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S p r i n g 2001

PAPERWEIGHT PRICE GUIDE & A u c t io n

L. H. Selman Ltd


D e t a il o f L o t 6


Spring 2001

PAPERWEIGHT PRICE GUIDE & Auction “A thing o f beauty is a joy forever: Its loveliness increases; it will never Pass into nothingness; but still will keep A bower quiet fo r us, and a sleep Full o f sweet dreams, and health, and quiet breathing — John Keats

L ots are available for viewing April 1, by appointm ent, or on our website

L ast day to place initial bids April 20, 2001 at 5pm pdt

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selman@paperweight.com

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831 427-0111

Web:

ww w.pwAuction.com

Phone:

800 538-0766 • 831 427-1177 M -F 9am - 5pm / Sat. 10am - 5 pm pdt 123 Locust St., Santa C ruz, CA 95060

M ail:

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OR ON OUR WEBSITE - C all fo r details

Auction N umber 25

L. H. Selman Ltd. 123 Locust Street, Santa C ruz, C alifornia 9 5 0 6 0 • pw A uction.com • p a p e rw e ig h t.co m


Detail o f Lot 25

Detail o f Lot 4

Detail o f Lot 39 Detail o f Lot 18

Detail o f Lot 8

Detail o f Lot 24


Part I: Antique Paperweights & Related Objects “Anyone who lives with a fine collection o f paperweights, however, is constantly tempted to speculate upon their possible h isto r y .(H )o w did it come into existence? Was this the kind o f poetry used by a young workman to express his wishes for a Happy Easter to his mother and father? Whatever the sentiment or the circumstances, it is sure that this glass-artist was... o f fine sensibilities, o f surpassing skills

So fa r as he was concerned, ‘the gods see everywhere!”

— Evangeline H. Bergstrom, Old Glass Paperweights. L ot 1. A ntique Russian petite floral plaque paperw eight, with twelve three-dim ensional flowers in cranberry, cobalt blue, black-cherry, and sky blue, twelve green leaves, and three stems, all tied with a black-cherry colored ribbon. This is a rare exam ­ ple o f only eleven known o f this style o f Russian lampwork plaques from the late nineteenth century. The back o f the weight is frosted, and the piece is faceted around the edges. There are num erous, differently shaped petals and prom inent m ulticom ponent stamens (rather than m illefiori centers in the French m anner). The flowers could be dahlias, or being small, they are likely clem atis. The oblong leaves, seem to weave in and out behind the flowers, suggesting they are clim bing up alongside each other, as on a trellis. Som e bloom s appear new and not quite open, while others are fully on display, especially the dark, nearly black blossom s. The petals and stamen are com pletely upright, not pressed down. The glassmaker allowed for a room y encasem ent around the delicate pieces, and kept them intact throughout. This was obviously a special piece o f glass art, perhaps a com m issioned work for a child, whose parent was influential. The plaque is dim inutive and pretty; and in keeping with the sym bolism o f clem atis flowers, it has an intellectual aesthetic. It is the work o f a subtle m ind, not an ostentatious personality. W hile glass historians have previously attributed these multiple flower bouquets as likely Am erican works from the M ount W ashington factory, Dwight Lanm on, form er director o f the W interthur M useum and the Corning M useum , found physical evidence to advance the theory these lampwork floral com posi­ tions are actually Russian in origin. Lanm on discovered frag­ ments o f paperweights containing the same style o f glasswork in the archives o f the Im perial Glass Factory and the Hermitage located in St. Petersburg. Yet, nearly a decade later after those discoveries, little is know n as to the factory or glass artists that produced these extraordinary, abundantly floral paperweights. Interestingly, there was a ban on the im portation o f foreign glass into Russia in the early nineteenth century, at which tim e many glasshouses cam e into being; the notable Dyat’kovo Crystal Works, in particular, is recognized for its fine examples o f crys­ tal. Decorative Russian glassware, water sets and candlesticks from that period are vigorously collected, but unlike their European and A m erican glass factory counterparts with the spotlighted nam es o f Gridel or Lutz, the Russian artisans seemed

Russian Floral Plaque to be an anonym ous force o f designers. (See, The Malstov Dynasty of Russia, Annual Bulletin o f the PCA, 1995; see also, p 154, Objects o f Fantasy: Glass Inclusions o f the Nineteenth Century.) And while it seems obvious that European style perm eated boundaries and influenced artists (in a trickle-dow n manner, from wealthy,

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Detail o f Lot 1 traveled nobles to the lesser strata), so it seems during the clas­ sic period o f the paperweights, Russian glassmakers were likely creating in a cultural vacuum. So, what we face now is barely a handful o f glass paperweights, that have traveled through many hands, from whose hands who crafted th e m ... we cannot put a finger on. M inor chips along the bevels, and flakes o f white glass around the lampwork. “It will

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presumably be some time before a comprehensive survey of Russian lampwork is available. Nevertheless these paperweights rank among the most beautiful and most sophisticated in the genre.” — Paperweights: Collection Friedrich Bader; Wiener Kunst Auktionen. (See, Changing Attributions of Antique Paperweights, Annual Bulletin o f the PCA, 1991; see also, Russia-The Paradise of the Paperweight, Annual Bulletin o f the PCA, 1992.) Length 4"; W idth 2 1/2"; Depth 1 3/8". $30,00 0 -5 0 ,0 0 0

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Lot 2. Very rare Saint Louis antique m agnum bouquet p aper­ weight. The size alone makes it a rare and impressive piece. The abundance o f clear glass is set with a central rose-colored dahlia whose central stamen consists o f a com plex cane, which alone may attribute the work to Saint Louis. At the heart o f the flower’s stam en is what appears to be a white cog cane, sur­ rounded by seven small bull’s-eye canes. Around this com plex cane arrangem ent, is a 14-point cog cane, com m only associated with 19th c. Saint Louis. (See, p 8, Identifying Antique Paperweights: Millefiori.) The curved points o f the cog cane give the stamen a natural affectation. The edges o f each o f the leaves exhibit the signature Saint Louis crim p style. The dahlia stands out superbly and is offset by two smaller flowers, including a deeply veined white double clem atis and a blue clem atis conjoined by green stems. (See also, p 123, Paperweights.) D iam eter 4". $ 7 0 00-12,000

Lot 3. O utstanding and rare B accarat antique seven-flower bouquet paperw eight. Containing a central yellow pom pon com prised o f num erous c-shaped petals, with a central emerald and white arrow point and ruby star com plex cane. The airy quality o f the pom pon is com plem ented by the flatter, m ore graphically styled flowers surrounding it. Above the pom pon is a cluster o f three robin’s-egg blue forget-m e-nots, each with a white stardust and turquoise bull’s eye. Then, three fantasy flow­ ers, all o f w hich exhibit a ruffled edge, two with boldly designed arrow canes, in blue, white, red, each with a white stardust bull’seye cane. The flowers are on entwined stems with fifteen green leaves am ong them . A superim posed aX ” design in the stem is also considered typical o f Baccarat. (See, p 15, Antique French Paperweights and Related Objects.) The leaves surrounding the fo r­ get-m e-nots are o f a brighter green than the bouqu et’s others and show fine detail, and perhaps suggest a com m ittee o f lam pworkers, all contributing their best floral feature. The arrange­ m ent floats above a clear star-cut ground, uncom m on with th ir­ ty-two rays. (See, color plate 58, Presse Papiers de Cristal-Panorama des Collections Francoises, and, no. 45, Baccarat: Paperweights and Related Glass 1820-1860.) D iam eter 2 15/16". $ 1 5 ,000-20,000

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Lot 4. Clichy antique interlaced trefoil garlands paperw eight, in pink, green, lavender, white, and indigo, looped around six spaced com plex canes. The canes are each unique and com plex, and include a central cross cane, moss cane, and the sym bol o f this short-lived French factory; one pink and green rose cane. The design rests on clear, star-cut ground; five and one facets. “The use of this rose may have been inspired by the Jacobites, who used a glass ornamented with a white rose when drinking a toast to the Pretender.” — Old Glass Paperweights. “The magnetic attraction of fine antique French paperweights lies in their intrinsic beauty, as works of art, in their design, in their composition and colors more than in the technical expertise of the glass artists who made them.” — A Garland o f Weights. D iam eter 3 1/4". $ 4250-5000

Lot 5. Antique, likely Bacchus, close packed m illefiori p ap er­ weight, com prised o f a central group o f com plex m illefiori, encircled by three concentric rings o f canes, in a white stave basket which extends all the way to the bottom o f the paper­ weight. In some o f its features, it appears an all over typical Bacchus design, in its use o f white glass as a color, and in the “hollow ” style o f canes. Included am ongst assorted cog, star and flower canes, however, is an unusual triangular cane that som e­ what resembles a fortress cane, (a Baccarat trademark) or even a Jerusalem cross cane, (of Saint Louis). “In England, the beginning of the classic period can be marked by the 1848 date which appears in many paperweights and inkwells from Whitefriars... Undated paper­ weights from the Bacchus factory of Birmingham are listed in exhibi­ tions in 1848 and 1849... These were said to have been produced to rival Bohemian paperweights that had been flooding the English market.” — Paperweights: *.F lowers Which Clothe the Meadows' “Comparisons are odious.” — John Fortesque. Diam eter 3 1/16". $9000-1 1 ,0 0 0

Detail o f Lot 5 - showing unusual triangular canes

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L ot 6. Clichy antique m illefiori C -scroll garlands paperweight. Exhibiting the “C ” m o tif w ithin their design, this com position shows o ff the best features o f an elaborate Clichy paperweight. The m illefiori are varied in vivid color, m ixing com plex canes in earthy tones o f eggplant and tom ato red, encircling transparent pale pink and aquam arine ruffled canes. The C-scroll garlands include cobalt blue pastry-m old canes, moss canes, and are punctuated with two pink and green roses. The reverse side o f the paperweight shows the white filigree canes running straight across the weight, also typifying it as a Clichy design. D iam eter 3 1/8". $ 3 000-3500

Lot 7. B accarat antique con cen tric com plex m illefiori with tran slu cent overlay paperw eight. The central com plex cane, a so-called a rro w h ea d (or crow sfoot), distinguishes this small paperweight as a Baccarat work. The surrounding canes are com prised o f six-pointed stars, stardust, florets, and cogs. The palette restricts the m illefiori to white, ruby red, and scarlet, with accents o f pale blue and green. H andsom ely accented with a green flash overlay with five and one facets. M inor chips along facets. “Geometrical patterns such as millefiori circles and garlands are sometimes set on a flat translucent colorless ground. When placed above a colourless ground, these ornaments look as if they were floating in the paperweight.” — Paperweights (Baccarat): Glasgalerie Kovacek Wein. D iam eter 2 5/8". $ 3 5 0 0-4000

Detail o f Lot 6

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Lot 8. B accarat antique dated B 1848 carp et ground with scat­ tered m illefiori paperw eight. Nine silhouette canes o f excep­ tional quality, and other com plex canes containing six-point stars, whorls and arrows, are sunken into a red and white star­ dust carpet ground. A B 1848 signature/date cane sits just below one o f two “butterfly” canes. The m ore usual Gridel suspects include the black dog, stag, and horse. This paperweight, how ­ ever, is also a bird sanctuary: with a tiny white bird on red ground encircled by nine sham rocks, and a flawless example o f the lovely L e Cygne B la n c, the W hite Swan picture cane. {See, fig 4.11, p 30, The Glass Menagerie.)

Lot 9. A m erican antique New England Glass Com pany m ag­ num upright floral and fruit bouquet paperw eight. A com plex bouquet presentation, som ewhat resem bling a bundled sheaf, which contains two golden peaches and two red apples tucked into a gather o f four blossom s. A trem endous rose bud appears about to unfurl, and the arrangem ent rests over a double-swirl white latticinio basket. “These superb three-dimensional magnum beauties rank among the best of all paperweights produced by the New England Glass Company, and, in fact, the best produced by any glass­ works. They made very few of these, and again, no duplicates exist. Their quality is such that they probably served as presentation pieces given to important personages.” — The Art o f the Paperweight: The Boston & Sandwich and New England Glass Companies. {See, fig 7.128, p 159, The Art o f the Paperweight.) D iam eter 3 1/2". $9500-1 0 ,5 0 0

Detail o f Lot 8 - The White Swan picture cane

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Lot 10. Saint Louis antique pink dahlia paperw eight, con tain­ ing a large flower with four tiers o f veined petals. The center “stam en” is com prised o f an array o f puffed yellow glass, possi­ bly powdered and applied to a small bulb o f colorless glass to achieve transparency. The m agnificent bloom shows five leaves from behind its flower head, and is finished with two green leaves and a stem. Over a clear, star-cut ground. (See, fig 134, p 47, Paperweights from the Henry Melville Fuller Collection.) D iam eter 3 1/4". $ 4 2 5 0-4750

Lot 11. Pantin antique orchid paperw eight, displaying six white blossom s with bulbous pink centers on dark reed-like leaves. Possibly an interpretation o f the phalaenopsis orchids, som e o f which grow in a cluster and exhibit a wide flat crown o f petals and protruding, lower lips. Orchids occupied a position o f extrem e vogue in the 1870s, when this piece is believed to have been produced. They were high-priced luxury plants, available to only the wealthiest flower fanciers. This piece is attributed to the mysterious “Fourth” French factory, because o f its high dom e, lampwork detail and creative botanical com position. All over clear ground. Form erly part o f the private collection o f Alan Tillm an. (See, The Fourth Factory, Annual Bulletin o f the PCA, 1965; see also, A Pantin Discovery, Annual Bulletin o f the PCA, 1981.) Diam eter 2 15/16". $ 8 5 0 0-9500

Detail o f Lot 11 - Pantin floral lampwork

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Lot 12. Saint Louis antique six-flow er garland paperw eight, in blue, pink and white, each blossom with five petals, (three with veined petals), a m illefiori center and crim ped green leaves, on clear ground. “The flower is the poetry of reproduction. It is an example of the eternal seductiveness of life.” — Jean Giraudoux. D iam eter 3 1/8". $ 5 5 00-6500

Lot 13. O utstanding B accarat antique Type I pansy p aper­ weight. The upper petals are a plush, plum color; the three lower lip petals exhibit the Baccarat factory’s distinctive arrow canes, with the cogged edges flattened and appearing ruffled. The sta­ m en is com posed o f a cream -colored honeycom b cane, centered with a six-point star. There are five stylized leaves about the top o f the flower, quite different from the veining in the two leaves com ing from the flower’s stem, w hich also has a small white blossom and repeats the honeycom b cane at center. The flat bouquet is encircled by a com plex cane garland, with tom ato red and white cog canes, and white stardust with pale blue bull’s eyes on clear ground; five and one facets. Diam eter 3 1/16". $ 8500-9500

Detail o f Lot 13 -Baccarat Type I pansy

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Lot 14. Very rare Saint Louis antique p air o f wafer dishes atop classic crow n paperweights. Red and green twists alternate with white latticinio filigree, with m atching pink and white filigree torsades on lip o f dishes. Central canes in the paperweight bases are com plex star canes, one in blue, green, white, and red, the other in pink, blue, white, and red. “Tazze made of various materi­ als had been produced throughout Europe since the Renaissance, but the popularization of social letter writing in the early nineteenth century led to a new use, and increased demand, for these shallow, stemmed bowls: holding the paraphernalia of the writing desk, principally sealing wax sticks or wafers’ (hence the alternate name for the tazza, wafer dish’). Warming wax wafers (or dripping wax from the warmed sticks) and impressing them with the writer’s seal, which typically bore his motto or emblem, was a common way to seal letters or authenticate documents.” — Objects o f Fantasy: Glass Inclusions o f the Nineteenth Century. D iam eter 3 7/16"; Height 3 1/4". $ 7500-9000

Lot 15. Saint Louis antique crow n paperw eight, com posed o f red and green twists, alternating with white latticinio ribbons, em anating from a pink com plex cane center. The com plex cane has small florets and arrow canes, surrounded by a ring o f hollow canes. “The crown weight is perhaps the most distinctive of all the Saint Louis designs. These weights are hollow and the decoration is of colored twisted ribbons running through and around white opaque latticinio.” — A Collectors Guide to Paperweights. D iam eter 2 9/16". $ 2750-3250

Detail o f Lot 15- latticinio ribbons

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Lot 16. Baccarat antique white-edged pink prim rose paper­ weight. The petals are well made, exhibiting the delicate heart-shaped edges cupped towards the rose-pink interior. The stardust/bull’s-eye center cane is sharp and well-centered. The bloom fills up the paperweights space with five green leaves at the top o f the blossom, and a full six com ing from the curved stem. On a clear, star-cut ground, with vertical flutes around the lower half creating an interesting presentation. M inor chips along facets. Diameter 2 7/8". $1500-1700 Lot 17. Baccarat antique clematis buds paperweight. This sym­ metrical presentation shows five white buds in profile, with green leaves and stems, enhanced by the star-cut ground and six-and-one faceting. (See, fig 39, p 24, Collectors' Paperweights Price Guide and Catalogue.) Diameter 2 7/8". $1800-2500 Lot 18. Baccarat antique close packed millefiori m ushroom paperweight. The mushroom head includes a rare flower portrait cane, and surrounds it with trefoil, quatrefoil, fortress, honeycomb, whorl, shamrock, stardust, and arrowhead canes. Framing the b o t­ tom o f the paperweight is a blue and white torsade, on clear, starcut ground. Diameter 2 9/16". $1700-2500 Lot 19. Baccarat antique wheatflower paperweight. The petals are deeply veined, and the pale sky blue spots were applied with great care. The pale yellow, star honeycom b cane, with a red sixpoint star center, is another example o f the consumm ate skill going

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into even the smallest parts o f the paperweight design. Wonderful bright green ribbed leaves frame the flower and the stem, on clear, star-cut ground. M inor chips on base and star-cut. Diameter 2 5/8". $2500-3250 Lot 20. Saint Louis antique upright bouquet paperweight. Comprised o f lampwork and cane flowers, this bouquet offers unusually colored bloom s amongst bright green crim ped leaves: a yellow and blue striped fantasy flower, whose petal shapes recall a lily; a three petaled flower, with salmon colored veins and a frost­ ed appearance at the tips; and a rich cobalt blue lampwork flower with a yellow center. Two millefiori lean out with complex faces o f cog and star canes in shades o f pink, white, and blue. As in other Saint Louis upright bouquets, the design features a “strawberrycut” ground, and the flowers are multiplied with all over circular facets. Diameter 2 15/16". $3000-3750 Lot 21. Baccarat antique green snake paperweight, with red and black eyes, coiled on a pebbly green and beige ground, flecked with mica. On the convincingly earthy looking ground, the slender reptile coils in a relaxed manner. A matte green design dresses his lighter green body. The paperweight is well made, evidenced by the lack o f bubbles around the lampwork body. As for the motif, the 19th c. artists were fond o f this long standing symbol o f youth and renewal. (See, lot 159, Important Paperweights from a Private Collection, Sotheby’s; and, fig 1177, p 60, Glass Paperweights o f the Bergstrom-Mahler Museum.) D iam eter 3 3/16". $ 7000 -9000

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Lot 22. Baccarat antique red and white wallflower paperweight. A balanced com position, with a vivid flower design. The petals, edged in bright red, draw on es eye immediately to the center, with its arrowhead/six-point star cane. The floral is finished with bright lime green multi-tipped leaves and an emerging red bud. Encircled by a millefiori garland on clear star-cut ground; top facet and two rows o f side facets. Diameter 2 5/8". $2500-3000

Lot 25. Baccarat antique white double clematis paperweight. The petals are large and finely shaped, with veining. The center o f the clematis features a star honeycomb, and the blossom is accompanied by eight green leaves, encircled by a com plex mille­ fiori garland on clear, star-cut ground. W hether conceived with the original design or later, the elaborate gemstone faceting is unusu­ al. Some striation in dome. Diameter 2 3/4". $1300-1500

