted. Signed.

weight. Inspired by the passionate phrase “the flam e o f desire

D iam eter 2 1/8".

$ 1 2 0 -1 5 0

burns forever,” this form al design com bines vivid colors offset by the depths o f the m arin e blue ground. T he ring o f tulips,

270. Caithness G lass/W hitefriars “H yacinth Bouquet” paperweight. A nostalgic tribute to the “Lady o f the H ouse.”

hearts and cen tral flow er show the artisan s’ im m acu late

Faceted. Signed. Lim ited edition o f 50, by Allan Scott.

Flem ing.

D iam eter 3".

D iam eter 3 1/16".

$ 7 0 0 -9 0 0

lam pw ork skills. Signed. Lim ited edition o f 50, by Rosette $ 4 0 0 -6 0 0

271. Caithness Glass/Whitefriars “Rock Rose” paperweight.

A detailed lam pw ork study o f this popular pink flower. Signed.

Faceted. Lim ited edition o f 50, by M argot T h o m so n .

D iam eter 3".

$ 5 0 0 -7 0 0

FALL 2000

53

274. Caithness Glass “Three Gentians” paperweight. The vivid

2 78. Caithness Glass “Adoration” paperweight w ith a m u lti­

floral shape is contained in clear glass, over a m ottled green

tiered w hite flower on mauve flash ground; sunbu rst-cu t b ack ­

ground. Lim ited edition o f 750.

ground w ith geom etric facets o n front and top. Signed. Lim ited

D iam eter 3 7/16".

$ 2 0 0 -2 5 0

edition o f 50 in 1995, by C olin Terris.

D iam eter 3 1/16".

$ 8 0 0 -1 ,0 0 0

275. Caithness Glass “W alkabout” paperweight. An alert three-d im ensional red aventurine lizard has escaped the crystal

279. Caithness Glass “Buccaneer” paperweight. A n abstract

dom e, and perches atop the weight w hich contains three

fantasy flower in an eye-catching design. Lim ited edition o f 750.

flowers grow ing fro m sandy ground ; fro n t facet. Signed.

D iam eter 3".

$ 1 8 0 -2 2 5

A rtists proof, by W illiam M anson.

D iam eter 3 3/8".

$ 1 ,0 0 0 -1 ,2 0 0

276. Caithness Glass “Dahlia” m ulti-petaled pink flower paperweight on am ethyst flash ground; geom etric top and side facets w ith fancy cutting around the lower half. Signed/dated 1997. Lim ited edition o f 50, by Llelen M acD onald .

D iam eter 3 3/16".

aThe true work of art continues to unfold and create within the personality of the spectator.

It is a continuous com ing into b ein g ”

$ 8 0 0 -1 ,0 0 0

277. Caithness Glass “Accord” paperweight — T h ree floral dancers in com plete aesthetic agreem ent. Lim ited edition o f 750.

D iam eter 3 3/16".

54

$ 2 0 0 -2 5 0

FALL 2000

— M ervyn Levy, from Painting f o r All

280. Lundberg Studios three-dimensional paperweight with

285. Lundberg Studios “Purple Passion” paperweight.

an iridescent am ber pear, a green leaf and dark stem o n a clear

An audacious hydrangea bloom s upright in clear glass. Signed

round base; signed and dated 1994.

by Steven Lundberg, dated 1995.

D iam eter 3" at the base.

281. Lundberg Studios

$ 1 2 0 -1 5 0

D iam eter 3 1/2".

$ 3 0 0 -3 5 0

1993 “The Gift” paperweight.

A pink and blue swirl w eight encased in a crystal b lo ck w hich is w rapped w ith latticinio ribbons to resem ble a gift. Signed

283. Lundberg Studios Christmas candle paperweight o f red,

“The artists at Lundberg are well known for their iridescent art nouveau style paperweights... Some of their most recent paperweights contain threedimensional flowers which are made by inserting motifs into the hot glass, rather than encasing them with crystal... This technique allows for a sponta­ neous and flowing design.”

green and white, encircled by a garland o f holly leaves and red

— C ollectors’ Paperw eights— P rice G uide a n d C atalogue

by Steven Lundberg, dated 1993.

