This four-arm Arts & Crafts style electric chandelier with pulled feather gold Aurene shades (unsigned) came from the former Gulliver’s Restaurant in Chicago. Even without a signature, the piece made a tidy sum of $2,990 at auction. (Photos courtesy of Cowan’s Auctions, Inc., Cincinnati, Ohio)

Louis Comfort Tiffany was not the only glassmaker producing gorgeous American art glass during the turn of the 20th century. American glass manufacturers such as Steuben Glass Works, Quezal Art Glass and Lustre Art Glass Co. were equally as influential in the production of high quality decorative glass. The art glass by these makers is often just as beautiful and certainly more moderately priced compared to Tiffany art glass, making it a great place to start collecting.

Some of the most widely available and collectable pieces of American art glass are the beautiful shade forms. A pair of Steuben or Quezal art glass shades will generally run between $500-$1,000, depending on condition and decoration.

The Art Nouveau art movement (ca. 1890-1920) conveniently coincided with the nation’s rush to electrify homes and businesses. Versatile and highly decorative shades were created to adorn the ceiling fixtures and wall sconces being installed homes throughout the country. Collectors today seek art glass shades to be used as originally intended and as choice cabinet pieces for display.

The Art Nouveau focus on decoration and organic, natural design can easily be seen in the color and patterning of the glass shade forms. The pulled feather, the leaf & vine, and the drag loop or King Tut swirl were some of the most common and recognizable decorative patterns seen in American art glass shade. These patterns were usually produced while the glass was still molten and often pulled on a solid opaque ground with an iridescent interior.

Next to Tiffany, Frederick Carder’s Steuben Glass Works was one of the most innovative glass houses of the early 20th century. Carder created many types of lustrous lead glass but is best known for his Aurene glass. Steuben Aurene glass was available in a variety of colors with an iridescent finish. Gold and blue Aurene were the most popular and most common. Other colors include red, brown, yellow and green. Carder felt that blue Aurene was strong enough to stand unadorned, which explains why there are very few decorated blue Aurene forms.

This lot of five Lustre Art heart and vine shades sold for $900 at auction.	Pair of Quezal ribbed gold Aurene pulled-feather shades sold for $390.
The signature assigns these shades to Lustre Arts.	These shades have the Quezal signature.

The Quezal Art Glass and Decorating Company produced shades in every color and nearly every decoration, form, and size. There are more Quezal art glass shades available on the market than any other manufacturer, due to large production numbers. Like Steuben, Quezal shades incorporated decorative patterns on an opaque ground with an iridescent interior as well as decoration embedded in clear glass.

Glasshouses like Lustre Art, Durand and Fostoria also produced glass shades during the period. While their pieces were very similar in coloring and pattering, the quality did not compare to those produced by Steuben, Quezal and certainly Tiffany.

Three Steuben ovoid pulled lace pattern shades sold for $1,495 at auction.

The Steuben fleur de lis mark at rim is still visible.

Pieces with similar or identical features can sometimes be identified by the presence of a signature. Steuben glass vases and perfumes were often signed STEUBEN in small block letters, however the shades were signed with the trademark silver fleur de lis on the rim. Most Quezal pieces were signed with an engraved or acid-etched QUEZAL signature at the rim. Lustre Art shades were signed with an engraved Lustre Art script signature.

When choosing an art glass shade, personal taste should always come first. Look for consistency in color in the exterior decoration. If the interior is an Aurene or iridized glass, the finish should not be flaking or have excessive wear. Also, be sure to check for chips or cracks. A high-quality art glass shade exhibits a high level of craftsmanship and brilliant coloring.

Dr. Wes Cowan is founder and owner of Cowan’s Auctions, Inc. in Cincinnati, Ohio. An internationally recognized expert in historic Americana, Wes stars in the PBS television series “History Detectives” and is a featured appraiser on “Antiques Roadshow.” He can be reached via email at info [at] historicamericana [dot] com.

———————————

WorthPoint—Discover Your Hidden Wealth

Fabulous Imperial Art Glass stretch ruffled bowl. The pattern number is 3380 and the piece has the Imperial Glass Company logo, circa 1920.

Imperial Art Glass is, without a doubt, the most elegant of the stretch glass lines, not only because of its base colors or shapes, but because of the richness of its stretch effect. This line was introduced in 1916 by Imperial and represents the highest standards by which all stretch glass is compared. Unfortunately, Imperial’s Art Glass was commonly called “Jewels” by later collectors and the name has continued to be attached to a lot of stretch glass, whether made by Imperial or another manufacturer.

Practically all the Art Glass was made from rather simple vase and bowl molds and all the pieces were “stuck up” for shaping and iridizing. Stuck up pieces are heat-attached to a metal ring and they must be removed by breaking this attachment. This means that the bases of all the pieces had to be ground smooth. Many other pieces of stretch glass made by Imperial were placed into other lines and these pieces will have a normal foot or marie that was placed into a snap for handling.