Lot 23. Baccarat antique double clematis flower and garland paperweight. In a lovely salmon color, the ribbon effect on the petals adds a lacy delicate quality to the design. This com position offers two slender buds, six leaves and curved stem, encircled with a garland o f alternating white, red and dark green millefiori canes over star-cut ground. Double rows o f faceting below a central top facet creates a lot o f drama inside this petite paperweight. Diameter 2 9/16". $3000-4000

Lot 26. Baccarat antique m iniature clematis and garland floral paperweight, composed o f a double clematis with a star honey­ com b center and coral-colored, deeply veined petals. The tiny flower is surrounded by wide green leaves and encircled by a com ­ plex millefiori garland. The alternating stardust/bulls-eye canes are particularly vivid in this small presentation, which rests on clear, star-cut ground. “To me the meanest flower that blows can give, thoughts that do often lie too deep for tears.” — William Wordsworth. Diameter 2". $2000-2500

Lot 24. Baccarat antique white double clematis and garland paperweight. At the flowers center, the cristalleries well-known “crowsfoot” or arrowhead cane, which is repeated in the garland in the favored red, white, and blue colors. The sunburst-cut ground and the faceting add so much light and sparkle to the crystal, it seems to make the charm ing little flower and its surrounding garland ready to burst out o f the paperweight. M inor chips on facets. “There are no great things, only small things with great love. Happy are those.” — Mother Theresa. Diameter 2". $ 1700-2500

Lot 27. Saint Louis antique pink pom pon paperweight, set with bud and leaves on a latticinio double-swirl ground. The flower s petals are well made and have a compelling, diaphanous quality. A pert central complex cane in red, blue, and white. Som e m inor striation in dome. “Perhaps the finest Saint Louis flower, the feathery camomile... Unlike Baccarat, the flower petals here are often carefully bled out into the surrounding clear glass giving the flower a gossamer quality that is one of the triumphs of paperweight-making.” — The Encyclopedia o f Glass Paperweights. D iam eter 2 9/16". $ 1 7 00-2500

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Lot 28. Baccarat antique dated B 1847 close packed millefiori paperweight. Including six-pointed star canes, whorl canes, arrow canes, trefoil canes, quatrefoil canes, fortress canes, cog canes, and bull’s-eye canes, in cobalt blue, pink, ruby, turquoise, salmon, leaf green, yellow, mauve, and white. There are two Gridel silhouette canes, a white monkey and a blue dog; and three flower canes, two different primroses and a daisy. B1847 signature/date cane. “The patchwork quilt of one hundred or one hundred and fifty canes in a close millefiori paperweight offers a sampling of many or most of the canes made by a factory, and treats the eye to an almost endless variety” — Glass Paperweights o f the New-York Historical Society. Diameter 2 1/2". $ 2 5 0 0 3000 Lot 29. Baccarat antique dated B1848 spaced com plex millefiori paperweight. Including seven Gridel silhouettes, which show good detail and proportion in the cane slices; also picture canes o f a but­ terfly, a flower, and the rare swan cane, on upset muslin with a few segments o f colored filigrana. B1848 signature/date cane. M inor striations. (See, pp 72-73, The Art o f the Paperweight; p 65, The Encyclopedia o f Glass Paperweights; and plate 15, ill. 406, Glass Paperweights o f the Bergstrom-MahlerMuseum.) Diameter 2 3/4". $3000-3500 Lot 30. B accarat antique con cen tric millefiori paperweight containing six-pointed star, arrow, whorl, stardust/bull’s-eye and cog canes, in cobalt blue, ruby, turquoise, salmon, leafgreen, and white. The design rings around the Baccarat factory’s trademark arrow/six-pointed star cane. D iam eter 2 1/2". $550-700 14

Lot 31. Baccarat antique dated 1847 close packed millefiori paperweight. This marvelous densely designed paperweight makes the most o f its low-profile glass estate with a rich population o f millefiori. Complex designs o f whorls, bull’s-eyes, arrows, trefoils, quatrefoils, honeycomb, fortress, irregular flower, cog, shamrock, stardust and six-pointed star canes in every color available to glass makers at the time, including cobalt blue, ruby, turquoise, salmon, leaf green, emerald, yellow and white. All over tumbled latticinio. B1847 signature/date cane. A bubble in the dome. Diameter 2 7/8". $3000-3500 Lot 32. Baccarat antique star-pattern piedouche paperweight, with spaced concentric garlands o f complex canes in pale green, blue, red and white. The large presentation has a footed base with a blue and white torsade. “This type differ in shape from other paper­ weights in that it has a foot of the type found on a glass or china doorknob. Thus they stand tall in a collection of paperweights and make a pretty or striking addition...” — Antique Glass Paperweights from France. Diameter 3 3/16". $7500-8500 Lot 33. Baccarat antique macedoine paperweight. Rather than a millefiori “scramble,” Baccarat creates an elegant “fruit salad” mosaic. Offering the lone visual anchor o f a blue and white whorl cane, the artist has carefully surrounded it at right angles with sections o f twists and latticinio in blue, coral, green, yellow and white. It threatens chaos, but retains it’s heart o f French civility. M inor chips in base. D iam eter 2 15/16". $800-1000

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Lot 34. Clichy antique scrambled millefiori paperweight. This large pell-mell o f whole and partial complex canes is exciting to look at from top to bottom. Baccarat may have had the civil design, but Clichy had the j o ie d e vivre, and it shows in this piece. In plum, saffron, pink, violet, moss green, blue, aqua, and ruby mixtures, the cane faces go from enormously magnified (a pink and green Clichy rose can be seen in cross-section on the face), to small unaltered bits o f cane in the hollow o f the paperweight (one more pink rose and a white rose, too). Diameter 3 3/16". $1900-2500 Lot 35. Clichy antique trefoil garlands paperweight, containing a garland o f complex white star and blue floret canes, interlaced with a garland o f green stars and pink bull’s-eyes. The garlands are woven around a central complex pastry mold cane consisting o f a blue and white trim, which has been pulled out in the distinctive Clichy manner, creating a blend o f the colors. The rose-colored background is an exceptionally pleasing color, bringing the canes to life. Small scratch and chip on the base. Diameter 2 1/2”. $2000-2500 Lot 36. Clichy antique, signed “C,” close packed millefiori paper­ weight. A garden o f blousy edelweiss, pastry mold, floret, and star canes emerge in a range o f colors from amethyst to verdant green. This paperweight distinguishes itself with a sans-serif “C ” cane. The whole pack is surrounded by a circle o f green and violet colored complex canes, then contained within the blue and white basket. The path o f the missing stave leads to the signature cane. “The most common style of the single cC’ (Clichy) cane is the straight serif. The curved

serif is somewhat rare; and the letter without serifs is the scarcest of the ‘C’ canes...” — The Dictionary o f Paperweight Signature Canes. Diameter 2 3/4". $3000-4000 L ot 37. Clichy antique cinquefoil garland paperw eight. Alternating blue and white pastry mold canes, with edelweiss and bundled star centers, ruffle their “skirts” as they wind around a central moss cane, on clear ground. A border o f five com plex green canes with cherry red centers, are spaced between the outer loops o f the garland. Scratches on base. Diameter 3 1/16". $1200-1500 Lot 38. Clichy antique cinquefoil garland paperweight, com ­ posed o f assorted complex canes in pink, aquamarine, orange, thalo blue, cadmium green, lilac, cherry red, ruby and white, encircling a pink, green and yellow com plex center cane. Over an opaque “sodden snow” ground. M inor bruise and slight chipping on side. Diameter 3 11/16". $3000-4000 Lot 39. Clichy antique swirl paperweight. Tubes o f glass in purple and white, spin around the axle: a large central pastry mold cane o f white, green and cherry red. This “simple and effective” design may have been originally suggested by the Bohemian crown weights o f tubes. “Clichy artisans were keenly aware of the optical properties of crystal, and they exploited them to the fullest in their swirl weights. Under the mag­ nification of the dome, whirling millefiori pinwheels create a scintillating visual illusion.” — The Art o f the Paperweight: Challenging Tradition. {See, p 134, The Encyclopedia o f Glass Paperweights.) Diameter 3". $3000-4000

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Lot 40. Clichy antique spaced m illefiori paperw eight, with a central pink and green rose, surrounded by assorted com plex canes in cobalt, amethyst, ruby red, pale yellow, and thalo blue. An edelweiss cane pops up, as do two green and white roses; one in a very tight arrangem ent and the other unfolded a bit, exhibiting all the petals. The hexagonal shape o f the m illefiori rests on clear ground. Diam eter 2 7/16". $ 1600-2000 Lot 41. Clichy antique m iniature spaced con cen tric m illefiori paperw eight, with five pink and green roses in the border garland, on clear ground; top facet and rectangular side facets. (See, p 82, The Art o f the Paperweight; p 130, The Encyclopedia o f Glass Paperweights.) D iam eter 1 15/16". $ 1600-2000 Lot 42. Clichy antique m illefiori chequer paperw eight. W ith pink, ruby, aquam arine, lilac, green, thalo blue, cherry red, pu r­ ple, cobalt and white, on white upset m uslin with two small pieces o f colored filigree. As H ollister describes this “chequer” type: “Really a spaced millefiori with the canes separated by filigree... (M)any chequers are boldly but indifferently executed... However, usual­ ly the very large florets... stand out rich and bold against the white filigree...” -T h e Encyclopedia o f Glass Paperweights. D iam eter 2 7/16". $ 1 2 00-1500

m illefiori, all on clear ground. “In life as in art perhaps our salvation is the handful of seed, out of which we imagine gardens.” — Winfield T. Scott. Diam eter 2 9/16". $ 2 000-2500 Lot 44. Clichy antique trefoil garland paperw eight, com posed o f cadm ium green pastry mold canes looped around seven co m ­ plex canes, including one Type II pink and green rose. The rose’s sepals are an exceptionally dark green casing. Spaced on clear ground. D iam eter 2 3/8". $ 2 5 0 0-3000 Lot 45. Clichy antique m iniature open con cen tric m illefiori paperw eight, with the central axis, a green and white Clichy rose, surrounded by eight com plex am ethyst-colored pastry mold canes. The outer ring contains single pink, white, and green pastry mold canes alternating with pairs o f green and white floret canes, on clear ground. D iam eter 1 3/4". $700-1000

Lot 43. Clichy antique spaced m illefiori paperw eight. Around a swollen, blush pink and green Type I rose cane, a circle o f six full-skirted com plex canes in the usual array o f gem -like Clichy coloration, are surrounded by another ring o f twelve lovely

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Spring 2001

Detail o f Lot 46


Lot 46. Saint Louis antique scram bled w ith silhouettes p aper­ weight, “Venetian ball” style, with whole and broken com plex canes, including cog, floret, anchor, and six-point star canes, pieces o f latticinio and filigrana twists in a cacophony o f yellow, pink, salm on, cobalt, thalo blue, violet, red and chartreuse. There are two distinct silhouette canes, one o f a turkey and one o f two girls dancing. An additional delight: a silhouette cane o f the Saint Louis dancing m an with a staff, hidden on the under­ side o f the paperweight. (See detail page 16.) D iam eter 3". $ 1500-2000 L ot 47. Saint Louis an tiqu e jasp er paneled paperw eight. Surrounding a pink and white swirling “turban-shaped” latticinio center, are a ring o f spaced canes and eight white spokes, divid­ ing green and red jasper panels. The m illefiori are very d istin­ guishable, in spite o f the vivid m ulti-colored ground. A blue and white torsade rings the paperweight. A distinctive design that collectors will im m ediately attribute to the highly inventive C ristalleries d e Sain t Louis. D iam eter 3". $800-900 L ot 48. Saint Louis antique scattered m illefiori paperw eight, with a large central blue and white cog cane, encircled by a ring o f five spaced canes and a border garland, all aloft on a sum ptu­ ous cushion o f upset m uslin. Som e bits o f white glass float under the dome. “Filigree was also known to the Venetian glass-mak­ ers in the 16th century. This technique consisted of setting white enamel canes (‘milk white: Italian,‘latticinio’) in a mold, side by side. The glassmaker slowly pours a mass of clear crystal into the center of the mold, the

crystal thus covering the white enamel canes. After lifting this mass is twisted by two glass-makers holding and stretching it. The twisting pro­ duces ‘filigree,’ a type of lace or muslin in a swirl.” — Paperweights o f the 19th and 20th Centuries. D iam eter 3 9/16". $ 2 5 00-3250 Lot 49. Saint Louis antique scrambled paperweight with whole and broken complex canes, including cog, floret, quatrefoil, sixpoint star, pieces o f latticinio and filigrana with aventurine and colored twists. A “frit” salad o f cadmium yellow, pink, salmon, cobalt, thalo blue, violet, red and citron-colored glass. There is a complex silhouette cane near the center o f the paperweight featuring a devil in the detail. Diameter 2 7/8". $1100-1500 Lot 50. Saint Louis antique patterned millefiori paperweight with complex center cane in an amber-hue. This is encircled by five spaced floret and star canes in red and cobalt. An alternating ring o f complex canes in pink and green offer even more diminutive rings o f anchor, star, and floret canes. All on a swirling white latticinio cushion. Diameter 3 1/8". $1200-2000 Lot 51. Saint Louis antique concentric millefiori m ushroom paperweight. A delicate azure blue floral cane rests at the center, encircled by boldly designed cog and six-pointed star canes in blue, white and red. The canes at the edge o f the mushroom create a pea­ cock-feather design in red and green, as the canes’ stalks taper to the bottom o f this unusual paperweight, ringed by a blue and white torsade. Diameter 3". $1600-2000

Spring 2001

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Lot 52. Very unusual antique dated French millefiori close con­ centric paperweight, possibly Saint Mande, with central date cane o f what appears to be “ 1857.” This intriguing detail is surrounded by six rings o f complex canes in cherry red, blue, pistachio green and white; the outer ring o f blue and white canes comprising the stave basket which holds the interior design. The paperweight has eight curved facets, which create an unusual gourd or melon pro­ file, and distort the exterior visuals in a funhouse-mirror bend. Only through the small window facet on top can you see the artful quality o f these century old canes. Some m inor scratches along the facets curves. {See, St. Mande, A Fifth French Factory, Annual Bulletin o f the PCA, 1991; and, Saint Mande Confirmed, Annual Bulletin o f the PCA, 1999.) D iam eter 3 9/16". $ 3000-4000 Lot 53. Saint Louis antique miniature pink double clematis paperweight, with a blue and white complex cane center and three ridged green leaves, on a double-swirl white latticinio cushion. “(T)he Saint Louis filigree was perfection itself?’ -Paperweights o f the 19th and 20th Centuries. Diameter 2 1/16". $1000-1500 Lot 54. Saint Louis antique nosegay paperweight, with stylized bouquet, consisting o f four small millefiori canes, surrounded by four leaves set on a cushion o f colorless glass, encircled by a mille­ fiori garland, over a strawberry-cut, amber-flashed base; multiple facets. M inor scratches on base. {See, fig 53, p 70, Paperweights, Glasgalerie Kovecek.) Diameter 2 1/2". $1200-1600

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Lot 55. Saint Louis antique three-dim ensional carp sulphide paperw eight. Barely contained under its shallow glass dome, the giant carp swims above a red, green and white jasper ground. In a convincing m anner, the sulphide fish seems to be eating stray bits o f jasper like so m uch fish food. {See, plate 70, p 88, Glass Paperweights o f the New-York Historical Society.) Diam eter 2 15/16". $900-1500 Lot 56. Saint Louis antique fruit paperw eight with three pears, three red cherries, and green leaves over a swirling white lat­ ticinio basket. The dark shape at the bottom o f the basket could perhaps be a collapsed green pear. “Why not go out on a limb? Isn’t that where the fruit is?” — Frank Scully. D iam eter 2 9/16". $ 1 500-2000 Lot 57. Antique footed Pinchbeck paperw eight with an encased relief-carving o f revelers enjoying an outd oor celebration. A m an and wom an dance a reel together while onlookers enjoy the m usic and perform ance. Thom as Pinchbeck (167 0 -1 7 3 2 ) developed a copper-zinc alloy which becam e popular during the V ictorian era for its resem blance to gold. “As Mrs. Bergstrom points out, the skills of jeweler, chaser, and glassmaker are all required here, and it is unlikely that a Pinchbeck paperweight was the work of one artisan or even one factory.” — The Encyclopedia o f Glass Paperweights. {See, plate 85, p 103, Glass Paperweights.) Diam eter 2 7/16". $ 1000-1500

Spring 2001


Lot 58. Bacchus antique con cen tric com plex m illefiori paper­ weight, with a large red, white and blue center cane and a b o r­ der ring o f teal-centered hollow white canes. Unpolished pontil. “It was very rare for Bacchus to make more than one paperweight of the same pattern, as only one or two pieces have been found to be the same as another. Although they used the same canes in many paperweights, they all tend to show many differences in design, color, and construc­ tion” — Old English Paperweights. D iam eter 3 1/2". $ 2000-3000 Lot 59. Bacchus antique con cen tric com plex m illefiori p aper­ weight, with a large blue and white ruffled center cane sur­ rounded by five rings o f delicate abalone shell-like colors, all with a cross m otif. A final surround o f pink staves, resembling stalks o f rhubarb, create a curved basket. Underneath, the paper­ weight’s base has been finished o ff to exhibit the central cane in m iniature. Bacchus paperweights are often found with these odd special canes, either part o f the top design, or as a hidden “rogue cane” placed in the porthole; it was a means o f the glass-artist to say “I made this, that signature mark is mine.” (See, p 37, Old English Paperweights.) D iam eter 3 1/4". $ 2000-3000 Lot 60. Val St. L am b ert antique cru cifix sulphide paperweight. W ith a cobalt blue ground, a cam eo depicting Christ on the cross is flanked by two wom en in saintly pose, decorated with twisted ribbon garland o f blue, red, yellow, and white. D iam eter 3 5/8". $800-1500 Lot 61. W alsh-W alsh antique co n cen tric m illefiori p ap er­ weight, including cog, ruffle and pinwheel canes, in shades o f red, green, purple, blue and white. The outerm ost ring’s regular

pattern o f purple cog canes, is interrupted for a sequence with nine different canes. D iam eter 3 3/4". $ 5 50-750 L ot 62. B acchus antique close packed com p lex m illefiori paperw eight, with ruffle, cog and cross canes in red, blue, aqua and white. The array includes a Queen V ictoria silhouette facing left, or “sinister” profile. The image is presum ably the “Young Q ueen” head, but her featured bun has been shorn, and as a result o f this hairstyle, she rather resembles her beloved Prince Albert. Still a royal visage worthy o f a Bacchus design, but prob­ ably not intended. Unpolished pontil. “We are not amused.” — Queen Victoria. Diam eter 3 1/4". $ 4000-5000 Lot 63. Val St. Lam bert antique p attern ed m illefiori p aper­ weight, with a central white rose cane, encircled by radiating twists alternating with com plex canes, and a square-shaped b o r­ der o f twisted latticinio, on white ground. This paperweight, with the sunken twists merged into the m ilky glass ground, does appear to be made o f “sodden-snow,” or perhaps, as H ollister suggests, som ething o f a m ore distinctively Belgian taste. Inscribed on base, “ 1895 W . ” “Generally, it can be said that there is something of the ice cream parlor about the Val St. Lambert weights.”- The Encyclopedia o f Glass Paperweights. Diam eter 3 9/16". $ 1300-1800 L ot 64. W hitefriars antique con cen tric m illefiori paperweight with alternating rings o f red, white and blue canes. Unpolished pontil. D iam eter 2 13/16". $ 425-550