W idth 3 1/4".

$ 3 0 0 -5 0 0

282. Lundberg Studios golden apple paperweight. T h e threedim ensional, iridescent fruit w ith a green leaf and dark stem , rests on a clear round base; signed/dated 1995.

D iam eter o f base 3".

$ 120-150

berries, on snowy white ground.

D iam eter 3 1/8".

$ 1 5 0 -2 5 0

284. Lundberg Studios small, upright, lavender poinsettia paperweight w ith green leaves, over an irid escent w hite ground. D ated 1991 and signed by D aniel Salazar.

D iam eter 2 3/8".

$ 1 8 0 -2 5 0

FALL 2000

55

286. Lundberg Studios m agnum aquarium paperweight

290. Lundberg Studios Queen’s Basket jew elry jar. The

w ith p ink, purple and blue strip ed fish, coral and seaweed o n

d om e o f the ja r is filled to overflow ing w ith soft, n atu ral­

tra n s lu c e n t aq u a g ro u n d ; sig n ed by S tev en L u n d b erg .

lo o k in g flow ers. G reen stem s ru n dow n to the base, adding

D a te d l9 9 1 . L im ited e d itio n o f 33.

fu rth er visual interest. T h e design, w ith its plum p, p in cu sh ­

D iam eter 4 1/2".

$ 7 0 0 -9 0 0

ion shape and floral d eco ratio n , recalls the past elegance o f cam eo pins, m illinery, and “G ib so n ” girls. B y D an iel Salazar.

287. Lundberg Studios

engraved surface design p ap er­

H eight 3 15/16"; D iam e te r 4 1/8".

$ 1 ,0 0 0 -1 ,4 0 0

weight w ith a large rose, bud and leaves o n th o rn y stem s, across an irid escen t gold surface. Signed /dated 1981.

291. Lundberg Studios 1974 iridescent blue-green Tiffany-

D iam eter 2 15/16".

style paperweight w ith a five-petaled yellow and red flow er

$ 2 5 0 -3 5 0

and stem s rad iating over the w eight. By Steven Lundberg;

288. Lundberg Studios undersea scene vase

w ith several

fish, jelly fish and seaw eed against an irid escen t gold b a c k ­

signed Lund berg Stu d ios, SL. D iam eter 3 1/8".

$ 2 5 0 -3 0 0

ground . L im ited e d itio n o f 2 50. Signed /dated 1976.

H eight 4 3 /8 ".

$ 1 5 0 -2 5 0

289. Lundberg Studios surface design paperweight w ith a w hite-w inged b u tterfly o n an irid escen t gold and blue wave pattern . Signed /dated 1974.

D iam eter 2 15/16".

56

“...Paperweight makers are amongst the most secretive of glassmen. ...O ne can only say that a paperweight is all glass and art.”

$ 1 5 0 -2 5 0

FALL 2000

— T he E ncyclopedia o f Glass P aperw eights

292. W illiam M anson “Aventurine M allard” upright paper­

295. W illiam M anson sulphide of Prince Charles and

weight w ith a brow n and orange d uck o n a p o n d ; textu red

Princess Diana paperweight encircled by a m illefiori garland

blu e flash back g ro u n d w ith w ind ow facet. Signed /dated

on clear, star-cut ground; faceted. 1981 signature/date cane.

1998. L im ited ed itio n o f 100.

Lim ited edition o f 75.

D iam eter 2 1/2".

$ 1 2 0 -1 4 0

D iam eter 2 3/4".

$ 6 0 0 -7 0 0

293. W illiam M anson straw berries paperweight. A pert

296. W illiam

w hite b lo sso m draws the eye in to this “fru itfu l” w ork. T h e

E m erg in g fro m a hole in a garden, the earthy creatu re looks

M anson

w hiskered

m ole

p aperw eight.

three, yellow -seeded red b erries, are co m p lem en ted by b o ld ­

quite surprised to be cau gh t un der glass. S u rro u n d ed by

ly strip ed green leaves, displayed o n clear star-cu t ground.

b rig h t flow ers, red -cap m u sh ro o m s and plush green grass;

T h e straw berry red -o ver-w h ite d o u ble overlay is the cro w n ­

signature cane. Signed /dated 1999. L im ited ed itio n o f 100.

ing to u ch o f a co n fid en t glass artist. M u lti-faceted . Signature

D iam eter 3 1/4".

