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shop window: pre-War glass (page 3 of 4)
A beautifully engraved amber-stained box (shown much smaller than life-sized), the lid intaglio-engraved with a bird on a flowering rose-branch (top right), with budding rose-sprigs all around the sides (lower thumbnails) The base carries a label for 'Verrerie Artistique, Cristal Palace, Vichy' (detail below), but we can find no record of any glassworks called 'Cristal Palace', so it is most likely to have been a retail outlet specialising in glassware in the town of Vichy in the 1920s or 1930s. The box may have been made in France, but we think it more likely to have been imported from Bohemia
A large and stunning agate- or spatter-glass vase (shown very much smaller than life-sized) in shades of blue and caramel. On the only previous occasion that we had a piece with similar decor, it was confirmed as a late product of the Loetz factory by a German colleague. It is constructed in two parts; the upper part is cased clear, both inside and out, and the foot (separated from the top by an annular knop) is cased clear to the exterior, but white to the interior (see detail below) Because the foot-rim has been folded over and then ground flat, it has left a sharp edge to the interior of the rim, which has suffered a few nibbles in places (the most obvious one is shown at top centre in the detail below), but none of them are visible when the vase is standing
A very heavy Moser scent-bottle (shown about life-sized at top) in Rosalin glass, with angular Art Deco cutting. The design was known as 'Bar', and was probably designed by Rudolf Eschler in 1934. Both stopper and bottle are engraved with the number '49'
A squat, handled vase (shown rather smaller than life-sized at top, left), the body of pale radium-green glass (see detail at lower right for the effect of UV light) with a slightly iridescent surface, with hand-enamelled floral decoration all around. Although it is unsigned, it is certainly from the workshop of Fritz Heckert, who produced iridised glass of this type (including this exact shape) from about 1889 through to the early 1900s, and decorated them in the Art Nouveau style. Yes, the neck does lean to one side (you're not imagining it!), but the quality of both glass and enamelling is very good.
A Stevens & Williams amethyst-bodied "splash glass" jam-pot, the silver-plated lid inscribed "Argyll" underneath
A stunning Stevens & Williams Harlequin set of 6 hock-glasses (shown much smaller than life-sized), each cased bowl intaglio-engraved with fruiting vines. The foot of each glass bears one of the two metallic 'Royal Brierley Crystal' labels shown below, but they are fairly worn
Generally, even single glasses of this sort will cost around £60 each, so this set is extremely well-priced
A particularly handsome Monart vase (shown hugely smaller than life-sized, from various angles), their shape reference 'XD', the marbled yellow body with aventurine inclusions, and yellow and multicoloured swirls There is a small (approximately 1" long) stress fracture in the edge of the base. As Monart collectors will know, these frequently occurred during the annealing process, due to the differing cooling properties of the various coloured glasses used by the glassworks. As it has been there since manufacture, there is no reason to believe it will get any worse, but it is reflected in the relatively low price for such a fine example
A Webb Corbett crystal Art Deco vase (shown very much smaller than life-sized, from various angles), the body cut with a series of overlapping crescents, with scallop-cutting to the edge of the rim and star-cut foot. The vase bears an almost complete original silver-foil label 'T WEBB & CORBETT, FINEST ENGLISH CRYSTAL, STOURBRIDGE' (below, left), and the foot is acid-etched 'WEBB CORBETT, MADE IN ENGLAND' (below, right), the mark used between 1930 and 1947
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