Spring 2001

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Lot 65. Saint Mande antique close packed com plex m illefiori m u shroom paperw eight, encircled by a white and blue filigree torsade on clear, star-cut ground. Chip in the starcut base.(See, St. Mande, A Fifth French Factory, Annual Bulletin o f the PCA, 1991; and, Saint Mande Confirmed, Annual Bulletin o f the PCA, 1999.) D iam eter 3 5/16". $ 1900-3000 Lot 66. Venetian antique scram ble paperw eight containing sections o f twists, latticinio and copper aventurine. Com posed o f com plex tri-colored twists in turquoise, salm on, yellow, and brick red. Although the profile is shallow, this end-of-day collection offers a delightful collage o f the glass-artist’s canes. M inor scratches on base. “Things are beautiful if you love them.” — Jean Anouilh. D iam eter 2 5/16". $ 6 00-1000 L ot 67. B o h em ian an tiqu e signed close packed com p lex m illefiori paperw eight, on a cushion o f translucent moss green ground, flecked with m ica. Signature cane features an “R” inside a peculiar shape suggesting a plum ed m ilitary helm et, as in the British arm y’s busbys; but Jarg storf’s book suggests glass includ­ ing “m ica flecks” was popular as an export to England from Bohem ia in the late nineteenth century. (See, p 89, Paperweights.) D iam eter 2 7/8". $ 5 0 0-1000 Lot 68. Unusual Bohem ian antique scattered m illefiori p ap er­ weight, with exceptional coloration and distinctive silhouette canes. Com prised o f cog, star, and bull’s-eye canes in blends o f

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aquas, rose pinks, and greens, resting on a bed o f upset m uslin, with bits o f colored filigrana. Two o f the floral canes are quite un-usual, featuring mixed cane sizes and colors as the petals; and one o f the com plex floral canes has a crescent m oon silhou­ ette cane at its center, bedded in translucent yellow. Two translu­ cent turquoise colored silhouette canes feature what could be a dog on its hind legs, but has been identified as another m an i­ festation o f the ever-popular devil. (See, fig 6.1, and 6.2, p 38, The Glass Menagerie.) “The busy man is troubled with but one devil, the idle man by a thousand.” — Spanish proverb. D iam eter 2 15/16". $ 1 500-2000 Lot 69. Bohem ian antique con cen tric m illefiori paperw eight containing com plex cog and star canes in pink, yellow, cobalt blue, and emerald green. Diam eter 2 1/8". $500-800 Lot 70. Rare Kilner antique signed large green bottle p aper­ weight. A pleasingly squat shape, containing random ly scat­ tered, elongated bubbles. Stam ped on base: J KILNER WAKE­ FIELD. M inor scratches and chipping on and around base. “The glasshouse of John Kilner was founded in 1829 to manufacture green glass bottles and jars. Paperweights soon became a popular product and the earliest signed examples date from the 1829-30 period. Production of weights continued into the early twentieth century. One of the attractions of Kilner paperweights is their wide variety of designs, size, and profile.” — An Undocumented Kilner Paperweight, Annual Bulletin o f the PCA, 1999. Diam eter 3 3/4". $900-1500

Spring 2001


Lot 71. A m erican antique New England Glass C om pany crow n paperw eight. A bright and lively com position, with alternating ribbons o f latticinio in red, blue, green, chartreuse and pink, radiating from a com plex cane center. D iam eter 2 5/16". $ 1500-2000 L ot 72. A m erican an tiqu e New E n gland Glass C om p any m iniature con cen tric paperw eight containing patterned m illefiori, set upon a white latticinio background. A quatrefoil cut on the top, with crow’s-foot cutting, and unusual merged printies around the side o f the paperweight, all accentuate the com plex cog and star canes in rose, white, blue, and yellow. D iam eter 2 13/16". $ 1000-1300 Lot 73. A m erican antique Millville glass toothpick holder. A shot glass-shaped cup, with a lip o f white glass, perches above a rounded base containing a m ulti-colored crim ped um brella design. The whole sculpture sits on top o f a clear foot. This A m erican glass facto ry was best know n for its inkwells, frit weights, and presentation weights depicting scenes. M inor scratches on surface and base. (See, p 39, All About Paperweights). Height 5 1/2"; W idth o f base 2 7/8". $ 1100-200 0 Lot 74. A m erican antique Millville um brella pedestal p aper­ weight, with a blue, red, pink, yellow, aqua, gold and white um brella design over a clear, footed pedestal. Height 5 1/4". $ 9 00-1800

Lot 75. A m erican antique New England Glass C om pany patterned com plex millefiori paperweight, including one ring o f dark blue and white running rabbit silhouette canes, over swirling white latticinio. W hile the canes have spread out in the pattern, several o f the silhouettes are still very sharp, and exhibit the prolif­ ic m otif o f the NEGC. (See, p 112, The Art o f the Paperweight: The Boston & Sandwich and New England Glass Companies.) Diameter 2 7/16". $600-750 Lot 76. American antique New England Glass Company double clematis paperweight with a double tier o f ridged fuschia petals around a star cane, on a stalk with emerald leaves and a bud atop a white double-swirl latticinio ground. M inor chips in the base. . .The language of flowers occupied an important place in the hearts of that era’s high society, ...and the immigrating glassworkers carried its influence on paperweight design to America....Clematis weights pro­ duced at Baccarat and Saint Louis undoubtedly inspired the American version.” — The Art o f the Paperweight: The Boston & Sandwich and New England Glass Companies. D iam eter 2 3/4". $ 8 0 0-1100 Lot 77. Edward R ithner candy cane paperw eight, c. 1940’s, co n ­ taining twisted color canes o f red, green and blue set on an opaque white frit background. “Some Rithner weights contain multistriped candy canes so real in appearance to be almost‘tasted’when viewed. These canes Ed designed and pulled himself by a very ingenious method.” — American Glass Paperweights and Their Makers. D iam eter 2 7/8". $ 300-500

Spring 2001

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Lot 78. W hitefriars antique crystal goblet containing concentric millefiori in alternating rings o f blue, pink and white; flared mouth, with clear stem and base. The central cane appears white overall. Height 5". $450-650 Lot 79. W hitefriars antique crystal goblet containing concentric millefiori in alternating rings o f blue, pink and white; flared mouth, with clear stem and base. The central cane appears red overall. Height 5 1/16". $450-650 Lot 80. Bohem ian antique glass doorknob with a large, sectioned, white stardust center cane, encircled by a ring o f green, pink and white canes, and a border o f red, white and blue canes, on clear ground; metal base, mounted on a square lucite stand. M inor scratches over surface. Diameter 2". $600-800 Lot 81. Bohemian antique glass doorknob with a central pink and white complex cane, encircled by a ring o f green, pink and white canes, and a border o f red, white and blue canes, on clear ground; metal base, mounted on a square lucite stand. M inor scratches over surface. Diameter 2". $600-800 Lot 82. Baccarat antique sulphide of Napoleon III in profile paperweight, on a translucent cobalt blue ground. “In 1819,Apsley

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Pellatt, published Memoir on the Origin, Progress, and Improvement o f Glass Manufactures, ...chiefly written to publicize his patent of that year for ‘cameo-incrustation or the insertion of clay-silica cameos (today colloquial­ ly sulphides’) into glass. This technique was borrowed from the Frenchman Boudon de Saint-Amans, who had received a similar patent for cristalloceramie’ the previous year (1818). Sulphide heads and busts of royalty, the nobility, and allegorical subjects appeared in the first two decades of the cen­ tury in pendant medallions, plaques, and on the sides of glass vessels. Sulphides would appear later in glass paperweights.” — Paperweights from the Henry Melville Fuller Collection. Diameter 2 1/8". $400-550 Lot 83. Rare antique sulphide com m em orative paperweight shows the building for The Great Exhibition o f Industry o f All Nations in London, 1851, with sky and lettering in blue powder. Signed on reverse “Martoret.” It is difficult now, to imagine what the Crystal Palace was and what it meant in 1851. .. .It was to be done in glass and iron, materials new to building, and on a grid iron plan that was to becom e the basis o f skyscraper construction a half-cen­ tury later. The Crystal Palace was completed in 17 weeks. (The Exhibition o f 1 8 5 1 ),.. .was a success, forever changing the world o f glass. “The exhibition,” wrote Queen Victoria in her diary,“goes to prove that we are capable of doing almost anything” (See, pp 36-38, The Encyclopedia o f Glass Paperweights.) Diameter 2 3/4". $800-1000

Spring 2001


Lot 84. John D egenhart window paperw eight, in pale blue, with red and yellow frit flowers; four side windows, and one top window. “John Degenhart’s glass-factory training included gathering for the blow-shop and blowing. In 1916 he became a presser and worked as head of a shop from that time until he left the Cambridge Glass Company. ...After working (at Cambridge) for forty-six years, John Degenhart decided to open his own factory... under the name‘Crystal Art Glass Company.’” — American Glass Paperweights and Their Makers. D iam eter 2 11/16"; Height 3 1/8". $ 500-700

L ot 87. U nusual D egen h art painted plaque paperw eight. A hand-painted tile o f the Liberty Bell, an eagle, and two A m erican flags inscribed, “Sesqui Centennial, Liberty, 1776, Phila, Pa. 1926”; on a bed o f m ulti-colored chips o f glass in orange, pink, aquam arine, yellow, and lavender, over a second bed o f smaller m ulti-colored chips o f sim ilar colors. This is likely the collaborative w ork o f John and his brother Charles, who spent tim e “after-hours” at Cam bridge Glass Com pany producing glass paperweights. Diam eter 3 1/4". $ 150-350

L ot 85. John D egenhart window paperw eight in blue flash overlay with yellow and white frit flower. Four side windows, one top window. “The brothers’ experimentation led to the production of some paperweights incorporating novel techniques and ideas. ...(The) brothers’ most spectacular creation— six-sided encased blocks that became known as window weights.” -Paperweight News, (Vol. XIV, No. 2). D iam eter 2 1/4"; H eight 2 13/16". $500-700

Lot 88. Milville Friendship frit paperw eight, with two hands shaking over a bow -tied garland o f leaves, with the inscription “To My Friend” on a cobalt blue ground. Chip in base. D iam eter 3 5/16". $400-500

Lot 86. Czechoslovakian fantasy flower paperw eight con tain­ ing four red and white trum pet flowers on clear stems, rising from a white frit cushion surrounded by a three-stranded white garland. M ulti-faceting creates an egg-shape effect. D iam eter 3 1/8"; Height 3 1/2". $200-300

Lot 89. Milville frit paperw eight, picturing a white-gabled farm house with a yard and trees, inscribed “H om e Sweet H om e” on a dark am ber ground. D iam eter 3 1/4". $ 4 00-500

Spring 2001

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Detail o f Lot 99

Detail o f Lot 90

Detail o f Lot 151

Detail o f Lot 100

Detail o f Lot 140

Detail o f Lot 125


Part II: Modern Paperweights & Related Objects “The creative mind plays with the objects it loves.” — Carl Jung

The A rt of Collecting Paperweights, by Lawrence H. Selman

these signs of age, you might be able to obtain an object of beauty at a better price. This can be a small, but good compromise for a collector on a budget.

A. Let your eye and enthusiasm guide your choice— not fashion or investment considerations. Over the years, I have had the opportunity to work with many of the world’s most well-known paperweight collectors, and they all follow this maxim. When you finally obtain that certain perfect paperweight, there’s a rush of adrenaline, a sense of satisfaction and a joy that far exceeds any other benefits one derives from collecting. The importance of the maker and the investment potential of different paperweights are obviously important considerations, but they are secondary. First there has to be magic. My experience has always been that if you are attracted to a piece by its qualities rather than its pedigree, you’re making a smart purchase. If a paperweight thrills you, odds are you’ll always be able to find someone who is just as thrilled with the piece if you decide it’s time to sell it.

B. Buy the best you can afford. My personal experience has been that it is more rewarding to own fewer, higher quality paperweights than to go for quantity. As you build your collection, your tastes will grow more sophisticated, you will come to appreciate qualities of the artistry that you might have originally overlooked. Higher quality designs, are more likely to appreciate in value. As your tastes change and grow, it’s easier to trade these pieces for new ones that will better match your preferences. Although purists might object, slight wear is acceptable in the case of antique paperweights. M inor scratches and small chips in a paperweight slightly decrease its value. If you are not offended by

New artists, who are working to establish a name and a reputation, often offer high quality works at a much more affordable price than established makers. If the pieces are of high enough quality, and the artist is dedicated to glass enough to become an estab­ lished artist, these paperweights can show good appreciation.

C. Learn everything you can about paperweights. With knowledge comes a deeper appreciation for the art form. For example, learning that the Victorians’ gave the antique pansy paperweight you just purchased as a gift of friendship adds a new dimension of interest to the piece. When you further tell your friends the piece was employed as a subtle way to show support for Napoleon, you instill the piece with a whole new sense of history and intrigue. Today’s collectors are fortunate to have access to a good number of books and videos containing information about paperweights, such as history, manufacturing techniques and artist biographies. The more paperweights you are able to look at, in books or in person, the more you will become a connoisseur of the art form. On occasion we invite glass artists to visit our gallery and give pre­ sentations. This is an opportunity to meet the artists face to face. Learning about an artist’s inspiration or history will bring you closer to their pieces in your collection. It’s amazing how being able to associate a face and a personality with a work will enhance your appreciation of it. The more you learn about paperweights, the more valuable your collection will become.

Spring 2001

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Lot 90. Rick Ayotte red salamander paperweight. A blend o f real­ istic textures and colors in a three dimensional pond environment. Small marigold blossoms accentuate the sporty striped salaman­ der. As the salamander inspects a floating white lily at the w aters edge, the tail seems to inadvertently topple a group o f plump mushrooms. Signed/dated 1992. Diameter 3 9/16". $ 2 0 0 0-3000 Lot 91. Rick Ayotte spotted owl family paperweight. A parent keeps watch while its young stays warm in the knothole nest. The tree bark and the feathers are rendered expertly, suggesting the contrast o f textures with mottled colors and energetic lampwork strokes. Ayotte, the “paperweight naturalist,” uses the eyes o f each bird to express the wariness and intrinsic nobility o f this endan­ gered species. Signed/dated 1994. Diameter 3 3/4". $ 2000-3000 Lot 92. Rick Ayotte ducks on a pond m agnum paperweight. The family o f Mallards paddles about near the mossy shore, and crane their necks to feed on the surface algae and insects. The authentic coloration identifies the jewel-tones on the male, the subdued female markings, and the downy qualities o f the duckling. “A real­ istic approach, influenced by the antique weight ‘Ducks on the Pond.’ I felt capable of bringing the design much further than the original.” -Songs Without Words. Signed/dated 1992. Diameter 4". $ 2 500-3000 Lot 93. Rick Ayotte upright red lily paperweight. The coloration o f this spotlighted flower is vivid in a lush red with highlights o f flame-orange. The design is classic, while the flower shows o ff a

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contem porary artists sensibilities and expert flamework tech­ niques. W ith dark green leaves over clear ground; six and one facets. Signed/dated 1997. Limited edition o f 25. D iam eter 3 3/8". $ 9 0 0 -1 0 0 0 Lot 94. Rick Ayotte ruby-throated hum m ingbird paperweight. The bird is posed sampling from red trumpet flowers, with buds and dark green leaves on clear ground. {See, fig. 219, p. 66, Paperweights from the Henry Melville Fuller Collection.) Signed/dated 1984. Limited edition o f 75. “(In the creation stories from the Ohlone) Hummingbird steals fire from the Badger people, so the birds can cook food. The uncooperative Badgers hide their fire, but it shows through a hole in the deerskin cover they pull over it, and Hummingbird reaches through with his long, narrow beak to grab an ember. The flame turned his throat red.” -Linda Yamane. Diameter 3 1/8". $900 -1 1 0 0 Lot 95. Rick Ayotte m in iature bouquet o f lam pw ork poinsettias paperweight, in red and white, with bright matchhead stamens. A pinecone, pine needles and holly berries complete the festive winter com position. Signed/dated 1986. Diameter 2 1/8". $30 0 -4 0 0 Lot 96. Rick Ayotte miniature blue jay paperweight. Embodying the bravado o f nature, a blue jay vocalizes amongst a spray o f pink wild rhododendron flowers. Signed/dated 1985. “Jay’s in particular are striking birds. The rhododendron was chosen to enhance the blue ”-Songs Without Words. Diameter 1 15/16". $ 3 0 0 -4 0 0

Spring 2001


L ot 97. Paul Stank ard 1987 Indian gourds p aperw eigh t. Buttery-orange and pea green gourds grow in keen bow to large green leaves. At center, poppy-bright, unfurling blossom s and tendrils add anim ation. The squash fruits are dwarfed by their leaves, but are still wonderfully realized, with their surface irreg­ ularities, and what appears to be a smudge o f garden soil on one o f the gourds. Lim ited edition o f 75. Signature cane. Diam eter 3 1/4". $ 1 0 0 0 -2 0 0 0 Lot 98. Paul Stankard 1983 Jack-in-the-Pulpit paperw eight. An authentic recreation o f this hearty wildflower, on cobalt blue ground, with roots, leaves, and red seeds. This floral could be an allusion to tu rn -o f-th e-cen tu ry glass designer, Louis C. Tiffany, who described some o f his vases’ unusual shapes as “Jack-in-thePulpits.” Signature cane. Lim ited edition o f 50. Diam eter 3 1/8". $ 1 6 0 0 -2 4 0 0 Lot 99. Paul Stankard N atu re’s Splendor b ouquet p ap er­ weight. The wood violets, anchoring the group with their dark purple coiled blossom s, on the verge o f emergence, are especial­ ly delightful. The b o u q u et also offers fo rg et-m e -n o ts, St. A nthony’s fire (the fantasy flower invented by Stankard), assorted blossom s, buds and leaves on clear ground; signature cane. Dated 1979. D iam eter 3 1/8". $ 3 2 5 0 -4 0 0 0

Lot 100. Paul Stankard 1978 com pound violets paperw eight. Evoking their own floral language o f “modesty,” Stankard’s arrangem ent seems to suggest the violet faces are shyly folding or peeking out from behind their leaves. W ith one lavender flower, three white flowers, several buds and heart-shaped green leaves on clear ground; signature cane. Lim ited edition o f 75. D iam eter 2 15/16". $ 1 8 0 0 -3 0 0 0 Lot 101. Paul Stankard early m in iatu re poin settia p ap er­ weight. In the classic period design style, this double-tiered red poinsettia with yellow stamens and green leaves, is set o ff splen­ didly on clear star-cut ground. Signature cane. Diam eter 2 1/16". $ 9 0 0 -1 2 0 0 Lot 102. Paul Stankard thistle flower paperw eight. Featuring two bushy pink thistles with a bud, thorny green leaves and trail­ ing roots on clear ground. “What he accomplishes can only be done in glass. The fragility and impermanence of a wild blossom become per­ manent. Like a Jurassic insect trapped in amber; his flowers will still be blooming, still be fresh and bright, decades, centuries from now.” -Paul /. Stankard: Homage to Nature. Signed/dated 1988. D iam eter 3 3/16". $ 2 7 5 0 -3 5 0 0

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Lot 103. V ictor Trabucco wild rose paperw eight. A m ature fullbodied wild red rose bloom s luxuriantly alongside it’s bud, with purple knotweed, small white flowers, green leaves and tendrils, on clear ground. The com position has balance and yet, still evokes an organic sinuous asymmetry. Signature cane and signed/dated 1995. D iam eter 3 1/8". $ 7 0 0 -9 0 0 Lot 104. V ictor Trabucco rasp b erry bouquet paperw eight, with a pink cam ellia, small pink blossom s, and assorted green leaves. The coils o f tight, white filigree appear as stylized snow holding the fruit and flowers aloft, and help create an ethereal atm osphere. Signed/dated 1998. “(Trabucco’s) background differs from many of his contemporaries in that he had no training in art or scientific glass blowing. He became interested in working with glass only seven years ago, at the age of 25, when a French glassblower introduced him to novelty work. He started his career in glass with sculptures and moved to paperweight art in 1977.” -The Paperweight Artistry of Victor Trabucco, Annual Bulletin o f the PCA, 1981. D iam eter 3 1/4". $ 7 0 0 -9 0 0 Lot 105. Randall Grubb flam ew ork sculpture, “Perfum e.” A light-hearted visual pun, encom passing the Pop Art world, glass art (and it’s m ore prosaic applications in bottle m aking), and the elite fragrance makers who often try to capture flowers whole, as Grubb has done here with aplomb. Inside the “perfum e” bottle, two purple daisies and a bud sit pertly on long stems with green