$ 4 0 0 -4 5 0

cane. L im ited e d itio n o f 25.

D iam eter 3 3 /1 6 ".

$ 1 ,3 0 0 -1 ,5 0 0

297. Selkirk Glass bouquet paperweight. Lavender-tipped w hite b lo sso m s, buds and green leaves, encircled by a ring o f

294. Yaffa Sikorsky-Todd and Jeff Todd “Bluebird” paper­ weight w ith an im p ressio n ist bird soarin g above blo sso m in g

spaced co m p le x canes o n clear gro u n d ; P H signature cane.

w ildflow ers, w hich grow am o n gst a ro cky calico -co lo red

D iam eter 3 3 /8 ".

L im ited ed itio n o f 75. $ 4 0 0 -5 0 0

land scape. Signed and dated 1992.

D iam eter 3 3 /1 6 ".

$ 3 5 0 -4 5 0

FALL 2000

57

298. Orient & Flume black widow spider paperweight. The

301. Harold Hacker three-dimensional black octopus paper­

stylized latticinio cleverly m im ics a spider s web. As the spider

weight w ith black and white eyes, on m ottled translucent aqua

sits in its woven lair, the m ulti-tiered pink flower seems to lean

ground. A bulbous, com ical octopus, caught out from its garden

its head into the sticky trap. T he wavy green leaves are another

perhaps, m u ch to its chagrin.

naturalistic detail. Signed. Lim ited edition o f 250 by Scott

D iam eter 2 11/16".

$ 2 5 0 -3 5 0

Beyers.

D iam eter 3 3/8".

$ 4 0 0 -5 5 0

302. J Glass 1981 pink millefiori butterfly paperweight w ithin a ring o f canes, encircled by two interlaced cinquefoil

299. O rient & Flume Christm as candles paperweight. A

garlands o n lavender ground; top facet and side finger facets.

festive centerpiece design o f glowing tapers, bo u n d by striped

D iam eter 3".

$ 3 5 0 -4 5 0

ribbon on a wreath o f holly leaves and berries. O n snow-white

303. J Glass single yellow “Bloom in May” paperweight

ground. Lim ited edition o f 250.

D iam eter 2 15/16".

$ 2 5 0 -3 5 0

over a translucent blue ground. 1979 signature/date cane.

D iam eter 2 1/4".

$ 2 5 0 -3 0 0

300. Orient & Flume blue peacock paperweight with a long, green m illefiori tail, on a swath o f dark colored glass. The m illefiori in the tail are pulled out o f their tight shapes, and the u n fo ­ cused, blended quality suggests the d im ensional feathers, ruffling, nearly ready to fan out in display. Signed/dated 1984.

D iam eter 3 1/16".

$30 0 -5 0 0

“From the time of early glassblowers... (hollow glass balls) were known as witch balls,’ and according to legend were hung inside the country people’s cottages to ward off the evil eye.”

— Glass P aperw eights o f the B ergstrom A rt C enter

58

FALL 2000

304. John Deacons m ulti-tiered pink rose paperweight.

308. John Deacons butterfly paperweight w ith pink, blue

T h e blossom rests on a cushion o f w hite latticinio ribbons in

and white m illefiori wings, on a cushion o f white latticin io rib ­

a w hite-over-p ink double overlay; m ulti-faceted. 200 0 signa-

bons, in a pink flash overlay; faceted. 1997 signature/date cane.

ture/date cane.

D iam eter 3 1/8".

D iam eter 3 1/4".