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leaves. “When nothing else subsists from the past... the smell and taste of things remain poised a long time, like souls... bearing resiliently, on tiny and almost impalpable drops of their essence, the immense edifice of memory.” -Marcel Proust. Height 4 1/2". $ 1 3 0 0 -1 5 0 0 Lot 106. Debbie Tarsitano/M ax E rlach er hum m ingbird collab­ orative paperweight. A hum m ingbird engraved on the base with accents o f willow branch, is fram ed with a dense braiding o f lam pwork pansies, knotweed, white bellflowers and a blue bow. Signed by Erlacher, 1985 with Tarsitano signature cane. D iam eter 3 1/4". $ 1 8 0 0 -2 5 0 0 Lot 107. Debbie Tarsitano/M ax E rlacher M adam e Butterfly collaborative paperw eight. A wom an in a decorated kim ono pauses with her fan to reflect on two dancing butterflies. The engraving is fram ed by a curved branch with yellow and white flowers and buds. The stamen and the petals o f the flowers show delicate, naturalistic detail. Signed by Erlacher, 1986, with Tarsitano signature cane. Diam eter 3 1/2". $ 2 0 0 0 -3 0 0 0 Lot 108. Randall Grubb pea pods paperw eight. A sweet pair o f slender green pea pods hang on a vine with white blossom s, green leaves and tendrils over clear ground; signature cane. This design has verdant energy, with the clim bing plant bending from such an abundance o f blossom s and shoots. Signed/dated 1996. D iam eter 3 1/8". $ 5 0 0 -7 0 0

Spring 2001


Lot 109. C hris Buzzini ribbon bouquet paperw eight. W ith six yellow -centered dark blue gilia blossom s, four blue buds, dark green leaves, roots and a pink ribbon. The ribbon winds throughout the flowers and their stems, enhancing the curve o f the design and providing com plem entary color. Signed/dated 1997. Lim ited edition o f one. D iam eter 3 1/2". $ 1 5 0 0 -2 0 0 0 Lot 110. C hris Buzzini Spring Medley bouquet paperw eight. A botanically accurate portrayal with a trum pet-shaped pink m orning glory, a blue Tahoka daisy, grape hyacinth, yellow sticky cinquefoil, pink blossom s with upright stamen, and a red bud spray. Integrating the natural colors and floral shapes into a graceful swoop o f stems and leaves, the design is fram ed by the sparkling facets o f the m itre-cut sides. Signed/dated 1992. A rtist’s proof. “I am constantly reviewing my reference material. As I learn to make one flower, I take steps to make others that were unap­ proachable before. The knowledge becomes cumulative and complexity becomes easier to accomplish.” -Chris Buzzini: The Odyssey of a Glass Artist, Annual Bulletin o f the PCA, 1990. D iam eter 3 1/8". $ 1 5 0 0 -2 4 0 0 Lot 111. Chris Buzzini pastel bouquet paperw eight. Dazzling in its array o f pink m ountain heather, yellow loosestrife, white checkermallow, lavender anem one, pink sorrel and seed pods. Signature cane, and signed/dated 1989. Lim ited edition o f 75. Diam eter 3 1/8". $ 9 0 0 -1 5 0 0

Lot 112. Chris Buzzini “M axillaria Tenuifolia,” o r cocon ut orchid paperw eight. A tropical com position, celebrating this hearty orchid with dark-spotted yellow petals, green leaves and root system on clear ground. The latin nam e “m axilaria” alludes to the colum n and lip inside the ringent flowers o f som e species which som ewhat resemble the jaws o f an insect. Signed/dated 1991. Lim ited edition o f 40. D iam eter 3 1/8". $ 9 0 0 -1 2 0 0 Lot 113. C hris Buzzini Sunflower paperw eight. An elegant sun­ flower in a languorous pose like Ingres’ Odalisque. The plush brown face, crowned in gold petals, is accented with a new blos­ som . The broad green leaves have a delicacy o f gesture. The flower’s stem curves to the base where a root bulb is dressed in tendrils. Over a clear crystal ground; signed/dated 1997. Lim ited edition o f one. D iam eter 3 1/2". $ 7 0 0 -1 1 0 0 Lot 114. Chris Buzzini m auve-spotted white epiphytic orchid paperw eight. A wonderfully detailed study o f the showy orchid blossom , with a red and yellow center, a bud, green leaves, and rootbulbs with tendrils, on clear ground. Signature/date cane 1988. Signed. D iam eter 3". $ 9 0 0 -1 5 0 0

Spring 2001

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Lot 115. Jim D onofrio “Campsite Connoisseur” three-dim en­ sional paperweight. A gray rat scours the campsite staples, boldly ignoring the two watchdogs. W hile the hound appears affronted, the terrier is so curious, you can almost see his stub-tail quiver. Exceptional detail in the characterization o f the animals and in the blazing campfire, spilled flour bag, coil o f rope and the sandy ground. Signed/dated 1998. Diameter 3 3/8". $ 1 4 0 0-1700 Lot 116. Jim D onofrio “One Got Away” three-dim ensional paperweight. A boy and a determined dog wrestle on a wooden raft floating on a blue lake. Another boy swims underwater. The fish tail seems to wave exultantly for having escaped the hook. “One can search for details in the lampwork, read the tale the weight tells, respond to feelings the subject evokes, or simply enjoy the beauty o f a well-designed and crafted work o f art. Jim is creat­ ing subjects whose body language and expressions tell their own stories and interact in the weights to give a sense o f movement and a ‘slice o f life’ appearance that transcends the posed look o f many works.” -Glass to Life: Jim Donofrio, Modern Day Pygmalion, Annual Bulletin o f the PCA, 1999. Signed/dated 1998. Diameter 3 3/8". $ 1400-1800 Lot 117. Gordon Smith tarantula paperweight. O ut o f its burrow on the terra cotta-colored earth, with succulent plants and stones for protection, the fuzzy arachnid scopes its terrain with its upright pedipads. W ith com m on names such as C hilean Rose, Venezuelan G reenbottle Blue, and G oliath B ird Eater, it isn’t surprising Smith

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might choose the tarantula as a paperweight subject. They are as exotic as botanicals, and come in as many colors. In this sensitive crystal rendition, the life-like representation o f a tarantula is a means o f tribute and wonder. Initialed/dated 1998. Diameter 3 1/4". $ 1 3 0 0-1600 Lot 118. Jim Donofrio “Scents and Sensibility” three-dim ension­ al paperweight. A skunk ambles into the campsite, as a cheeky camper throws another log on the fire. The scene is com ical in its anticipation o f their likely surprising meeting. Rich details create realistic hard-pan ground and scrub wood logs for the fire. Signed/dated 1998. Diameter 3 3/8". $ 1 1 0 0-1300 Lot 119. Jim Donofrio “Survivors” three-dim ensional paper­ weight. Predating the recent spate o f castaway-mania, this scene evokes the drama o f setting adrift and the partnerships that make existence easier. Superb details in the action o f each figure and the raft o f lashed green bam boo, floating over deep water-blue ground. Signed/dated 1998. Diameter 3 3/8". $ 1100-1300 Lot 120. Gordon Smith bird-of-paradise paperweight. A single orange and purple bird-of-paradise flower with green leaves on clear ground; signed/dated 1987. (See, p 46, Gordon Smith Explores New Depths in Paperweights, Annual Bulletin o f the PCA, 1989; p 88, Beauty and the Beasts, The Magical Glass of Gordon Smith, Annual Bulletin o f the PCA, 1998) Diameter 3 1/8". $40 0 -7 0 0

Spring 2001


Lot 121. Bob Banford pink prim rose paperweight. The single white-edged primrose, with a slight ruffle o f each petal, is enhanced dimensionally with the overlay o f color, adding shades and depth to the barely cupped blossom. The stamen o f the flower is a complex center cane comprised o f a ring o f six-point stars surrounding a whorl. The dark green leaves frame the flower, and are complemented by the translucent blue ground. Signature cane. Diameter 3 1/8". $60 0 -7 0 0 Lot 122. Ray Banford iris bouquet plaque paperweight. With numerous fresh green leaves, and blossoms ranging from a dark sapphire to robin s-egg blue, the arrangement has a wild, unm ani­ cured style. This is juxtaposed with a very formal plaque presenta­ tion on a clear, diam ond-cut base; signature cane. Beveled front edges. Ray Banford paperweights are in the collections o f the Corning Museum o f Glass, Smithsonian Institution, Chicago Art Institute, and W heaton Glass Museum. Height 3 3/8"; W idth 2 1/2". $ 1 5 0 0-2500 Lot 123. Bob Banford prim rose paperweight. A classic period design, recreating a favored flower o f antique Baccarat. Composed o f tomato red petals, with the curve o f the petal accented in white, and star/honeycomb center cane, green leaves and stems on clear, star-cut ground. Signature cane. Diameter 3 3/8". $55 0 -7 5 0 Lot 124. Bob Banford pansies bouquet paperweight, with a profusion o f emerald leaves and stems. Featuring three bold pansy

faces in cobalt, the upright stamens done in a cluster o f gold star canes, with accents o f um ber stripes in the smaller white petals. Cleverly employing filigrana, small twists o f green and pink buds accompany open bell-shaped flowers. O n a clear, diam ond-cut ground. Signature cane. Diameter 3 3/8". $95 0 -1 2 0 0 Lot 125. Bob Banford upright bouquet and overlay paperweight. A sumptuous array o f lampwork flowers and buds, in the upright style similar to the popular antique Saint Louis paperweights. With shell-like petals in assorted jewel colors; grid-cut base. Green-over­ white double overlay with four and one facets and fancy cutting. Signature cane. Limited edition o f 5. “Bobs glass career began when he received a torch as a high school graduation gift. (He) began experimenting, first by making ships and carousels of spun glass, then with the challenge of lampwork and paperweight production. His work is displayed at Wheaton Village, The Corning Museum of Glass, and The Smithsonian Institution?-Collectors’Paperweights Price Guide and Catalogue. Diameter 3 1/16". $ 2 5 0 0-3000 L ot 126. Bob Banford six-flow er bouquet paperw eight. A formal bouquet with many leaves over a clear grid-cut base. All the flowers have upright petals and unique stamens, and the cen­ ter pansy is exceptionally detailed and naturalistically colored. Bob Banford revels in the minutia with a portrait cane o f a flower representing the pansy’s stamen, carrying the fineness o f design to m icroscopic detail. Six and one facets. Signature cane. Diameter 3 1/4". $ 1 8 0 0 -2 5 0 0

Spring 2001

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Lot 127. Ken Rosenfeld golden-yellow butterfly paperw eight. A small field butterfly with black m arkings, alights on a plant with a pale pink flower, pink bud and green leaves over clear ground. Signature cane. Signed/dated 1998. “In every mans heart there is a secret nerve that answers to the vibrations of beauty’-Christopher Morley. D iam eter 2 7/16". $ 2 2 5 -3 5 0 Lot 128. Ken Rosenfeld m in iature desert bouquet p ap er­ weight. Flat pads o f dark green m ottled cactus branch out over the chalky ground, each with wavy root tendrils. Pink ready-toburst buds surround the full blossom o f this lovely cactusflow er; over clear ground. Signed/dated 1998. Signature cane.“M y work is about finding the beauty in everyday things. I want people to relate to it.” -Ken Rosenfeld. D iam eter 2 1/2". $ 2 2 5 -3 5 0 Lot 129. Ken Rosenfeld small green frog paperw eight. Bulbous eyes add hum our to this m iniature, yet this frog has a rather stal­ wart expression; it seems to be protecting it’s prize hot pink flower. The frog’s freckled backside hides the pink vulnerability o f the belly. Creating the illusion o f tiny quartz sand for the ground, Rosenfeld adds flash with the dark green aventurine leaves; signature cane. Signed/dated 1998. D iam eter 2 7/16". $ 2 2 5 -3 5 0

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Lot 130. Ken Rosenfeld m iniature bouquet paperw eight, with a m ulti-tiered golden fantasy flower, light blue flowers and red berries on opaque pink ground; signed/dated 1997. Signature cane. “I have always been attracted to the size and shape o f a paperweight, to the intim ate qualities o f the small object. It is a small precious piece that fits in your hand.” -Ken Rosenfeld, All About Paperweights. D iam eter 2 1/2". $ 2 2 5 -3 5 0 Lot 131. Ken Rosenfeld pink cam ellias paperw eight. In an ele­ gant com position, two m ulti-tiered camellias, with soft, full­ looking petals, balance on either side o f a branch. The stamens are rendered with great attention to color detail, and the design is topped o ff with a pink bud and green leaves. The translucent blue ground suggests a watery surface, giving the appearance o f the cam ellia branch drifting along a stream. Signature cane. Signed/dated 1998. Diam eter 3 1/4". $ 5 50-800 Lot 132. Ken Rosenfeld frosted rose paperw eight. W ith a m u lti­ tiered pink rose, pink bud, green leaves and stems on clear ground; frosted exterior with a front window facet. Signature cane. Barely a handful o f glass, yet a rem arkable, graceful design. “Though we travel the world over to find the beautiful, we must carry it with us or we find it not.” -Ralph Waldo Emerson. D iam eter 2 1/2". $ 3 0 0 -4 0 0

Spring 2001


Lot 133. Parabelle Glass spaced con cen tric piedouche p aper­ weight. The outer ring o f com plex cog canes features deep red glass surrounding a star shape with a small pansy-style flower at center. Though Parabelle designs pay hom age to the Clichy artisans with Type I styled pink roses; the pansy was certainly this m odern studio’s signature, used in bold and subtle ways throughout many o f their m illefiori com positions. The design rests on upset m uslin in a white stave basket with red and white torsades. Signed/dated 1997. A rtists’ proof. Height 1 3/8"; D iam eter 2 7/8". $ 1 8 0 0 -2 5 0 0 Lot 134. Parabelle Parabelle Glass piedouche with spaced pink roses paperw eight. The design takes the sm oothness o f polished glass into new tactile terrain, with fused three-dim ensional rose canes. A glassmaking trom p e Voeil, the flower heads riding just proud o f a lush white rose/m oss ground, and are gathered in a red and w hite stave basket w ith p in k and red torsades. Signed/dated 1997. A rtists’ p ro o f D iam eter 2 9/16"; Height 1 5/8". $ 1 6 0 0 -2 5 0 0 L ot 135. P arabelle Glass piedouche paperw eight with an encased layer o f open concentric canes over a pansy/moss ground, in a white stave basket with two ruby/gold aventurine torsades. The detailing in the white rose and edelweiss canes is exceptional, the coloration rich and well fram ed with the aven­ turine accents. Signed/dated 1996. A rtists’ proof. D iam eter 2 3/4"; Height 1 9/16". $ 1 6 0 0 -2 0 0 0

Lot 136. Parabelle Glass spaced con cen tric m illefiori p aper­ weight. The piece features a large central pink rose, surrounded by pansies, roses and com plex heart canes, on blue ground; signed/dated 1998. A rtists’ proof. D iam eter 3 1/4". $ 1 0 0 0 -1 3 0 0 Lot 137. Parabelle Glass cen tral blue pansy paperw eight. The bright expressive pansy face cane is encircled by a ring o f white roses and a border o f blue pansies, alternating with blue cogs on pink ground. A bold design, using saturated color and the strong white rose canes to create drama. Signed/dated 1998. Lim ited edition o f 10. D iam eter 3 1/4". $ 9 0 0 -1 2 0 0 Lot 138. Parabelle Glass m illefiori paperw eight. Com posed in the classic period style, with concentric m illefiori presenting a central white rose, encircled by com plex canes in pink, lavender, red and white on upset m uslin; signed/dated 1997. Limited edition o f 10. “Parabelle is known to collectors as a small studio that produces classically designed millefiori paperweights notable for their clarity and bright colors. Enthusiasts who have followed Parabelle’s pro­ duction over the years have probably also noticed that the designs have become more complex and that the output has dropped correspond­ ingly.” -Gary Scrutton: Glass Pioneer, Morgan Seely, Paperweight News, 1994-Vol.XV,No. 1. D iam eter 3 3/16". $ 9 0 0 -1 5 0 0

Spring 2001

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Lot 139. Julie Scrutton Lewis con cen tric com plex m illefiori paperw eight. The canes range in hue from am ber to an opales­ cent pink over the translucent blue ground. Scrutton Lewis seems to offer hom age to the inspirational m illefiori works o f Clichy, including a ring o f edelweiss canes. Signed/dated 1998. Lim ited edition o f 25. D iam eter 2 3 /8 �. $ 2 2 5 -3 5 0

Lot 142. Julie S crutton Lewis con cen tric m illefiori p aper­ weight. Two rows o f jew el-colored canes, em bellish a white rose center cane with aventurine leaves. The faces are all well-placed and the m illefiori seem swathed by the cobalt blue and white torsade. The design is set on a white ground, which gives the colors and details sharp definition. Signed/dated 1999. Lim ited edition o f 10. D iam eter 2 1/4". $ 3 0 0 -4 0 0

Lot 140. Julie S crutton Lewis scattered com plex m illefiori paperw eight. A com panion piece with an opaque powder blue ground. In this paperweight the canes appear larger, allowing their details to pop under the m agnifying crystal dom e. Signed/dated 1998. Lim ited edition o f 25. D iam eter 2 3/8". $ 2 2 5 -3 5 0

Lot 143. Julie Scrutton Lewis scattered com p lex m illefiori paperw eight. Em ulating the variety o f com plex m illefiori and coloration o f the m aster glass artisans o f Clichy, Scrutton Lewis fashions her designs with precision and im agination. The bits o f eye-candy snuggle into a restful opaque ground o f pale salm on pink. Signed/dated 1998. Lim ited edition o f 25. Diam eter 2 3/8". $ 2 2 5 -3 5 0

Lot 141. Julie Scrutton Lewis close packed com plex m illefiori paperw eight. Scrutton Lewis is one o f the few independent A m erican glass artists working exclusively in the classic style o f m illefiori design. This design employs a dazzling array o f canes, including arrow, edelweiss, cog, pastry-m old, star, and florets in blue, red, green, purple, pink, turquoise, yellow and white on translucent red ground. In the center o f one o f the canes, a pansy face, likely an hom age to her m entors at Parabelle Glass. Signed/dated 1998. Lim ited edition o f 50. Diam eter 2 3/8". $ 2 2 5 -3 5 0

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Lot 144. Julie Scrutton Lewis con cen tric com plex m illefiori paperw eight, with m illefiori in amber, lavender and white, including one ring o f edelweiss canes, on green flash ground. Signed/dated 1998. Lim ited edition o f 25. D iam eter 2 3/8". $ 2 2 5 -3 5 0

Spring 2001


Lot 145. D rew Ebelhare close con cen tric m illefiori p aper­ weight. Using an indigo palette, Ebelhare’s distinctive m illefiori com bination o f alternating hard and soft edges, create a rich yet subtle m osaic. W ith a central signature cane encircled by floral and star canes in blue, green, red and white, in a m edium blue stave basket; signed/dated 1997. D iam eter 2 1/4". $ 3 0 0 -4 0 0 Lot 146. Drew Ebelhare m iniature paperweight. Close con cen­ tric com plex m illefiori in blue, green, red, yellow and white encircle a central signature cane and rest in a white stave basket. A dense bouquet o f com plem entary colors and diversity o f cane styles. Signed/dated 1997. Diam eter 1 3/4". $ 2 0 0 -3 0 0 Lot 147. D rew Ebelhare close con cen tric m illefiori p aper­ weight. Com prised o f uniquely shaped hollow, asterisk, and honeycom b canes, this is a bold design, with a great deal o f visu­ al interest. The shifting shades o f blue, pink, green and yellow, punctuated with white, create new colors where their hard and soft edges m eet; all fram ed in a mauve stave basket. “That’s one of the things that is most exciting to me. I’m not trying to find a color to match the petals of a particular flower, or a green to recreate the shading of a leaf. I’m using color to create a dynamic and inspiring visual impact.” -Drew Ebelhare: A New Heir to the Millefiori Throne, L. H. Selman, 1997 PCA Bulletin. Signed/dated 1998. D iam eter 2 1/4". $ 2 7 5 -3 5 0