$ 3 0 0 -4 0 0

$ 4 0 0 -5 0 0

309. John Deacons butterfly paperweight w ith blue, pink and 305. John Deacons blue and yellow double clematis paper­

w hite m illefiori wings and a green body, encircled by a pink

weight on a cushion o f white latticinio ribbons in a purple-

and blue garland on w hite latticinio spokes; 20 0 0 signature/

over-w hite d ouble overlay; m u lti-faceted . 2 0 0 0 signature/

date cane.

date cane.

D iam eter 2 3/4".

D iam eter 3 1/8".

306. John Deacons black and yellow pansy paperweight with stardust center, green leaves and stem , encircled by a m illefiori garland, o n w hite latticinio spokes. 1997 signature/date cane.

D iam eter 2 7/8".

$ 1 5 0 -2 5 0

307. John Deacons two clematis blossoms paperweight, one pink and one blue, on a cushion o f w hite latticin io ribbo ns in a dark pink-over-w hite double overlay; faceted. 2000 signa­ ture/date cane.

D iam eter 3 1/8".

$ 1 5 0 -2 5 0

$ 4 0 0 -5 0 0

“John Deacons... formed 7’ Glass in 1977 in Crieff, Scotland. The company derived its name from the enigmatic 7 ’ signature cane found in certain nineteenth-century Bohemian weights. Deacons chose this same mark to honor the unknown creator of those ingenious weights and to identify his own skillful creations.”

$ 4 0 0 -5 0 0

FALL 2000

— The Art o f the Paperw eight

59

310. Grant Randolph iridescent gold egg-shaped paper­

315. Chris Belleau face paperweight. T he black-and-w hite

weight, w ith a flowing, luxurious surface design o f deep blue

image o f a hum an face, designed as if it were the topography o f

hearts and vines. Signed/dated 1983.

an ephem eral, ice-cast landscape; encased in crystal. Signed and

H eight 3 1/2".

$ 1 5 0 -2 0 0

dated 1995.

D iam eter 3 1/4".

$ 8 0 -1 0 0

311. Joseph Z im m erm an m agnum hollow paperweight.

A rem arkable m odeling using the sulphide technique, c o m ­ prised o f a three-dim ensional M adonna figurine, encircled by spaced bubbles and yellow ribbons o f glass. Signed.

H eight 5 5/8".

$ 5 0 0 -7 0 0

312. Grant Randolph iridescent navy blue egg-shaped paper­ weight. A n Art N ouveau-style surface design o f clem atis and coneflowers. Signed.

H eight 3 1/4".

$ 1 0 0 -2 0 0

313. Miscellaneous frosted molded male Ron’s head paper­ weight. U pright and alert on his front paws, the m ajestic feline is m ou nted on a circular base.

D iam eter o f base 2 3/8".

“How many of today s glass artists utilize this unique physical quality of glass in creating their works?

Only a few. But it is almost always the paperweight artists who, by fully exhausting all the fantastic qual­ ities of glass, form their works just as they conceive them as artists. Not the other way around, with the glass determining how well the work of art5succeeds.

That would scarcely be art, but rather chance. ”

$ 1 0 0 -2 0 0

314. Vasart crystal pin dish w ith a central cluster o f canes, encircled by radiating blue and green latticinio, dividing panels o f canes on pale blue ground.

D iam eter 3 7/8". $ 4 0 0 -5 0 0

60

FALL 2000

— P aperw eights o f the W orld

316. Am erican Paperweight Artists silk scarf. A brightly

320. Perthshire Paperweights pendant w ith two lam pw ork

colored array o f designs from the Classic period o f A m erican

flowers encased in clear glass with a gold wire fitting. A d im inu­

paperw eight m aking, are fashionably presented on a m elon-

tive, charm ing study.

colored background. C om m issioned by Paul Jokelson, 100%

D iam eter 1 5/16".

$ 1 5 0 -2 0 0

silk, m ade in France.

Length 33" x 3 3 M.

$15 0 -1 8 0

321. John Gooderham stickpin with gold four-leaf clover on moss green ground. The gleaming clover simply means, “Be mine ”

317. Antique sulphide silk scarf. D ram atic representations

D iam eter 5/8".