Lot 148. Drew Ebelhare m iniature paperw eight. An excellent display o f the classic period m illefiori technique in con tem po­ rary hands. Great attention was paid throughout the m iniature arrangem ent to give each cane’s face full exposure. The form al design features close concentric m illefiori, with a central signa­ ture cane encircled by blue and white bull’s-eye canes, and a tom ato red and white stave basket. By varying the size o f the m illefiori and m ixing warm and cool colors effectively, the com ­ position is given depth and provides interest. Signed/dated 1996. D iam eter 1 3/4". $ 2 0 0 -3 0 0 Lot 149. Drew Ebelhare m iniature paperw eight. Com prised o f close packed com plex m illefiori on translucent blue ground, the design is bundled in a pink and white stave basket. Four brigh t­ ly colored signature canes are included in the assorted mix. Signed and dated 1995. Diam eter 1 3/4". $ 2 0 0 -3 0 0 Lot 150. Drew Ebelhare m iniature paperw eight. A concentric m illefiori in red, green, blue, yellow and white, with eight white roses and central signature cane; blue star and white stave bas­ ket. Signed and dated 1996. D iam eter 1 3/4". $ 2 0 0 -3 0 0 Lot 151. Drew Ebelhare m illefiori cross basket paperweight. Breaking from tradition by using bright candy colors throu gh­ out the design, the artist still evokes the sophistication o f pat­ terned m illefiori from the classic French factories-era. W ith a central signature cane, the design is suspended over a deep cobalt ground in a pink and white stave basket. Signed/dated 1993. D iam eter 2 3/4". $ 3 5 0 -5 0 0

Spring 2001

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Lot 152. Paul Ysart closed packed inkwell containing complex cog, quatrefoil, and star canes in cobalt blue, turquoise, pink, lime, blue, fuchsia, yellow, amber, and orange, in the stopper and the base o f the cone-shaped inkwell. “The autonomy offered by the intricate craft of lampworking, requiring simple equipment and no working assistance, must have proved as rewarding as the task of creating his own intricate millefiori and filigree canes. Both provided a break from the conformity of the factory floor.” -Paul Ysart Paperweights, Alison Clarke; Ysart Glass. Diameter 3 15/16"; Height 4 1/8". $2000-3000 Lot 153. Early Paul Ysart millefiori inkwell with orange poppy, white, blue and yellow canes separated by twists o f poppy and white latticinio. The canes and filigrana in the stopper show o ff the lampwork skills o f Ysart to best advantage. Diameter 4"; Height 4 1/4". $1800-2500 Lot 154. Salvador Ysart yellow and green inkwell. The coloration o f the canes and filigrana give the inkwell an appearance o f socalled “vaseline glass.” Swirling, feathered filigree o f yellow glass decorates the ink’s well, and the knopf and base are finished with a ring o f very boldly designed millefiori, similar to Spanish tile designs. “There were loud calls from one glassmaker to another as one task was finished... and also the occasional curse as things went wrong, especially from Salvador who had a terrible temper! After all this hectic activity, pieces of beautiful glass emerged hours later from the end of the lehr.” -Monart Glass, Ian Turner; Ysart Glass. Diameter 4"; Height 4 1/4". $900-1500

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Lot 155. Dominick Labino abstract design paperweight, with dark blue and golden-yellow swirling ribbons in a translucent amber veil. Labino paperweights have been in the permanent collections o f over twenty-seven museums, including the Corning M useum o f Glass, the Cleveland M useum o f Art, and the Pilkington Museum in England. Signed/dated 1972. Diameter 2 1/4". $ 450-600 Lot 156. Dominick Labino abstract design paperweight depicting four long-stemmed flowers, with green, yellow and brown dappled petals, encased in an amber veil. Signed/dated 1970. “Labino is an exploring craftsman. He has created aerial sculpture’ or‘air sculpture’ within the walls of many of his freehand-blown glass pieces. For a man who began to work on glass as an art form only in 1963, a few years have brought forth an amazing production.” -American Glass Paperweights and Their Makers. Diameter 2 1/2". $ 4 50-600 Lot 157. Charles Kaziun concentric millefiori paperweight with a large central silhouette o f a hunter and dog on azure blue ground. Additional canes include silhouettes o f a rabbit, turtle, and sham­ rock, surrounded by a m int green and white twist. Black and white “K” signature cane on front, gold “K” signature on base. “Pride of place must go to Charles Kaziun.. .for raising modern American paper­ weights above the level of mediocrity...(He) has produced silhouette canes which are distinctive to him— a turtle, a heart, a golden bee, a whale, and a seated rabbit.” -Glass Paperweights. Diameter 2 3/16". $1200-2000

Spring 2001


Lot 158. Paul Y sart pink and white m illefiori b utterfly p aper­ weight, with a red aventurine body, encircled by a pink and white com plex m illefiori garland, on translucent black ground. Diam eter 3". $ 9 0 0 -1 5 0 0 Lot 159. Paul Y sart signed “P Y ” m illefiori butterfly p aper­ weight; the wings made o f blue, red, and white com plex m ille­ fiori canes, the body o f copper aventurine. The clear space inside is quite effective, adding the evanescent illusion that the bu tter­ fly is hovering over the white latticinio ground. “PY” signature cane. “.. .‘I’ve recently added two beautiful Paul Ysart weights: one has a lovely orange yellow butterfly on a soft orchid ground and is truly a meticulous work of art. The perfection of Ysart’s work is evident and a joy to possess.’ (Inga Baker, from a 1958 PCA Bulletin article)” - Ysart Glass. D iam eter 2 3/4". $ 1 0 0 0 -1 5 0 0 Lot 160. Paul Ysart signed “H ” scrambled millefiori paperweight with a central bubble, encircled by a ring o f spaced bubbles, each floating above an indentation in the colorful ground. “H ” signature cane. “The paperweights of Paul Ysart, from their inception through to the present day, have been met with an enthusiasm only equalled by that of the artist in creating them. In his exploration of the techniques and designs of the 19th c. paperweight makers, he has resisted the creation of technically perfect but artistically stale reproductions. His modern paperweights have

been an integral part of Scottish national identification with the decorative arts, a theme taken up by the Caithness and Perthshire glass companies today” -Paul Ysart Paperweights, Alison Clarke; Ysart Glass. Diameter 2 3/4". $ 400-600 Lot 161. Paul Y sart signed “P Y ” blue-spotted green fish p aper­ weight, with gold aventurine tail and fins, sandy ocean floor, scattered rocks and a seashell. “PY” signature cane. “Paperweight becomes fishbowl in this whimsical lampwork piece... One of the first contemporary glass artists to revive classic paperweight-making, Ysart is a third generation glassblower.” -Glass Paperweights: The Art Institute o f Chicago, (See: p 50). D iam eter 2 3/4." $ 1 4 0 0 -1 6 0 0 Lot 162. Paul Y sart signed “P Y ” piscean paperw eight. Red and green fish, with fins accented in aventurine, swim m ing in oppo­ site directions over a ground o f candy-colored rocks and shells. “PY ” signature cane on base. “Chance is always powerful. Let your hook be always cast; in the pool where you least expect it, there will be a fish.” -Ovid. D iam eter 3". $ 1 8 0 0 -2 0 0 0 Lot 163. Paul Y sart signed “H ” dark pink fish paperweight, with red iridescent tail and fins, swimming over sandy ground, with a border ring o f spaced bubbles. “H ” signature cane on base. Diam eter 2 11/16". $ 5 0 0 -1 0 0 0

Spring 2001

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Lot 164. Paul Ysart patterned millefiori paperweight. Alternating tri-colored twists in tertiary hues o f orange, green, and purple radiate from a central floret, separating complex cog and star canes in yellow, blue, and orange. Ysart explores the illusion o f “hollow canes,” which are actually clear glass rods surrounding the m ille­ fiori. All surrounded by off-white and violet pastry mold canes set atop a sandy Celeste green background. The bottom o f the paper­ weight is star cut. “In the 20s Ysart began making paperweights in tradi­ tional millefiori patterns... on a wide variety of grounds, some translucent in shades of deep blue, green, red or purple, and others mottled and opaque in shades ranging from pale pink to sandy yellow and flaming orange. A peculiar Ysart technique was his use of filigree cane sunk into the ground. The millefiori canes themselves are well up to the standards of the classic French weights.” -Glass Paperweights. Diameter 3 1/16". $900 -1 2 0 0 Lot 165. Paul Y sart close packed com plex millefiori paperweight, encircled by short segments o f radiating white latticinio, alternat­ ing with pairs o f com plex canes, on opaque powder blue ground. Two o f the canes appear to be very simple tree silhouettes. Diameter 2 7/8". $900 -1 2 0 0 Lot 166. Paul Y sart concentric millefiori paperweight. From a central cluster o f com plex star and cog canes, in ruby, green and white, on es eye is taken to the edge o f the glass by radiating lat­ ticinio threads alternating with robin s-egg blue and goldenrod cog canes, over a rich, cobalt blue ground. Diameter 3 1/16". $ 6 5 0 -9 0 0 38

Lot 167. Paul Ysart spaced com plex millefiori paperweight, with clusters o f canes on opaque yellow ground. The designs o f the clus­ ters o f millefiori are bold enough on their own to be enhanced, rather than overwhelmed by the prim ary ground. Diameter 2 15/16". $800-1000 Lot 168. Paul Ysart spaced concentric com plex millefiori paper­ weight. Forgoing any colored ground, clear light penetrates throughout the glass dome, setting o ff the jewel tones o f the m ille­ fiori and emphasizing the clean, elegant canes o f Ysart. Diameter 3". $800 -1 0 0 0 Lot 169. Paul Ysart signed aH ” purple-striped blue flower paper­ weight, with a blue bud and green leaves, encircled by a ring o f six spaced complex canes and a border o f spaced green aventurine leaves, on white upset muslin. “H ” signature cane. “Many of Ysarfs paperweights, especially the early ones, contain no signature cane whatso­ ever. For these, stylistic criteria and millefiori cane designs must be used for attribution. For those pieces containing a signature cane, two different canes were used. The first was an ‘H’ cane representing the place of manufacture, Harland. This cane was used in his standard production paperweights from 1971 to 1979. The second signature cane used was the well-known and at times illegitimately copied ‘PY’ cane. After 1955, the ‘PY’ cane was reserved for the limited edition paperweights sold in the United States by Paul Jokelson.” -T h e Dictionary o f Paperweight Signature Canes. Diam eter 2 3/4". $ 1 0 0 0 -1 5 0 0

Spring 2001


L ot 170. Saint Louis A m ou r sulphide paperw eight. allegorical Cupid encircled by a spaced garland o f work flowers on rose-colored ground; six and Signature/date cane 1979. Lim ited edition o f 400. D iam eter 3 1/8".

A cam eo o f blue lam pone facets. $ 4 0 0 -5 0 0

Lot 171. Saint Louis 1976 George W ashington on horseback paperw eight. A portrait o f our first A m erican president done in gold-foil inclusion, surrounded by thirteen white m illefiori stars on cobalt blue ground; five and one facets. Signature/date cane. Lim ited edition o f 650. “The first Congress convened in New York City on March 4, 1789. After a months delay awaiting a quorum, the sealed ballots were opened and officially counted on April 6, 1789. George Washington was the first choice for President of every elector in every state. He is the only person to be unanimously elected president.” - The Reluctant President, ©2000, The Mount Vernon Ladies’ Association. D iam eter 3". $ 4 0 0 -5 0 0 L ot 172. Saint Louis m in iature m u shroom paperw eight with a m aroon-over-w hite double overlay encasing a close concentric m illefiori m ushroom . Signature/date cane 1992. Lim ited edition o f 25. D iam eter 2 3/8". $ 8 0 0 -1 0 0 0 L ot 173. Saint Louis close co n cen tric com p lex m illefiori piedouche paperw eight. A stunning array o f the contem porary French factory’s cane selection. In a profusion o f pastels, m icro ­ scopic bull’s-eyes, crosses, bundled stars, and cog canes all

blossom out under the crystal dom e. A swirling latticinio pedestal and two latticinio torsades elegantly suggest a white wicker basket. Signature/date cane 1972. Lim ited edition o f 150. D iam eter 3". $ 1 6 0 0 -2 0 0 0 Lot 174. Saint Louis C orona low-profile paperw eight, with a blue clem atis encircled by a garland o f flowers and leaves on clear star-cut ground. Signature/date cane 1992. Lim ited edition o f 300. D iam eter 3 3/8". $ 8 0 0 -1 2 0 0 Lot 175. Saint Louis crystal egg-shaped paperw eight. Criss­ crossed, swirling threads o f “retorti” canes in alternating pink and green, in a m o tif from antiquity. Signed. “Engagingly described as a rafraichissoir a main by the French, the egg-shaped handcooler has its origins in antiquity. Ancient Near Eastern religions viewed the egg as a symbol of creation, especially revival and rebirth, an associ­ ation carried over to Christianity in the Easter egg. In the late nineteenth century, Russian artists, most notably Peter Carl Faberge (1846-1920), created decorative eggs in glass, porcelain, and metal with religious and secular motifs.” -Objects o f Fantasy: Glass Inclusions o f the Nineteenth Century. Fleight 2 1/2". $ 3 5 0 -5 0 0 Lot 176. Saint Louis crystal egg-shaped paperw eight with a green-over-w hite double overlay; scalloped top facet and four rows o f circular side facets. Signed. H eight 2 1/2". $ 4 0 0 -5 0 0

Spring 2001

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Lot 177. Saint Louis Divine Surprise signed paperw eight. A virtual lost-and -found o f the Saint Louis lampwork departm ent, an hom age to collectors in every category. Including a fried egg, a blan cm an g e, a dowser’s branch, Labrador dog portrait cane, fruit, an envelope, baby doll, horseshoe, and an SL1996 signature/date cane. Kitchen sink optional. All scattered over a skyblue ground; top facet. Lim ited edition o f 150. ‘“How you gonna organize it?’- ‘What do you mean?’-You know... alphabetical, chrono­ logical, Dewey Decimal ’ Marlys says that organization and presentation are very important to Miss Ronson, if I want a decent grade on my collection.” -Lynda Barry. D iam eter 3 1/4". $ 1 8 0 0 -2 0 0 0 Lot 178. Saint Louis encased upright bouquet paperw eight. Fantasy blossom s in pink, blue and white, in a swirling white latticinio basket with a pink twisted ribbon handle. A robust reproduction o f their classic period design. 1994 signature/date cane. Lim ited edition o f 25. {See, p 74, Glass Paperweights: The Art Institute o f Chicago.) D iam eter 3 1/2". $ 2 0 0 0 -3 5 0 0 L ot 179. S aint Louis M em o ry m ag n u m p ap erw eigh t. A scattered arrangem ent o f m agenta, cyan and white forgetm e-n ot flowers, bedded on green leaves over a straw -colored filigree basket, encased in pristine crystal. The design is a contem porary nod to French heritage paperweights from the classic period. The piece is cut with sixteen and one facets.

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SL1993 signature/date cane. {See, plate 22, p 57, One Hundred o f the Most Important Paperweights; see also, p 67, Glass Paperweights: The Art Institute o f Chicago.) D iam eter 3 3/4". $ 1 6 0 0 -2 0 0 0 Lot 180. Saint Louis clear encased red-over-w hite double over­ lay gingham paperw eight. The signature Saint Louis design o f a m ulti-colored upright bouquet on green leaves is m atched in technical achievem ent by an encased red-over-white gingham double overlay. This piece was inspired by a fam ous Saint Louis antique, and is known as one o f the m ost difficult o f all paper­ weights to create. A three-dim ensional stem extends down to the bottom o f the paperweight. An SL1989 signature/date cane can be seen inside a white flower. The overlay’s “open work” suggests traditional faceting and engraving on the surface. Lim ited edition o f 50. {See, The Art o f the Paperweight-Saint Louis {revised edi­ tion}, Annual Limited Editions section.) D iam eter 3 3/4". $ 4 0 0 0 -6 0 0 0 Lot 181. Saint Louis 1989 gilded trico lo r com m em orative goblet created for the 200th anniversary o f the French Revolution. Signed. Lim ited edition o f 300. “I die innocent. I pardon my enemies and I hope that my blood will be useful to the French, that it will appease God’s anger....” -King Louis XVI, (prior to his beheading in 1793), The French Revolution. Height 8 1/2". $ 1 0 0 0 -1 5 0 0

Spring 2001


Lot 182. B accarat dark red starfish paperw eight. A simple com position, with detailed lampwork on the waving starfish, the branched anenom es and seaweed, over foamy translucent blue ground; B 1996 signature/date cane. Signed/dated 1996. Limited edition o f 100. Includes card o f authenticity. D iam eter 3 9/16". $ 1 1 0 0 -1 6 0 0 Lot 183. B accarat D ancing Sea Lion paperw eight. A colorful big top stage recreated in glass. The supple black sea lion with stiff little whiskers, perched on a decorated drum , balances a ball on its nose. B 1998 signature/date cane and signed/dated 1998. Lim ited edition o f 100. Includes card o f authenticity. Diam eter 3 1/2". $ 1 5 0 0 -1 8 0 0 Lot 184. B accarat Flag Bird paperw eight. A yellow-breasted black bird with pinstripe wings and trailing long blue head feathers, takes flight in a surreal tropical environm ent. The scene is suggestive o f the mysterious rainforests, with com panions like a bright blue and black butterfly, ruby flowers with long broad leaves and an am ber and scarlet backdrop. The w atercolor effect o f the ground is unusual and dram atic. B 1997 signature/date cane and signed/dated 1997. Lim ited edition o f 100. D iam eter 3 1/2". $ 1 3 0 0 -1 5 0 0

Lot 185. B accarat black-striped ivory h erm it crab shell paper­ weight. A nother sea bed com position with excellent coloration in the coral, seafern and anenom es. The piece has a foamy translucent blue ground, which appears soft and loamy, and adds dim ensionality to the scene. B 1996 signature/date cane. Signed/dated 1996. Lim ited edition o f 100. Includes card o f authenticity. D iam eter 3 9/16". $ 1 2 0 0 -1 6 0 0 L ot 186. B accarat Equilibrist Elephant paperw eight. A nother big top m otif, with rich candy-coloring. A gym nastic circus ele­ phant, dressed in her best show satins and plumes, balances her­ self and a ball while standing on a pedestal. Over blue ground; B 1998 signature/date cane. Signed/dated 1998. Lim ited edition o f 100. D iam eter 3 1/2". $ 1 2 0 0 -1 7 0 0 Lot 187. B accarat King Bird o f Paradise paperw eight. The rain­ forest holds m any mysteries, including rem arkable birds with long, elaborate tail feathers. This red-headed, w hite-breasted bird, rather shows off, startling a butterfly and branches o f green leaves. Special details in the wings add a sense o f speed to the King Bird’s flight, over a watery blue ground. B 1997 signa­ ture/date cane. Signed/dated 1997. Lim ited edition o f 100. D iam eter 3 1/2". $ 1 3 0 0 -1 6 0 0