$6 0 -8 0

o f sulphides in various crystal works; on a lush pewter back­ ground. C om m issioned by Paul Jokelson, 100% silk, m ade

322. Ronald Hansen miniature pedestal paperweight con tain ­

in France.

ing an upright sixteen-petal D anish blue crim p rose cupped by

Length 33" x 33".

four green leaves over a clear footed base.

$14 0 -1 6 0

H eight 1 1/8".

$ 2 5 0 -3 5 0

318. Antique sulphide silk scarf. D ram atic representations o f sulphides in various crystal works. A rich onyx background.

C om m issioned by Paul Jokelson, 100% silk, m ade in France.

Length 33" x 33".

$14 0 -1 6 0

“Art is cultural insurance. Take out a policy now.”

— T heo C rosby (1 9 2 5 -9 4 ), H ow to Play the Environm ent G am e

319. John Gooderham earrings. A gold-foil bee, w ith expert detailing, rests o n its cobalt blue ground in a blue-over-w hite double overlay; faceted.

D iam eter 7/16".

$ 1 2 0 -1 8 0

FALL 2000

61

Paperweight Books & Literature 323. Glass P aperw eights o f the B ergstro m A rt C en ter by Evelyn Campbell Cloak (1 969), the first b o o k to d ocu m ent the

331. B accarat: Paperw eights a n d R elated Glass 1 8 2 0 -1 8 6 0

by Paul Jokelson and Dena K. Tarshis. M int condition; b o o k is

im p ortan t collection o f the m useum with 700 weights illustrat­ ed in full color. T h e b o o k includes an introd uction by H elen

still in wrapper.

M cK earin

332. Volume No. 13 of Collectors’ Pieces: Paperw eights by John Bedford (1 9 6 8 ), from a series o f collectors’ handbooks

w ith

insig htfu l

co m m e n ts

ab o u t

the

life

of

$ 3 0 -5 0

Evangeline Bergstrom , one o f history’s m ost respected paper­ weight collectors. Hardcover. Som e aging/curling to the dust

w ritten for the “enthusiast o f m ore m odest m eans.” Providing

jacket; otherwise very good condition.

inform ation on where paperweights have com e from and how they are made. Som e yellowing and w riting on pages; dust ja c k ­

$ 7 0 -1 0 0

324. Old Glass Paperw eights by Evangeline H. Bergstrom

et worn.

$ 2 0 -3 0

(1 9 4 8 ). Fifth printing (1968) w ith fourth edition b o o k jacket. A b o o k that trem endously increased the popularity o f paper­

333. Glass Paperw eights by Patricia K. McCawley (1 9 7 5 ),

weight collecting, containing som e o f the first accurate in fo r­ m a tio n ab o u t paperw eights and m any in sp irin g words.

a b o o k o f fine weights, bo th m od ern and antique. Illustrated in

Hardcover. There is som e discoloration and indentations on the

diagram s o f canes. Som e wear to the d u stjack et; otherwise good

cover.

condition. Lett’s Collectors’ G uides: Glass Paperw eights by

$ 1 0 0 -1 5 0

color with descriptions o f the various glassm aking factories, and

Patricia K. McCawley (1982). Revised edition o f M cCaw ley’s 325. O ne H u n d re d o f the M ost Im p o rta n t Paperw eights by Paul Jokelson. This early color b o o k docum ented m any o f the

inform ative tom e. Colorplates. wear to dustjacket; overall good condition.

$ 2 0 -3 0

finest antique French paperweights in the world. Lim ited edi­ tion o f 2000 copies. This copy is stam ped “No. 1798.” Som e wear

334. T h e Pairpoint Glass Story by George C. Avila (1968).

to dust jacket, and yellowing pages.

$ 2 0 0 -3 0 0

Signed by the author. H ardbound volum e. M ore than 2200 item s o f glass, silver and other products illustrate the “au th ori­

326. Paperw eights a n d O ther Glass Curiosities by E. M. Elville

tative account” o f the history o f Pairpoint Glass. Period black

(T h ird Im pression, 1968 Spring Books reprint). T his early bo o k

and w hite photographs show the employees at their crafts. W ear

presents m any interesting observations about the art form . W ear

and tear to the dust jacket; otherwise very good condition.

to the dust jacket and som e yellowing o f the pages; other­ wise fine.