Spring 2001

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Lot 188. B accarat large m agenta rose paperw eight. A con tem ­ porary take on a classic flora m otif. An upright, com pound cab­ bage rose: the “am bassador o f love” rose, offers dozens o f furled petals and a naturalistic coloring o f light to dark, with a hint o f sepia suggesting a fading bloom . W ith green leaves, over a dou­ ble-sw irl white latticinio ground. B 1990 signature/date cane. Signature/date 1990. Lim ited edition o f 200. D iam eter 3 1/4". $ 7 0 0 -1 0 0 0 Lot 189. B accarat 1977 Silver Jubilee com m em orative Queen Elizabeth II sulphide paperw eight. A profile sulphide o f Q EII, modeled by Leslie D urbin, is encircled by a m illefiori garland with five pink roses. O n regal purple flash ground, with five and one facets. Signed/dated 1977. Lim ited edition o f 500. Includes card o f authenticity. D iam eter 3 1/2". $ 4 5 0 -6 0 0 Lot 190. B a c ca ra t scram b le o r m a ced o in e p ap erw eigh t. Com posed o f short segments o f blue, pink, green and yellow striped white filigrana, to em ulate a carpet ground effect. Baccarat insignia etched on base. D iam eter 2 11/16". $ 2 2 5 -3 0 0

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Lot 191. B accarat M altese Cross design paperw eight. A sym ­ m etrical design o f radiating yellow canes, set next to bright yellow and blue star canes, with two concentric arrangem ents o f com plex pink and red cog canes, on an opaque black ground. B 1990 signature/date cane. Baccarat insignia etched on base. Dated 1990. Lim ited edition o f 200. Diam eter 3 1/8". $ 4 5 0 -6 0 0 Lot 192. B accarat M ayan-inspired design paperw eight. A m inim alistic interpretation o f the elaborate glyphs o f this ancient culture. In optic-bending colors o f pink and green m illefiori on an equally riveting opaque green ground. B1991 signature/date cane. Lim ited edition o f 200. Baccarat insignia on base. Dated 1990. Diam eter 3 5/16". $ 4 0 0 -5 5 0 Lot 193. B accarat quatrefoil h eart paperw eight. Four m illefiori hearts, in pink and yellow, on latticinio ground, punctuated by eight com plex canes in red and white, blue and white, yellow, green and white. Baccarat insignia on base. The design and m illefiori style place this paperweight, circa 1970. D iam eter 3". $ 4 0 0 -6 0 0

Spring 2001


Lot 194. B accarat exp erim en tal sulphide o f D w ight D. Eisenhower paperweight. Based on his campaign medal with a clear, diam ond-cut base, and six and one facets. “In 1953 paperweight collector and connoisseur Paul Jokelson suggested that Baccarat experi­ ment with making sulphides. Their first attempt, which was a piece based on Dwight D. Eisenhower’s campaign medal, was unsuccessful. But the experiment proved to the craftsmen that encasing cameos in glass was pos­ sible.” -All About Paperweights. Diameter 2 7/8". $200 -4 0 0 Lot 195. Baccarat John F. Kennedy m em orial sulphide paper­ weight; the cameo is inscribed with artist’s name (A. David) and date (1963). W ith a starburst-cut dark purple ground; top facet and geometric side facets. Limited edition o f 314. Etched insignia on side. “Mothers all want their sons to grow up to be President, but they don’t want them to become politicians in the process.” -John F. Kennedy. Diameter 3 1/8". $40 0 -6 0 0 Lot 196. B accarat Sam Rayburn sulphide paperweight; the cameo is inscribed “A. David,” and rests in a double overlay o f rose-over-white, with five and one facets and a clear, diam ond-cut base. Limited edition o f 93. Etched insignia on side. “Rayburn, Sam (1882-1961), American politician, a Democrat, active in the United States House of Representatives for 25 consecutive terms.” -Encarta Online Encyclopedia. Diameter 3 1/8". $50 0 -6 5 0 Lot 197. Baccarat Andrew Jackson sulphide paperweight; the cameo is inscribed with the artist’s nam e (M . Reynard) and date

(1971). Over translucent green ground; six and one facets. Limited edition o f 2400 in 1972. Etched insignia on side. “It is not conceivable how the present stockholders can have any claim to the special favor of government... Many of our rich men have not been content with eqiial benefits, but have besought us to make them richer by an act of Congress.” -Andrew Jackson (1832), Encarta Online Encyclopedia. Diameter 2 3/4". $ 8 0 -1 0 0 Lot 198. Baccarat Pope John X X III sulphide paperweight; the cameo is inscribed with artist’s name (A. David) and date (1966). O n translucent red ground; six and one facets. Limited edition o f 775 in 1966. Etched insignia on b o tto m .“(Pope from 1958 to 1963)... His other achievements include seven encyclical letters, among them Mater et Magistra (1961), which emphasizes individual dignity as the basis of social institutions, and Pacem in Terris (1963), which urges international cooperation for peace and justice and committing the church to a concern for all human problems.” -T he First Council o f the Vatican, James Hennesey, Encarta®, 2000. Diameter 2 13/16". $12 0 -1 5 0 Lot 199. Baccarat Adlai Stevenson sulphide paperweight; the cameo is inscribed with artist’s name (A. David) and date (1968). A three-quarter profile mem orial portrait, in a purple flash overlay with four and one facets. W ith starburst cuts on the sides; clear, star-cut base. Limited edition o f 472. Baccarat insignia on side. “In America, anybody can be president. That’s one of the risks you take.” -Adlai Stevenson (1900-1965). Diameter 3 1/8". $25 0 -3 0 0

Spring 2001

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Lot 200. D ’A lbret Paul Revere sulphide paperw eight. The cam eo is inscribed with the artist’s initials (G. P.) and date (1969). This fierce, grim acing portrait o f the silversmith and patriot seems to be straight out o f Longfellow’s epic and m ostly fictional poem . O n translucent gray, sunburst-cut ground; top facet and eight oval side facets. Lim ited edition o f 800. Etched “CR. D’ALBRET-FRANCE” on bottom o f piece. Diam eter 3". $ 8 0 -1 0 0

Lot 203. B accarat M arquis de Lafayette sulphide paperw eight; inscribed “B. GP 1955,” one o f the early cam eos designed by Poillerat for Baccarat. A rebel-loving, French noble, Lafayette heard about the struggling colonies at a dinner party, and sailed im m ediately to fight alongside W ashington, although he had no previous m ilitary experience. Six and one facets. The grid-cut base is accented with translucent blue flash overlay. Lim ited edi­ tion o f 744 in 1955. D iam eter 2 7/8". $ 2 5 0 -3 5 0

Lot 201. D’Albret John Jam es Audubon sulphide paperweight;

Lot 204. B accarat D w ight D. Eisenhow er sulphide p ap er­ weight; six and one facets with special cutting into the top and side facets. Over a fan-shaped , star-cu t base. Lim ited edition o f 1389. Signed/dated 1956. “I think that people want peace so much that one of these days government had better get out of their way and let them have it.” -Dwight D. Eisenhower. D iam eter 2 7/8". $ 3 0 0 -4 0 0

the cam eo is inscribed with the artist’s initials (G. P.) and date (1972). Encased in a robin’s-egg blue-over-w hite double overlay. A udobon’s illustrations in Birds o f America (c. 1 8 40-1844), rem ain an unm atched achievem ent by any A m erican artist or naturalist. On clear star-cut base with facets and fancy cutting on the sides. Lim ited edition o f 225. Etched “CR. D’ALBRET-FRANCE” on b o t­ tom o f piece. D iam eter 3 1/8". $ 1 5 0 -2 0 0 L ot 2 0 2 . D ’A lbret G eneral D ou glas M acA rth u r sulphide paperw eight; the cam eo is inscribed with the artist’s initials (G. P.) and date (1 9 6 8 .). O n translucent green, sunburst-cut ground; top facet and eight oval side facets. Lim ited edition o f 1500. Etched “CR. D’ALBRET-FRANCE” on b o tto m o f piece. “We are not retreating, we are advancing in another direction.” -General Douglas MacArthur (1880-1964). D iam eter 3 1/16". $ 8 0 -1 0 0

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Lot 205. D’Albret President John F. and Jacqueline Kennedy sulphide paperw eight, inscribed “CA GP 1969” over a clear, sun­ burst-cut base; emerald green flash overlay with fancy faceting. Lim ited edition o f 300. Etched “CR. D’ALBRET-FRANCE” on b o t­ tom o f piece. “Most of d’Albret’s sulphides were designed and sculpted by Gilbert Poillerat... Born in 1902, Poillerat studied decorative arts at the College Technique Boulle in Paris. Over the years he worked as a jewelry designer, a sculptor, and a professional medal engraver for the French Mint.” -Collectors’ Paperweights Price Guide and Catalogue. D iam eter 3". $ 1 5 0 -2 0 0

Spring 2001


Lot 206. B accarat sulphide paperw eight with a Leo zodiac cam eo on powder blue ground; six and one facets. Etched “Baccarat 1955” around the bottom edge o f the paperweight. The dates of the sign of Leo, July 23-Aug 22. “An artist, Gilbert Poillerat (1902-1989) gave a modern character to the traditional objects by relaunching the making of commemorative sulphides... Baccarat also owes him a range of paperweights inspired by the signs of the zodiac.” -T h e Story o f Baccarat. D iam eter 2 3/4". $ 1 5 0 -2 0 0 Lot 207. B accarat sulphide paperw eight with a Virgo zodiac cam eo on cobalt blue ground; six and one facets. The dates of the sign of Virgo, Aug 23-Sept 22. D iam eter 2 3/4". $ 1 5 0 -2 0 0 Lot 208. B accarat sulphide paperw eight with a Sagittarius zodiac cam eo on powder blue ground; six and one facets. Etched “Baccarat 1955” around the botto m edge o f the paper­ weight. The dates of the sign of Sagittarius, Nov 22-Dec 21. D iam eter 2 3/4". $ 1 5 0 -2 0 0

Lot 209. B accarat sulphide paperw eight with an Aquarius zodiac cam eo on cobalt blue ground; six and one facets. The dates of the sign of Aquarius, Jan 20-Feb 18. D iam eter 2 3/4". $ 1 5 0 -2 0 0 Lot 210. B accarat sulphide paperw eight with a Libra zodiac cam eo on powder blue ground; six and one facets. Etched “Baccarat 1955” around the bottom edge o f the paperweight. The dates of the sign of Libra, Sept 23-Oct 23. D iam eter 2 3/4". $ 1 5 0 -2 0 0 Lot 211. B accarat sulphide paperw eight with a Gemini zodiac cam eo on cobalt blue ground; six and one facets. The dates of the sign of Gemini, May 21-June 21. D iam eter 2 3/4". $ 1 5 0 -2 0 0

Spring 2001

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Lot 212. B accarat sulphide paperw eight with a Scorpio zodiac cam eo on powder blue ground; six and one facets. Etched “Baccarat 1955” around the bottom edge o f the paperweight. The dates of the sign of Scorpio, Oct 24-Nov 21. D iam eter 2 3/4". $ 1 5 0 -2 0 0

Lot 216. B accarat sulphide paperw eight w ith a zodiac cam eo on powder blue ground; six and Etched “Baccarat 1955” around the bottom edge o f weight. The dates of the sign of Capricorn, Dec 22-Jan 19. D iam eter 2 3/4".

Lot 213. B accarat sulphide paperw eight w ith an Aries zodiac cam eo on cobalt blue ground; six and one facets. The dates of the sign of Aries, March 21-April 19. D iam eter 2 3/4". $ 1 5 0 -2 0 0

Lot 217. Charles Kaziun III m iniature footed paperw eight. A sweet song sparrow in flight, rendered in gold-foil on translu­ cent cobalt blue ground; six and one facets. Signed. Diam eter 1 5 /1 6 ”; Height 1 1/8". $ 1 5 0 -2 0 0

Lot 214. B accarat sulphide paperw eight w ith a Cancer zodiac

Lot 218. Charles Kaziun III m iniature footed paperw eight. A peacock in pre-show, made o f gold-foil on translucent cobalt blue ground; six and one facets. Signed. D iam eter 1 5 /1 6 ”; H eight 1 1/8". $ 1 5 0 -2 0 0

cam eo on powder blue ground; six and one facets. Etched “Baccarat 1955” around the bottom edge o f the paperweight. The dates of the sign of Cancer, June 22-July 22. D iam eter 2 3/4". $ 1 5 0 -2 0 0 Lot 215. B accarat sulphide paperw eight with a Taurus zodiac cam eo on cobalt blue ground; six and one facets with fancy cutting on base. The dates of the sign of Taurus, April 20-May 20. D iam eter 2 3/4". $ 1 5 0 -2 0 0

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Spring 2001

C ap ricorn one facets. the paper­ $ 1 5 0 -2 0 0


L o t 2 1 9 . F ran k lin M in t/B a c ca ra t co llab o rativ e G eorge W ashington sulphide paperweigh, with a front-view cam eo o f the first A m erican president. On sunburst-cut, translucent teal ground; six and one facets. Signed/dated 1977. D iam eter 2 7/8". $ 8 0 -1 0 0 Lot 220. Franklin M in t/B accarat collaborative Peter the Great sulphide paperweight. W ith a front-view cam eo o f the Russian czar on a sunburst-cut, translucent bottle green ground; six and one facets. Signed/dated 1977. D iam eter 2 7/8". $ 8 0 -1 0 0 Lot 221. Franklin M in t/B accarat collaborative Julius C aesar sulphide paperw eight. A front-view cam eo o f the Rom an em peror on sunburst-cut translucent amethyst ground; six and one facets. Signed/dated 1976. D iam eter 2 7/8". $ 8 0 -1 0 0

Lot 222. Franklin M in t/D ’Albret collaborative John Adams sulphide paperw eight. A front-view cam eo o f the second presi­ dent o f the United States, on sunburst-cut, translucent cobalt blue ground; six and one facets. Signed/dated 1975. D iam eter 2 7/8". $ 8 0 -1 0 0 L ot 223. Franklin M in t/B accarat collaborative Sim on Bolivar sulphide paperw eight. A front-view cam eo o f the Venezuelan liberator on sunburst-cut, translucent am ber ground; six and one facets. Signed/dated 1977. D iam eter 3". $ 8 0 -1 0 0 Lot 224. Franklin M in t/B accarat collaborative King Louis XV I sulphide paperw eight. A front-view cam eo o f the Louis the locksm ith, who would be France’s king, until the Revolution, and it’s decisive guillotine. O n sunburst-cut, translucent garnet ground; six and one facets. Signed/dated 1975. D iam eter 2 15/16". $ 8 0 -1 0 0

Spring 2001

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Lot 225. Yaffa Sikorsky-Todd and Jeffrey M. Todd F rog on a Rock paperw eight, with a green frog perched on a rock near a blue pond, decorated with lily pads, and a yellow and white water lily. Signed/dated 1995. Lim ited edition o f 30. D iam eter 3 3/16". $ 3 7 5 -5 0 0 Lot 226. Yaffa Sikorsky-Todd and Jeffrey M. Todd Reflective Walk paperw eight. A m ottled, pebbly path through a wildflow er-dotted field, heads into the horizon, past slender golden Aspen trees. The distinctive style o f this artistic team , is evident in the “chenille” effect achieved through the dense, gestural segments o f lampwork glass rods. Signed/dated 1998. Lim ited edition o f 30. D iam eter 3 1/8". $ 3 7 5 -5 0 0 Lot 227. Yaffa Sikorsky-Todd and Jeffrey M. Todd First Sign o f Fall paperweight. A sturdy tree, it’s tru nk and branches rendered with wonderful twists o f braided color, begins its showy fall display. As the edge leaves begin to stop producing chlorophyll, fabulous orange and yellow pigm ents are revealed. A patch o f daisy-like m illefiori punctuate the grass-covered ground. Signed/dated 1997. Lim ited edition o f 30. D iam eter 3 1/8". $ 3 7 5 -5 0 0

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L ot 2 2 8 . Yaffa Sikorsky-Todd and Jeffrey M. Todd Field of Flowers II paperweight. Juxtaposing dense opaque colors and m illefiori in the lush wildflower field, w ith diaphan­ ous rib b o n s and “flashes” o f blue over the crystal sky, these “N aturew eights” are uniqu e co n tem p o rary designs. Signed/dated 1998. A rtists’ proof. “By using the lens-shaped hori­ zontal form, they create a window for the viewer to look through.” -A ll About Paperweights. Diam eter 3". $ 3 7 5 -5 0 0 Lot 2 2 9 . M ayauel W ard m agnu m aq u ariu m paperw eight. Three faceted “bay” windows reveal a stylized angelfish, coral, and seaweed in front o f a shim m ering background, with a black overlay. In this playful, technically challenging sculpture, Ward suggests rich depths in the glass with plum ing dichroic accents. Signed/dated 1990. (See: p 49, Egg Shaped Paperweights, Part II, Annual Bulletin o f the PCA, 1995.) Height 4 3/4"; D iam eter 4 1/4". $ 4 0 0 -6 0 0

Spring 2001


Lot 230. W h itefriars 1976 eagle m illefiori paperw eight with a central m icro-m osaic eagle cane in green and white, surround­ ed by three sim ilar canes on a bed o f five concentric green and white and blue and white canes. Signature/date cane. Diam eter 3 1/8". $ 4 0 0 -6 0 0

Lot 234. W h itefriars/C aithn ess Glass 1982 C h ristm as tree paperw eight. A cog cane tree, with pastry m old and floret orn a­ m ents, trunk and pot, is surrounded by a circle o f blue and white canes on a cranberry red ground, with six and one faceting; sig­ nature/date cane on bottom . Diam eter 2 13/16". $ 4 0 0 -6 0 0

Lot 231. W hitefriars 1978 m illefiori butterfly paperweight with large m illefiori butterfly made entirely o f canes, encircled by a pentafoil garland o f blue and white canes on a cobalt blue ground; five and one faceting. Signature/date cane. (See, p 152, O ld English P aperw eights.) D iam eter 3 1/8". $ 4 0 0 -6 0 0

Lot 235. W hitefriars close con cen tric m illefiori paperw eight in green, aqua, pink, teal, purple and white; 1978 signature/date cane. Five and one facets. “The 1970s, with the designs of Geoffrey Baxter, brought Whitefriars to the forefront of paperweight making, and in the following years they produced Christmas and limited edition paperweights and inkwells that were the match of any modern paper­ weight of the day. Many of the designs were inspired by the craftsman­ ship of Ray Annenberg. Ray made the canes and was a paperweight maker with Whitefriars until the firm closed due to insufficient orders in 1980.” -O ld English Paperweights. D iam eter 3 1/16". $ 3 2 5 -4 0 0

Lot 232. W h itefriars 1974 close con cen tric carp et ground paperw eight with a cluster o f seven m ulti-colored central canes in blue, red, green, yellow, white, and aquam arine. These are surrounded by a circle cushion o f aquam arine green m illefiori, and edged with bundles o f red-blue-w hite (creating the illusion o f purple) canes. Signature/date cane. D iam eter 3 1/8". $ 3 5 0 -4 5 0 Lot 233. W h itefriars con cen tric m illefiori paperw eight in shades o f yellow, green, blue, pink and white, surrounding a cen­ tral lobed-star black and white cane; five and one facets. Diam eter 3 1/16". $ 3 0 0 -3 5 0

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Lot 236. W hitefriars C oronation Jubilee paperweight with a central crown cane encircled by red, blue and white concentric m illefiori, suggestive o f fireworks. Signature cane with 1952 and 1977 date canes. Five and one facets. Includes certificate o f authenticity. D iam eter 3 1/8". $ 4 5 0 -5 5 0 Lot 237. W hitefriars Silver Jubilee paperw eight with com plex canes form ing a crown pattern. Includes an “E II R” cane, and 1952 and 1977 date canes; black ground. Six and one facets. (See, p 149, Old English Paperweights.) D iam eter 3 5/16". $ 5 0 0 -6 0 0 Lot 238. W h itefriars con cen tric m illefiori paperw eight in lavender, green, blue, pink and white; five and one facets. D iam eter 3 1/8". $ 3 0 0 -4 0 0 Lot 239. W hitefriars blue and white Star o f David p aper­ weight. The m ain m otif, a six-point star shape described as the “Shield o f David” or M agen D avid, is encircled by concentric