327. A n tiq u e Glass P aperw eights fr o m F ra n ce by Patricia K. McCawley (1968). A detailed description o f som e im portan t antique paperweights. D ust jacket shows som e wear; yellowing pages. O therw ise fine.

$ 1 0 0 -1 5 0

$ 3 0 -5 0

$ 4 0 -6 0

328. A G arland o f W eights: So m e Notes on Collecting A n tiq u e F ren ch Glass P aperw eights f o r T hose W ho D o n ’t by Frank J. Manheim (1967). A partner in the New York investm ent firm o f

335. Boxed hardcover catalogue of the Glass Paperweights at the Bergstrom -M ahler Museum (1 9 8 9 ). In tro d u ctio n

by Geraldine J. Casper. No. 403 o f a lim ited edition o f 1500.

Signed by the D irector, A lex Vance. In d en t throu gh bo x has curled som e pages, otherw ise very good co n d itio n catalogue.

336. Sotheby’s auction

$ 2 0 -4 0

catalogue,

Decem ber

2,

1983:

“Im p o rtan t Paperweights from the C ollection o f Paul Jokelson,

Lehm an Brothers talks about the investm ent potential o f paper­

New York,” including a superb collection o f Clichy colorground

weights. Lim ited to 1000 copies. Hardcover. D ust jacket to rn and

weights, the Pantin Silkw orm weight, and special works by Charles Kazuin and Paul Ysart. Jokelson said o f the paper­

w orn; otherwise a fine copy.

$ 8 0 -1 0 0

329. T h e E n cy clo p ed ia o f Glass P a p erw eigh ts by Paul Hollister, Jr. (1969). A fine copy o f the 1970 C larkson N. Potter, Inc., edition o f this highly respected reference guide. Hardcover.

W ear and tears in the dust jacket and som e w riting on an end page; otherwise very good. $ 5 0 -8 0

330. Glass P aperw eights by James Mackay (1 9 7 3 ). A com pre­ hensive history o f the developm ent o f glass paperweights, cov­ ering the three greats: Baccarat, St. Louis, and Clichy, as well as chapters on other m akers from A m erican to Asian. Colorplates and b/w illustrations. Hardcover. Som e tears to the dustjacket; indents on cover. G ood condition. $ 2 0 -3 0

62

weights in this auction, “They are as perfect as they can be, love­ ly, rare and I will miss them .” $ 2 0 -4 0

337. Two Sotheby’s auction catalogues including March 12, 1986, “Im p ortant Paperweights from the C ollection o f the B ergstrom Art Center and Various Owners,”— also, N ovem ber 6 ,1 9 8 6 “Im p ortant Paperweights” featuring a rare New England M agnum B ouquet paperweight, and Floral plaque glass weight attributed to Russian artisans in 1984. $ 4 0 -6 0

338. Annual Bulletin of the Paperweight C ollectors’ Association, two issues: 1974 and 1976. These include articles w ritten by Paul Jokelson, Theresa Greenblatt, Joan G arrity and others. G ood condition. $ 6 0 -8 0

FALL 2000

Select Bibliography A History o f B accarat M odern Paperweights. Baccarat New York,

M useum o f Glass, 1978.

1977.

Ingold, Gerard. The Art o f the Paperw eight— Saint Louis A nnual Bulletin o f the Paperweight Collectors’ Association,

[revised edition]. Santa Cruz, California: Paperweight Press,

Inc. New York: Paperweight Collectors’ Association, 1 9 5 5 -.

1996.

Casper, Geraldine J. Glass Paperweights in The Art Institute o f

Jargstorf, Sibylle. Paperweights. W est Chester, Pennsylvania:

Chicago. Chicago, Illinois: T h e A rt Institute o f Chicago, 1991.

Schiffer Publishing Ltd., 1991.