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rings o f blue and white m illefiori; five and one facets. 1948-1978 signature/date cane. This piece was produced to com m em orate the thirtieth anniversary o f the State o f Israel. Lim ited edition o f 1000. Diam eter 3". $ 3 5 0 -4 5 0 Lot 240. W hitefriars C oronation Jubilee paperw eight with com plex canes form ing “E II R,” and a crown picture cane. Below the initials are 1952 and 1977 date canes, in a bundle o f pale pink canes. The arrangem ent is surrounded by a ring o f rose and white m illefiori, with the W hitefriar’s signature silhou­ ette cane at the bottom . D iam eter 3 5/16". $ 4 5 0 -5 5 0 Lot 241. W hitefriars 1976 con cen tric m illefiori paperweight with the Liberty Bell silhouette in the center. The weight also con tain s a date cane “ 1 7 7 6 -1 9 7 6 ” in celeb ratio n o f the D eclaration o f Independence and it’s Bicentennial. In the burst o f surrounding red, white, and blue star canes, the image o f fire­ works is easy to conjure. W ith five and one faceting. D iam eter 3". $ 4 0 0 -6 0 0

Spring 2001


Lot 242. Perthshire Paperw eights 1997 bouquet paperweight. A study in dem ure pleasures. A sweet gathering o f upright pale blue flowers, on long stems with veined green leaves, seems to grow over a straw berry-cut base. To add light and complexity, the paperweight has a large top facet and tw enty-four side facets. Signature cane. Lim ited edition o f 300. D iam eter 2 7/8". $ 5 0 0 -6 0 0

Lot 245. Perthshire Paperweights 1998 oblong thistle p aper­ weight. An unusual presentation, with three upright pink thistles. Great detail in the spiky leaves and thistle-heads. W ith frosted exterior and star-cut background. Signature cane. Lim ited edition o f 200. As the locals m ight say, “‘Haud u p y erh eid like a thistle— hold up your head like a thistle-and be a proud Scot!” Diam eter 2 5/8". $ 300-400

Lot 243. Perthshire Paperweights 1998 encased double overlay bouquet paperw eight. The artisans o f Perthshire have secured their reputation in the annals o f glass art, with their m ultipleencasem ents and overlays. At the heart o f this piece, an exquisite bouquet o f pink and yellow flowers and buds, which is encased in a blue-over-w hite double overlay with fancy cutting. W hat could easily be a finished paperweight, is taken another step to a final encasem ent in clear, m ultiple-faceted crystal. Signed “P II.” Lim ited edition o f 30. D iam eter 3 1/2". $ 2 0 0 0 -3 0 0 0

Lot 246. Perthshire Paperweights 1998 blue and white fantasy flower paperw eight. The central flower with a com plex cane center, is surrounded with radiating buds and leaves. A spiraling ruby cushion ground is punctuated by a ring o f spaced picture canes, including a leaping hare, a M allard duck, and a sailboat. 1998 signature/date cane. Lim ited edition o f 200. D iam eter 3 3/8". $ 600-700

Lot 244. Perthshire Paperw eights 1998 yellow roses p aper­ weight. Two upright lam pwork roses with a bud and green leaves, encircled by a garland o f blue m illefiori on upset m uslin; top facet and three rows o f side facets. Lim ited edition o f 200. D iam eter 2 3/4". $ 5 5 0 -6 5 0

L ot 247. Perthshire Paperweights 1997 one-of-a-kind pink clem atis paperw eight. This casual bouquet presents the blos­ som s in three-quarter profile, with white honeycom b centers, buds and pale green leaves, on a swirling white latticinio cush­ ion. The profile o f the paperweight is unusually tapered, and has all over circular facets that add interest to the com position, and m ultiply the flowers. D iam eter 3". $ 4 0 0 -5 0 0

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Lot 248. Perthshire Paperweights 1973 hollow paperweight; one o f the factory’s innovative designs. Inside the confines o f the crys­ tal, rests a white lampwork swan on a pale green pond, over a clear, star-cut base. W ith top facet and two rows o f side facets. The “P ” signature canes have been used to make the tiny swan’s wings. Limited edition o f 250. Diameter 3 1/16". $ 4 5 0 -5 5 0 Lot 249 . Perthshire Paperw eights 1997 diam ond-back rattle­ snake paperweight. In king snake colors o f red, yellow and black, yet clearly sporting a rattle, this reptile seems m ore a testimony to the Scottish designer’s imagination rather than the authentic desert dwellers. But, with the snake’s coiled posture and alert expression, on brown-speckled sandy ground next to wildflower and cactus, it still has a great realistic atmosphere. Signed “P 119.” Limited edition o f 150. Diameter 3 1/8". $65 0 -9 0 0 Lot 250. Perthshire Paperweights 1981 acorns and green oak leaves paperweight. Like a heraldic emblem, this com position fea­ tures a twin-set o f lampwork acorns set upon a bed o f oak leaves, all on swirling white latticinio. Carrying the theme to the exterior, the multiple faceting even suggests acorns in the shape o f the cuts. 1981 signature/date cane on base. Limited edition o f 236. Diameter 2 3/8". $ 4 0 0 -5 0 0 Lot 251. Perthshire Paperweights 1969 crown paperweight with blue and red twisted ribbons, alternating with white filigree |spokes, projecting from a complex millefiori cane. This was the

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first special yearly collection weight produced at Perthshire. Signed P I 969 in canes on the base. Limited edition o f 350. Diameter 3". $50 0 -8 0 0 Lot 252. Perthshire Paperweights 1990 Christm as paperweight, composed o f a central partridge portrait cane surrounded by holly leaves and berries, and four smaller bird silhouette canes, on cobalt blue ground. Signature/date cane. “Since 1972, Perthshire has featured silhouette canes in many of their regular and special editions. Silhouette canes are a type of millefiori cane which in cross section reveal a simple, usually solid color image of an emblem or figure.... It is important that the figure be graphically strong and simple enough to maintain its integrity when the cane is pulled, a process which reduces the image to a fraction of its original size. Perthshire’s first silhouette canes were solid, single color, black or white designs. In 1974 (they) began utilizing color in their silhou­ ette designs and outlines. Color silhouettes are extremely challenging because different glass colors expand at different rates. This limits the range of usable colors, and poses a variety of complications for the glassworker.” -T he Art o f the Paperweight: Perthshire. Diameter 3". $30 0 -4 5 0 Lot 253. Perthshire 1996 clown paperweight with a central clown picture cane, in a swirl o f brown, black, yellow, and white latticinio. Six and one faceting. Signature/date cane. A peculiar motif, but perhaps a reminder to laugh. “Be happy while you’re living, for you’re a long time dead.” -Scottish Proverb. Diam eter 2 3/4". $ 3 0 0 -5 0 0

Spring 2001


L o t 2 5 4 . C aith ness G lass/W h itefriars 1999 D iam on d Reflections spherical paperw eight. Designer Rosette Fleming. The piece is com posed o f an arrangem ent o f purple flowers in full bloom . The elaborate diam ond-cut background accentuates the form al design o f the flowers and adds depth and reflection. Lim ited edition o f 50. Includes certificate o f authenticity. D iam eter 3". $ 3 5 0 -4 5 0 L ot 2 55. C aithness Glass 1997 C om p assion paperw eight. From designer R osette Flem ing, part o f the Trad itional C ollection from the Nature Studies series. Signature cane. Lim ited edition o f 50. D iam eter 3 1/8". $ 9 0 0 -1 3 0 0 Lot 256. Caithness G lass/W hitefriars 1989 Sym phony in Blue spherical paperw eight. From designer Rosette Flem ing. W hite swirls over the blue ground emphasize the beautiful blue flower in the center o f the paperweight, creating a lyrical com position. A W hitefriars signature cane is included at the end o f the stem. Signed “Proof.” Includes certificate o f authenticity. D iam eter 3". $ 4 0 0 -5 0 0

Lot 257. Caithness G lass/W hitefriars 1997 Trillium p aper­ weight. From designer Rosette Fleming. A colorful lampwork interpretation o f this favorite garden flower. A W hitefriars sig­ nature cane is at the base o f the flower, and the artw ork is signed on the bottom . Lim ited edition o f 50. D iam eter 3". $ 4 5 0 -5 5 0 Lot 258. Caithness G lass/W hitefriars 1997 P retty in Pink paperw eight. From designer Rosette Fleming. A com pound design with a m illefiori-w inged butterfly fluttering near an open blossom , with another dim ension o f assorted flowers, all on a pink ground. Dual-facets ring the exterior. W hitefriars signature cane. Lim ited edition o f 50. D iam eter 3 1/8". $ 6 0 0 -9 0 0 Lot 259. Caithness G lass/W hitefriars 1997 Classical M om ent paperw eight, by designer Rosette Flem ing, containing a pink and white flower, with cupped and furling leaves and a com plex cane center. The vibrant green stem and the leaves exhibit a great deal o f lam pwork gesture. Set on a white and yellow latticinio background; five and one faceting. A W hitefriars signature cane sits at the base o f the flower. Signed “P ro o f” on botto m o f paperweight. D iam eter 3 3/16". $ 5 5 0 -6 5 0

Spring 2001

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Lot 260. Caithness Glass 1996 Allure paperweight. From design­ er, Helen M acDonald. A brilliant teardrop-shaped design, with a study o f a fiischia blossom set against a deeply engraved botanical background. The delicate fuchsia is considered in floral language to indicate a sophisticated sensibility, as it represents the quintes­ sential tasteful persona. Limited edition o f 100. Includes certificate o f authenticity. Height 4"; Diameter 3". $60 0 -7 5 0 Lot 261. Caithness Glass 1995 Tropical Vision domed paper­ weight from designer Helen M acDonald, containing an abstracted purple flower with a round reflective center. The paperweight is faceted in the front, and the back contains leaf imprints set on a blue/green background. Limited edition o f 100. Height 3 3/4"; Diameter 3 1/16". $60 0 -8 0 0 Lot 262. Caithness Glass 1994 Scarlet Hibiscus domed paper­ weight. A stunning collaborative work from Alastair M acintosh and Helen M acDonald, containing an abstracted scarlet hibiscus set on a deep purple background. The front is faceted and the back o f the paperweight is engraved with remarkable detail, including hibiscus flowers, buds, leaves, and a hummingbird with elaborate tailfeathers. Signed by both M acintosh and M acDonald. Limited edition o f 100. Height 3 1/2"; Diameter 3 1/16". $ 6 5 0 -9 0 0 Lot 263. Caithness Glass 1997 Aquarium spherical paperweight. Designer, W illiam M anson from his Traditionals series. Com ic lit­ tle lampworked fish glide across their watery backdrop, and from

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their bemused, almost knowing expressions, you might want to ask: are we watching the fish inside, or are they watching us? A scat­ tering o f millefiori over a wee sandy ground reveals the artists sig­ nature cane. Signed “P ro o f” on the bottom o f the paperweight. Includes certificate o f authenticity. Diameter 3 1/4". $65 0 -9 5 0 Lot 264. Caithness Glass 1996 Pit Stop spherical paperweight. From designer William Manson. In this com position, a tiny bird finds refreshment at a dripping aventurine faucet. A few flower faces with fine detail add to the color and charm o f the work. W illiam M anson creates vignettes that recall a child’s view o f the world. His lampworks are designed with a sweet nature and his signature, a playful heart. Limited edition o f 50. Signature cane. Includes certificate o f authenticity. “It is almost as important to know what is not serious as to know what is.” -J. K. Galbraith. Diameter 3 5/16". $65 0 -9 0 0 Lot 265. Caithness Glass 1997 Down on the Farm paperweight. From the designer, William M anson. A spherical presentation, encased in bright emerald glass, with a lively lampwork scene. A shell-shocked looking rooster trots his yard with three devoted chicks on his tail. W ith hom ey details such as a split-rail fence and five carrots strewn on the fresh straw, this scene evokes farm life in a knowing and charm ing M anson manner. Signature cane. Signed “P ro o f” on the bottom o f the paperweight. Includes certificate o f authenticity. D iam eter 3 7/8". $850 -1 1 0 0

Spring 2001


Lot 266. W illiam M anson Yellow Subm arine upright paper­ weight. A yar little vessel cruises in sapphire waters with sea­ weed, shells, coral and green aventurine rocks; front-w indow facet. Signed/dated. Signature cane. Lim ited edition o f 100. D iam eter 3 7/16". $ 3 5 0 -5 0 0 Lot 267. W illiam M anson Ridgecrest F arm upright p aper­ weight, with raspberry bushes and a bear on a tree branch, near a beehive with bees; front facet. Signed/dated. Signature cane. Lim ited edition o f 20. D iam eter 4 5/16". $ 5 5 0 -9 5 0 Lot 268. W illiam M anson Apple Green Frog upright paper­ weight with a yellow-spotted green frog com m uning with two vivid m ushrooms. The paperweight exhibits an aqua background, a front facet, and the rough textured glass that is a M anson trademark. Signed/dated. Signature cane. Limited edition o f 100. D iam eter 2 1/2". $ 1 0 0 -1 5 0

L ot 269. W illiam M anson Bat Cave upright paperw eight. M anson blends opaque and translucent glass, effectively recreat­ ing the m ineral rich lair o f a deep cave. Two startled black bats swoop around against a textured tan and copper background; front window facet. Signed/dated. Signature cane. Lim ited edi­ tion o f 100. D iam eter 2 5/8". $ 1 0 0 -1 5 0 L ot 270. W illiam M anson upright floral paperw eight, with a white and butterscotch flower, bud and green leaves, over an em erald green translu cent background. Fro nt window facet. Signed/dated. Signature cane. Lim ited edition o f 150. D iam eter 2 9/16". $ 1 0 0 -1 5 0 Lot 271. W illiam M anson Seal Cove upright paperw eight with a black seal on speckled white rocks; textured blue flash background with front window facet. A nother o f M anson’s creatures great and small, charm ing in its gestural lampwork style. Signed/dated. Signature cane. Lim ited edition o f 100. “The happiness of the bee and the dolphin is to exist. For man it is to know that and to wonder at it.” -Jacques-Yves Cousteau. D iam eter 2 5/8". $ 1 0 0 -1 5 0

Spring 2001

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Lot 272. John Deacons white-striped pink clematis paperweight, with a starburst cane at the center o f the flower, framed by green leaves and stem, and encircled by a starburst garland in alternating pink and blue on white latticinio spokes. Signature/date cane. Diameter 2 3/4". $20 0 -3 0 0 Lot 273. John D eacons butterfly paperweight. The butterfly is comprised o f blue, pink and white millefiori wings and a green body, and is encircled by a pink and blue millefiori garland on white latticinio spokes. Signature/date cane. “To own an unusual overlay, or one of the relatively scarce salamanders or duck weights, or a one-of-a-kind beautiful butterfly... is, for the collector, an incomparable experience. Perhaps the fascination of paperweight collecting lies in their unique combination of being delicate, lovely works of art, enjoyable for their aesthetic content, and bibelots of such extraordinary diversity as to appeal to the cruder but basic and universal instincts of collecting for the sheer sake of collecting.” - A Garland o f Weights. Diameter 2 3/4". $20 0 -3 0 0 Lot 274. John Deacons blue cabbage rose paperweight. A plump cabbage rose displays its abundance, framed by green leaves and encircled by a garland o f pink and green millefiori over white latticinio spokes. Signature/date cane. Diameter 3". $20 0 -3 0 0

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Lot 275. John Deacons double-overlay multi-tiered rose paper­ weight. A dramatic dark pink rose sits on a cushion o f radiating white latticinio ribbons. Deacons deftly finishes the design with several complex techniques; including a white-over-pink double­ overlay and multiple, adjoining side facets, with flutes around both the top and bottom facets. Signature/date cane. “The arts are an even better barometer of what is happening in our world than the stock market or the debates in congress.” -Hendrik Willem Van Loon. Diameter 3 3/8". $40 0 -5 0 0 Lot 276. Frances W hittem ore crim p rose pedestal paperweight with a pink and white rose over four green leaves. Yellow and black “W ” signature cane on bottom . “Francis Whittemore started blowing glass in 1938 while in high school. After World War II he worked as a scien­ tific glass-blower and supervisor...While teaching decorative art glassblowing he became interested in paperweights. Although his first interest was the Millville rose, his curiosity about the glass flowers at Harvard has led him to create a botanical garden of flower paperweights. The weights are signed with a ‘W’ cane in various colors and designs. His series are very limited, being only about 100 pieces per theme.” -Paperweights o f the 19th and 20th Centuries. Height 2 5/8". $30 0 -4 0 0 Lot 277. John Deacons double-overlay red clematis paperweight. The demure flower, with its red berries and green leaves over starcut ground, is encased inside a vivid yellow-over-white-over-pink triple overlay. Signature cane. Diameter 3 1/4". $40 0 -5 0 0

Spring 2001


Lot 278. Lundberg Studios surface design paperw eight. In an organic freeflowing design, two flowers with w hite-tipped petals and a sea green interior, bloom on stylized vines over an irides­ cent dark green weight. Signed/dated 1975. D iam eter 3". $ 1 5 0 -2 2 5 Lot 279. Steven Lundberg Glass A rt Tropical H ibiscus p aper­ weight. An upright flower design, creating a visual fountain m ore architectural than botanical. The bright yellow stamens are presented in a tall broom -like array, while the rich red petals flutter and ruffle around them , and the leaves create the flounced base. Encased in clear crystal. Signed/dated 1998. The hibiscus family is native to Asia and Pacific islands. The hibiscus is Malaysia’s national flower, and so-called Shoe Flower. “Besides its orn-amental value the Hibiscus has other uses such as medicine and cosmetics for dyeing the hair and eyebrows while the juice is used as shoe polish.” -Agrolink Malaysia. D iam eter 3 3/8". $ 3 0 0 -4 0 0 Lot 280. Lundberg Studios com p ou n d paperw eight with a lavender p oinsettia, encircled by green leaves and red berries on an iridescent white ground. Signed by Daniel Salazar. Dated 1991. “In 1974 Daniel Salazar became a helper for the Lundberg Studios glass team. It soon became evident that Daniel had a unique flair for design and in 1978 he began making his own paperweight designs. ...Museum collections: Corning Museum of Glass; Smithsonian; Bergstrom Museum..” -Paperweights o f the 19th and 20th Centuries. D iam eter 3 1/4". $ 3 0 0 -4 0 0 Lot 281. D avid Salazar com pound m iniature paperw eight. A leafy tree presides over a patch o f night-bloom ing flowers, silhouetted by a sultry harvest-colored m oon in an iridescent cobalt blue sky. Signed/dated 1996. “To be interested in the chang­ ing seasons is a happier state of mind than to be hopelessly in love with spring.” -George Santayana. D iam eter 1 3/4". $ 1 5 0 -2 0 0

Lot 282. David Salazar Pacific Grove m iniature paperw eight. A tiny M onarch butterfly, the Coastal gem, flies am ongst giant pink blossom s over a swirl o f pale m agenta. Signed/dated 1999. David Salazar has been creating paperweights com bining the art o f torchwork, lampwork and m illefiori since 1973, when he worked as an apprentice glassworker at Lundberg Studios. His work has been featured in many museum s and publications, including the cover o f Sm ithsonian magazine. “Glass is more than inspirational, it’s my passion,” says Salazar. “There’s still so much to learn and so many designs to create.” D iam eter 1 5/8". $ 1 2 0 -1 5 0 L ot 283. David Salazar m iniature com pound paperweight. A hum m ingbird from a dream; its wondrous white feathers set o ff by towering pink flowers over iridescent cobalt blue ground. Six and one facets. Signed/dated 1997. D iam eter 1 7/8". $ 2 0 0 -2 5 0 Lot 284. D avid Salazar m iniature paperw eight. Featuring an upright, m ulti-tiered mauve rose with green leaves over irides­ cent ground. Six and one facets. Signed/dated 1997. D iam eter 1 3/4". $ 2 0 0 -2 5 0 Lot 285. David Salazar Man in the M oon m iniature p aper­ weight. A surface design o f dark celestial blue glass studded with bright white stars and featuring a golden crescent m oon with a twinkling, full-lipped, sm iling face. Signed/dated 1996. “We and the cosmos are one. The cosmos is a vast living body, of which we are still parts.” -D. H. Lawrence. D iam eter 1 1/2". $ 2 0 0 -2 5 0 Lot 286. D avid Salazar com pound m in iature paperw eight. The delicate features o f the seahorse are expertly realized, as the tiny creature hides am ongst waving seagrass and shells. In the back­ ground, a plum e o f coral and a swirl o f white filigree glass com plete the design. Six and one facets. Signed/dated 1996. Diam eter 1 13/16". $ 2 2 5 -2 7 5

Spring 2001

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Part III: Other Glass

Lot 287. Rare Steven C orreia New Wave Hollywood large a rt glass bowl, with carved abstract design in brick red-over-black. The bow l’s striking patterns and com bination o f m atte and shiny surface is rem iniscent o f Pueblo pottery. Signed/dated 1984. “The defining function of the artist is to cherish consciousness.” — Max Eastman. D iam eter 10 1/8". $ 4 0 0 -6 0 0

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Lot 288. O rient & Flum e large crystal bowl w ith a red beta fish and seaweed over a beige, brown and black speckled ground; signed. Lim ited edition o f 100. “In 1972, Douglas Boyd and David Hopper opened a small glassblowing studio in Chico, California. These two artists, who had taken part in some of the earliest college glassblowing classes offered on the West Coast, received master’s degrees in glass from California State University in San Jose. After graduation they traveled throughout Europe, studying antique glass and glassmak­ ing techniques.” -All About Paperweights. Diam eter 10 1/8". $ 7 0 0 -9 0 0

Spring 2001


Lot 289. Steven C o rreia/M ax E rlacher collaborative large a rt glass platter. W ith carved branches o f red m agnolias and buds on white ground. Ruby flash center and rim ; signed by both artists, dated 1982. D iam eter 13". $ 7 0 0 -1 0 0 0

Spring 2001


Lot 290. Steven Lundberg/Bob Banford collaborative jew elry jar. The lid is splendidly decorated with an unencased bouquet o f flowers, including three cabbage roses and four clem atis, nes­ tled on a bed o f leaves. The nuanced coloring o f the bouquet, including a warm yellow, Danish blue, and mauvish rose, are all com plem ented by the aqua and white swirling ground, which accentuates the ja r’s curves. Banford noted it was his first lam pwork rose made in the style o f his father, Ray Banford. Signed under the lid by both artists and dated 1995. “B ” signature cane in the bottom o f the jar. Lim ited edition o f 10. (See, p 43, Paperweight Collaborations: A Celebration of Glass Artistry, Annual Bulletin o f the PCA, 1996.) Height 4 1/8". $ 1 1 0 0 -1 5 0 0 Lot 291. Im p o rtan t Venetian antique lam pworked six-sided scent b ottle with a single portrait cane; an hom age to Saint M ark in the em blem atic “lion.” The feline face, with a wide nose and full mane, is featured with tiny angel wings and an open book, presum ably the eponym ous gospel. The cane is sur­ rounded by bloom s o f m etallic gold and copper aventurine, with swirls o f blue, yellow, white, and black glass. The chatelaine chain and ring are intact, and the bottle is topped with a hinged metal stopper inset with a gem stone o f colored glass. Unknown Venetian m anufacturer, late nineteenth century. Height 2 13/16". $ 9 0 0 -1 4 0 0 Lot 2 9 2 . M o n art Glass early tw e n tie th -ce n tu ry bow l. Signed “Made in Scotland.” D iam eter 10 7/16"; Height 5 1/8". $ 4 0 0 -6 0 0

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Spring 2001


Lot 293. V asart Glass early tw entiethcen tu ry bowl. Etched signature Vasart. Diameter 10 1/2"; Height 2 1/4". $20 0 -3 5 0 Lot 294. M on art Glass early tw entiethcen tu ry bowl. Pontil sticker says, “M onart Ware, M oncrieff, Scotland.” “M onart Glass was made at the M oncrieff glassworks in Scotland between 1924 and 1961, by Salvador Ysart, a Spanish glassworker, and his four sons. Salvador Ysart had worked at several French glassworks including the renowned Schneider com pa­ ny near Paris. He was recruited from France in 1915 to work on the British war effort in Scotland producing m uch-needed items like laboratory glass. After the war (in 1922) John M oncrieff recruited Salvador and his son Paul to make laboratory glass in his glassworks in Perth, Scotland. His other sons, V incent, Augustine, and A ntoine joined their fathers team when they were old enough. In 1923-24 Salvador made a beautiful vase using colours he had brought from France and M rs. Isabel M o n crieff saw it and encouraged him to develop a range o f art glass which they called M onart, com bining the first part o f M oncrieff with the second part o f Ysart. M onart glass was a great suc­ cess, and continued in production until 1939 when the Second World War disrupt­ ed glass production. It was 1947 before M onart production was re-started and then continued for another 14 years, but on a much smaller scale. The colours were then paler because it was difficult to obtain the bold pre-war colours and because fashion tastes had changed. .. .Generally M onart glass is not signed, but it has a very distinctive pontil m ark o f a ground disc surrounded by a ground circle. There was a paper label attached to the ground pontil disc, but often these have been lost over the years. The glass itself was usually clear crystal glass which was blown to shape and then rolled over a pattern made up from specks o f coloured enamels and som etim es also aventurine. The whole vase was then cased in clear crystal. M ost M onart glass shapes were large vases, but they also made fruit bowls, small bowls with lids, bottles with stoppers, jugs and lamps.” — The Glass Encyclopedia, Angela M . Bowey, 1999. Diam eter 12 1/4"; Height 3". $ 3 0 0 -4 0 0

Spring 2001

61


Paperweight Books & Literature 295. Glass Paperweights o f the Bergstrom -M ahler M useum , introduction by Geraldine J. Casper, Curator. Numbered 301

301. Old Glass Paperweights by Evangeline Bergstrom (1947 Crown second printing). A good copy of one of the first books to

from an edition of 1500 boxed and leatherbound editions. Signed by Alex Vance, Executive Director of the Museum in 1989. With

carry mostly accurate information about paperweights. It did much to popularize the art form, as well as established Bergstrom's repu­ tation as a highly respected collector. The hardbound book cover is

1200 paperweights illustrated in full color, and essays by T. H. Clarke. An attractive book in very good condition; minor scuffs and

worn at the edges and the spine is nearly bare of its gilt label.

fading on the box only.

Writing inside the cover, but yet and still, a sturdy copy in fair condition. $50-100

$80-120

296. Ysart Glass by Ian Turner, Alison J. Clarke and Frank Andrews, with a forward by Salvador Ysart, published by Volo Excellent color photographs and details from catalogues. Some wear to the dustjacket, but the hardcover book is attractive and in very good condition. $100-150

302. Antique French Paperweights by Paul Jokelson (1955). 360 black-and-white illustrations and eight color plates, including the “bird in the nest,” Pantin silkworms and many others; no dust jacket as issued. Limited to 2000 copies. Includes an “Errata” sheet insert. The printed details on the board and spine are sharp and intact. This book is in good condition. $160-200

297. Glass Paperweights o f the Bergstrom Art Center by Evelyn Cloak (1969), the first book to document the important collection

303. A Garland o f Weights: Some Notes on Collecting Antique French Glass Paperweights fo r Those Who Don’t by Frank J.

Edition, London in 1990. A comprehensive book about the most significant Scottish glassmaking family of the twentieth century.

of the museum, with 700 paperweights and related objects illus­

Manheim (1967). A

trated in full color. It includes an introduction by Helen McKearin,

Lehman Brothers talks about the investment potential of paper­

with insightful comments about the life of Evangeline Bergstrom, one of history's most respected paperweight collectors. Hardcover.

weights, in very readable prose with a lot of Manheim's personality and wit. Limited to 1000 copies. The pages are clean and intact. A fair condition copy of the book, due to the well-worn dustjacket, and general alterations to the pastedown and front and back end­ papers, due to its previous use as a library book. $90-150

Slight wear and yellowing to the dustjacket, but the book is in good condition. $80-100

298. Am erican Glass Paperweights and Their Makers by Jean Sutherland Melvin, revised and enlarged edition (1970). A good

partner in the New York investment firm of

304. Glass Paperweights—An Old Craft Revived byPaul Hollister

pot-workers and lampworkers, who developed the craft and

(1975). Signed on the title page by Stuart Drysdale, Managing Director of Perthshire Paperweights. A brief account of Perthshire Paperweights, by the encyclopedic Hollister. The book is in fair

advanced glass art, including, Choko, Degenhart, Gentile, Hacker, Hansen, Kaziun, Labino, and Littleton. Slight tearing on the

text. Still readable with all its pages intact.

copy of this important book, with original dust jacket. Insightful information about many of the twentieth-century independent

dustjacket, page edges have yellowed, but still in good condition. $90-150

condition, with a worn dustjacket and marking throughout the $40-60

305. Paperw eights by John Bedford, number 13, from the Collectors’ Pieces handbook series published by Walker and

299. Paperweights and Other Glass Curiosities byE. M. Elville, the Country Life Limited Edition, from 1954. This is the first English

Company: New York, 1968. A short guide to paperweight types,

book principally devoted to glass paperweights of French and English design. Elville presents many interesting observations about

interest in handcrafts also produced handbooks about (No. 14) Toby Jugs, and (No. 16) Chinese and Japanese Lacquer. Some wear

the

to the dustjacket, but in very good condition.

art

form

including

the

ephemeral

quotation

from

fifteenth-century author Sabellico, “flowers which clothe the mead­ ows in spring;” which describes the ageless charm of millefiori and other glass curiosities. The original dustjacket is torn but intact. The book is made of high-quality binding and paper, and is still in good condition. $40-60

300. Glass Paperweights by Patricia McCawley. The

1975 Letts

All-Colour Collectors Guides edition, signed by the author on the title page. This slender volume focuses on Baccarat, Clichy, Saint Louis, Gillinder, Paul Ysart, Perthshire and Chinese paperweights. Some wear to the dustjacket and yellowing of the pages' edges, otherwise good condition. $30-50

62

classic factories, modern makers, and identification. Bedford's

$40-60

306. Annual Bulletin o f the Paperweight Collectors Association, three issues: 1972,1973,1974, with articles by Leo Kaplan, Paul Jokelson, Francis W hittem ore, Jr., Guillaume Chaumeil, and Theresa Greenblatt. In particular, the article on the 1973 PCA Convention “In Chicago,” by Peter R. Nagel, is filled with great photographs of paperweight collecting luminaries and highlights of the event. All in good condition.

Spring 2001

$50-80


Select Bibliography Agrolink Malaysia, agrolink.moa.my. Annual Bulletin of the Paperweight Collectors' Association, Inc. New York: Paperweight Collectors’Association, 1955-. Art of the Paperweight: Challenging Tradition, (The). Exhibition catalogue. Santa Cruz, California: Paperweight Press, 1993. Bergstrom, Evangeline H. Old Glass Paperweights. Chicago, Illinois: Lakeside Press, 1940. Casper, Geraldine J. Glass Paperweights in The Art Institute of Chicago, Chicago, Illinois: The Art Institute of Chicago Pub., 1991. Casper, Geraldine J. Glass Paperweights of the Bergstrom-Mahler Museum. Richmond, Virginia: U. S. Historical Society Press, 1989. Catalogues of paperweight sales at Sotheby’s, New York, April 29th, 1998; Wiener Kunst Auktionen, Dec. 1,1999. Connelly, Owen and Fred Hembree. The French Revolution. Wheeling, Illinois: Harlan Davidson, Inc., 1993. Dietz, Ulysses G. Paul J. Stankard: Homage to Nature. New York: Harry N. Abrams, Inc., 1996. Dohan, Andrew H. The Dictionary of Paperweight Signature Canes, Identification and Dating. Santa Cruz, California: Paperweight Press, 1997. Encarta®Online Encyclopedia 2000 (“The First Council of the Vatican,” James Hennesey; “The Reluctant President,” The Mount Vernon Ladies’ Association), encarta.com.

Ingold, Gerard and Jokelson, Paul. Paperweights of the 19th and 20th Centuries. Phoenix, Arizona: Papier Presse, 1989. Jargstorf, Sibylle. Paperweights. West Chester, Pennsylvania: Schiffer Publishing Ltd., 1991. Jokelson, Paul. Antique French Paperweights and Related Objects. Privately published, 1955. Jokelson, Paul. One Hundred of the Most Important Paperweights, Privately published, 1966. Jokelson, Paul and Dena K. Tarshis. Baccarat: Paperweights and Related Glass 1820-1860. Santa Cruz, California: Paperweight Press, 1990. Kulles, George N. Identifying Antique Paperweights-Millefiori. Santa Cruz, California: Paperweight Press, 1985. Mackay, James. Glass Paperweights. New York: Viking Press, 1973. Manheim, Frank J. A Garland of Weights: Some Notes on Collecting Antique French Glass Paperweightsfor Those who Don't. New York: Farrar, Straus and Giroux, 1967. McCawley, Patricia. Antique Glass Paperweights from France. London, England: Spink 8c Son Ltd., 1968. Melvin, Jean S. American Glass Paperweights and Their Makers, [Third edi­ tion]. New York: Thomas Nelson, Inc., 1970. Paperweight News. Santa Cruz, California: Paperweight Press, 1975-.

Glass Encyclopedia Online (The), encyclopedia.netnz.com.

Paperweights: Glasgalerie Kovacek Wein, (Exhibition catalogue of the Glass Gallery Michael Kovecek, Vienna). Privately published, 1987.

Green, Charlotte. Presse Papiers de Cristal-Panorama des Collections Francoises. Paris, France: Boisgirard, 1989.

Rossi, Sarah. A Collector's Guide to Paperweights. Seacaucus, New Jersey: Wellfleet Press,1990.

Hall, Robert G. Old English Paperweights. Atglen, Pennsylvania: Schiffer Publishing Ltd., 1998.

Sautot, Dany. The Story ofBaccarat: 1764.... Paris, France: Baccarat, 1993.

Hawley, John D. The Art of the Paperweight: The Boston & Sandwich and New England Glass Companies. Santa Cruz, California: Paperweight Press, 1997. Hawley, John D. The Glass Menagerie. Santa Cruz, California: Paperweight Press, 1995. Hollister, Paul, Jr. The Encyclopedia of Glass Paperweights. NewYork: Clarkson N. Potter, Bramhall House, 1969. Hollister, Paul, Jr. Glass Paperweights of the New-York Historical Society. New York: Clarkson N. Potter, 1974. Hollister, Paul, Jr. Paperweightsfrom the Henry Melville Fuller Collection. New Hampshire: Currier Gallery of Art, 1993. Hollister, Paul, Jr. and Dwight P. Lanmon. Paperweights: Flowers which clothe the meadows.' Corning, New York: The Corning Museum of Glass, 1978.

Selman, Lawrence H. All About Paperweights. Santa Cruz, California: Paperweight Press, 1992. Selman, Lawrence H. The Art of the Paperweight: Perthshire. Santa Cruz, California: Paperweight Press, 1983. Selman, Lawrence H. The Art of the Paperweight. Santa Cruz, California: Paperweight Press, 1988. Selman, Lawrence H. Collectors' Paperweights Price Guide and Catalogue. Santa Cruz, California: Paperweight Press, 1986. Selman, Lawrence H. Songs Without Words: The Art of the Paperweight-Rick Ayotte. Santa Cruz, California: Paperweight Press, 1997. Tarshis, Dena K. Objects of Fantasy: Glass Inclusions of the Nineteenth Century. Santa Cruz, California: Paperweight Press, 2001. Ysart Glass. London, England: Volo Edition, 1990.

Ingold, Gerard. The Art of the Paperweight: Saint Louis {revised edition}. Santa Cruz, California: Paperweight Press, 1996.

Spring 2001

63


Conditions of Sale Participants are urged to read carefully the following explanation of the conditions of sale, which contain the terms on which L. H. Selman Ltd. conducts auctions. L. H. Selman Ltd. reserves the right to refuse any and all bids. This is a mail/phone auction. To place a bid, fill out the enclosed form and return it by mail as soon as possible. Bids may also be placed by telephone, fax, email or on the web at www.pwAuction.com. In the case of tie bids, the earliest bid received will be the winner. Bids may be raised until the lot is declared closed.

Return Policy Upon the close of each lot, purchase is understood to be final. The buyer must notify L. H. Selman Ltd. of any discrepancy within 48 hours of receipt. All items have been carefully selected and described, but if you feel a lot has been misrepresented, requests for return will be handled on an individual basis. Returned merchandise will not be accepted without prior approval. In no event will L. H. Selman Ltd. incur liability beyond the purchase price of an individual lot.

Bids must be made in the following increments: Up to $200:

$10

$200 to $500:

$25

$500 to $1,000:

$50

$1,000 to $2,000:

$100

$2,000 to $5,000:

$250

$5,000 to $10,000:

$500

$10,000 and over:

$1,000

Guarantee All lots are sold on an “as is” basis. L. H. Selman Ltd. makes every effort to describe each lot with complete accuracy and accepts responsibility for the authenticity of the items offered for auction. Photographs are provided for the guidance o f the buyer. If you have any questions, please call L. H. Selman Ltd.

Estimates

After the last day to place initial bids, we expect bidders to contact us daily, via phone, fax, email or web, to check on the status of their bids. If you fail to contact us, you may be relinquishing your opportunity to raise your bid. Help us complete the auction in a timely fashion by informing us which lots you wish to drop.

Estimates provided reflect current trends. Use them as a guideline when placing your bids.

All initial bids must be in hand by 5 pm Pacific time on April 20, 2001. Bidding will continue until the winner of each lot is deter­ mined. All lots will be sold at one increment over the second highest bidder. L. H. Selman Ltd. has absolute discretion to settle any disputes.

A reserve is a confidential minimum price below which a lot gen­ erally will not be sold. In some cases L. H. Selman Ltd. has agreed with the consignor to accept a reserve. L. H. Selman Ltd. reserves the right to place bids on behalf o f the consignor up to the amount o f the reserve. Bids below reserve m aybe considered null at the sole discretion o f L. H. Selman Ltd. In this event, the consignor has the right to recover consigned lots which do not reach the minimum price reserved.

Successful bidders will be invoiced for the total am ount due at the auction’s close. Unsuccessful bidders will not be contacted. Successful bidders must pay a 10% commission on the ham m er price of each item, plus applicable tax and shipping fees. Shipping will be billed at cost, plus handling and insurance. Items will be shipped to domestic buyers via FedEx two-day air unless other­ wise specified by the buyer, and to overseas buyers by air mail. The buyer will be charged for any increased costs in shipping, including postage, handling and insurance. Payment is due on receipt o f invoice; after 15 days a 2% per m onth penalty on monies owed will be charged. All checks must be drawn on U. S. banks. If payment is made by credit card, a sur­ charge will appear on the invoice at the following rates: American Express, 5% ; VISA, MasterCard or Discover, 3% . Purchases will not be shipped to the buyer until the full price has been paid.

64

Reserves

Exhibition The items will be available for inspection at 123 Locust Street, Santa Cruz, California, by appointment only (800 538-0766, 831 427-1177). No appointments will be made for the closing day of the auction.

Spring 2001


978093375640352500

L.H. Selman Ltd.'s Spring 2001 Paperweight Price Guide & Auction  

Auction Number 25

L.H. Selman Ltd.'s Spring 2001 Paperweight Price Guide & Auction  

Auction Number 25