Catalogues o f paperw eight sales at C hristie’s, London;

Jokelson, Paul. Sulphides: The Art o f C am eo Incrustation. New

Sotheby’s, L ondon and New York; W einer Kunst A uktionen,

York: Thom as A. N elson, 1968.

Vienna; L. H. Selm an Ltd., Santa Cruz, California.

Jokelson, Paul and D ena Tarshis. Baccarat: Paperweights an d Cloak, Evelyn Cam pbell. Glass Paperweights o f the Bergstrom

Related Glass 1820-1860. Santa Cruz, California: Paperweight

Art Center. New York: Crow n Publishers, Inc., 1969.

Press, 1990.

Dietz, Ulysses Grant. Paul J. Stankard: H om age to Nature. New

Kulles, George N. Identifying A ntique Paperweights —

York: H arry N. A bram s, Inc., 1996.

Lam pw ork. Santa Cruz, California: Paperweight Press, 1987.

Elville, E. M . Paperweights an d Other Glass Curiosities. 2nd ed.

Mackay, Jam es. Glass Paperweights. New York: Viking Press,

London: Spring Books, 1967.

1973.

Flem m ing, M onika and Peter Pom m erencke. Paperweights o f

M ahoney, C olin 8c D ebby and M cC lanahan, G ary 8c M arge.

The C om plete Guide to Perthshire Paperweights. Santa Cruz,

the World. Atglen, Pennsylvania: Schiffer Publishing, 1993.

California: Paperweight Press, 1997.

G iacon, M ichela. “murrinA U RA ,” excerpted from a M ario Dei M anheim , Frank J. A G arland o f Weights. New York: Farrar,

Rossi exhibition catalogue, ca. 1994.

Straus and G iroux, 1967.

Glass C ollector’s Digest (Vol. XIV, No. 2) N ew m an, Harold. An Illustrated D ictionary o f Glass. London:

“A Paperweight Full o f Riddles,” Carol Baldwin.

Tham es and H udson, 1977.

Hall, R obert G. Old English Paperweights. Atglen, Pennsylvania: Rossi, Sara. A Collectors Guide to Paperweights. Secaucus, New

Schiffer Publishing Ltd., 1998.

Jersey: W ellfleet Press, 1990.

Hall,— Scottish Paperweights. Atglen, Pennsylvania: Schiffer Sarpellon, Giovanni. M iniature M asterpieces— M osaic Glass

Publishing Ltd., 1999.

1838-1924. M unich and New York: Prestel-Verlag, 1995.

Hawley, John D. The Art o f the Paperw eight— The Boston &

Sandwich an d N ew England Glass Companies. Santa Cruz,

Selm an, Lawrence H. All A bout Paperweights. Santa Cruz,

California: Paperweight Press, 1997.

California: Paperweight Press, 1992.

Hawley,— The Glass M enagerie— A Study o f Silhouette Canes

Selm an,— The A rt o f the Paperweight. Santa Cruz, California:

in A ntique Paperweights. Santa Cruz, California: Paperweight

Paperweight Press, 1988.

Press, 1995.

Selman,— Catalogue and Price Guide o f Collectors Paperweights.

Hollister, Paul, Jr. The Encyclopedia o f Glass Paperweights. New

Santa Cruz, California: Paperweight Press 1975.

York: C larkson N. Potter, Bram hall House, 1969. [Reprinted by S elm an ,— Collectors Paperweights— Price Guide an d

Paperweight Press, 1992.]

Catalogue. Santa Cruz, California: Paperweight Press, 1979, Hollister,— Glass Paperweights o f the New-York Historical

1 9 8 1 ,1 9 8 3 ,1 9 8 6 .

Society. New York: Clarkson N. Potter, 1974.

Selm an, Lawrence H. and Linda Pope-Selm an. Paperweights fo r Hollister, Paul and D w ight P. L anm on. Paperweights: “Flowers

Collectors. Santa Cruz, California: Paperweight Press, 1975.

which clothe the m eadow s” C orning, New York: T he C orning FALL 2000

63

Conditions of Sale Participants are urged to read carefully the follow ing explana­ tion o f the conditions o f sale, w hich contain the term s on w hich L. H. Selm an Ltd. conducts auctions. L. H. Selm an Ltd. reserves the right to refuse any and all bids. This is a m ail/phone auction.

To place a bid, fill out the enclosed form and return it by m ail as soon as possible. Bids may also be placed by telephone, fax, em ail or o n the web at w ww.pwAuction.com . In the case o f tie bids, the earliest bid received will be the winner. Bids m ay be raised until the lot is declared closed.

Return Policy U pon the close o f each lot, purchase is understood to be final.

The buyer m ust notify L. H. Selm an Ltd. o f any discrepancy w ithin 48 hours o f receipt. All item s have been carefully selected and described, but if you feel a lot has been m isrepresented, requests for return will be handled on an individual basis.

Returned m erchandise will not be accepted w ithout prior approval. In no event will L. H. Selm an Ltd. incur liability beyond the purchase price o f an individual lot.

Bids m ust be made in the following increm ents: U p to $200:

$10

Guarantee

$2 0 0 to $500:

$25

All lots are sold on an “as is” basis. L. H. Selm an Ltd. makes every

$500 to $1,000:

$50

effort to describe each lot with com plete accuracy and accepts

$1,000 to $2,000:

$100

$2,000 to $5,000:

$250

$5,000 to $10,000:

$500

$10,000 and over:

$1,000

responsibility for the authenticity o f the item s offered for auc­ tion. Photographs are provided for the guidance o f the buyer.

I f you have any questions, please call L. H. Selm an Ltd.

Estimates

After the last day to place initial bids, we expect bidders to co n ­

Estim ates provided reflect current trends. Use them as a guide­

tact us daily, via phone, fax, email or web, to check on the status

line when placing your bids.

o f their bids. I f you fail to con tact us, you m ay be relinquishing your opportunity to raise your bid. Help us com plete the auction in a tim ely fashion by inform ing us w hich lots you

Reserves A reserve is a confidential m in im u m price below w hich a lot

wish to drop.

generally will not be sold. In som e cases L. H. Selm an Ltd. has All initial bids m ust be in hand by 5 pm Pacific tim e on O ctober

agreed w ith the consignor to accept a reserve. L. H. Selm an Ltd.

13, 2000. Bidding will continue until the w inner o f each lot is

reserves the right to place bids on b eh alf o f the consignor up to

determ ined. All lots will be sold at one increm ent over the

the am o u n t o f the reserve. Bids below reserve m ay be considered

second highest bidder. L. H. Selm an Ltd. has absolute discretion

null at the sole discretion o f L. H. Selm an Ltd. In this event, the

to settle any disputes.

consignor has the right to recover consigned lots w hich do no t reach the m in im u m price reserved.

Successful bidders will be invoiced for the total am ou nt due at the auction’s close. Unsuccessful bidders will n o t be contacted.

Successful bidders m ust pay a 10% com m ission o n the ham m er

Exhibition

price o f each item , plus applicable tax and shipping fees.

The item s will be available for inspection at 123 Locust Street,

Shipping will be billed at cost, plus handling and insurance.

Santa Cruz, California, by appointm ent only (800 5 3 8 -0 7 6 6 ,

Item s will be shipped to dom estic buyers via FedEx tw o-day air

831 4 2 7 -1 1 7 7 ). No appointm ents will be m ade for the closing

unless otherwise specified by the buyer, and to overseas buyers

day o f the auction.

by air mail. The buyer will be charged for any increased costs in shipping, including postage, handling and insurance.

Paym ent is due on receipt o f invoice; after 15 days a 2 % per m on th penalty on m onies owed will be charged. All checks m ust be drawn on U. S. banks. I f paym ent is m ade by credit card, a surcharge will appear on the invoice at the following rates: A m erican Express, 5% ; V ISA , M asterCard or Discover, 3% . Purchases will n o t be shipped to the buyer until the full price has been paid.

64

FALL 2000

Reverse S id e o f Italian S cen t Bottles - Lots 5 8 through 6 6 a n d L ot 6 8

978093375638052500

Detail of Lot 37