Most of the Art Glass pieces have the IMPERIAL name within a cross mark. The mark may be ground off the bottom if the base was heavily ground, and, occasionally, the mark will be inside bowls. Some pieces do not have this mark, but their sizes, shapes and iridescence are distinctive of the Art Glass line. On the other hand, many Imperial pieces can have the cross mark, but are not necessarily part of the Art Glass line. These pieces usually have normal marie bases or other colors.

Imperial’s catalog 103G lists the Art Glass line colors. In this listing, five colors are defined: Pearl Amethyst, Pearl White, Pearl Silver, Pearl Ruby and Pearl Green. Pearl White is a frosty white iridescence applied to crystal glass. Pearl Ruby is a heavy yellow-orange iridescence applied to crystal glass; we would call this a deep marigold today. Unfortunately, the name ruby has confused many into thinking that this was a red glass. Pearl Amethyst is a multicolored iridescence applied to a medium purple glass. Pearl Silver is a shiny, silvery iridescence (often with golden overtones) applied to a dark purple glass. Pearl Green is a predominately green-gray iridescence applied to a light green (or ginger ale-colored) glass. These are the only colors “officially” listed in the catalogs.

Other colors have been found, but no Imperial names have been located. Marked and unmarked pieces that use milk glass with what appears as the Pearl Ruby iridescence have been found. There have also been some milk glass pieces with the Blue Ice iridescence applied. Blue Ice is the term used by Imperial in association with its Satin Iridescent Colors (their later line of iridescent ware that we call stretch today). Blue Ice is commonly called “smoke” today. Very rare pieces with what appears to be Pearl Ruby and Pearl Green iridescence have also been seen. To confuse things even more, the No. 26 and No. 28 vases appear to be the same vase that is commonly marked with Imperial’s “NUART” trademark on the base—these are commonly found with iridescence on emerald green glass. No name has been found to describe this effect.

— by David Shetlar

WorthPoint—Discover Your Hidden Wealth

Join WorthPoint on Twitter and Facebook.

This Venetian Murano pheasant (circa 1960) measures 19 inches long and stands about 10 inches tall. Comparable examples by unknown artists sel in the $150 to $300 range.

Murano glass has a very long history. In 1292, an ordinance was passed in the city of Venice that banished glass making to the island of Murano in the Venetian lagoon. According to some historians, the reason was partly to protect other buildings from fires (which commonly started in glass works; the Great Fire of London is believed to have started in a glass works), and partly to retain a lock on the decorative glass trade. It was even forbidden to teach foreigners the trade secrets of glass making, and the threat of the death penalty was used to keep glass monopolies’ secrets on Murano.

Many of the modern Venetian Murano sculptures we see today are post-World War Two examples, and most are not signed, using a generic foil label that rarely survives the first washing, or are often removed after sale. There are many famous makers of decorative glass ware in Murano, such as Toso, Dino Martens, Salviati and others, but without a label it is difficult to attribute any one maker to items of this type without extra information, such as a provenance or bill of sale.

In the current market values for Murano glass sculptures varies widely, as the quality of these pieces goes from almost dreadful to unbelievable works of the glass makers art.

In the case of the bird sculptures, it is possible to pick up at auction a low quality “paper weight”-sized bird for less than $20, while good quality birds measuring 10 inches or longer selling in the $50 to $80 range. The Murano pheasant above is a very nice example (circa 1960) by an unknown maker, measuring 19 inches long and standing about 10 inches tall. Comparable examples often have presale estimates in the $150 to $300 range. This one was a bargain, with a purchase price of $200.

Mike Wilcox, of Wilcox & Hall Appraisers, is a Worthologist who specializes in Art Nouveau and the Arts and Craft movement.

WorthPoint—Discover Your Hidden Wealth

Join WorthPoint on Twitter and Facebook.

It can be difficult to identify unknown art glass. I’ve studied 20th Century glass for a very long time, and have learned how to spot the clues that point in the direction of identification, but it doesn’t always end well. Often, after months of research in my library and on the web, after following every clue I could squeeze out the object, I end up more confused then when I began. Here are a couple of good examples of glass mysteries that have me stumped:

Set of Hand-Blown Soft Form Bullet Vases with Exterior Monochrome & Aventurine Murrina Décor

Found the two vases a year ago at an estate sale in Las Vegas. The sale was full of mid-century modern (1940s-1970s) décor items. First thing I noted as I brought one down from a shelf was the weight. It was very heavy for its size (3.7 lbs, 9.5” tall). Looking over the unusual decor, I discovered why. It was made of thick blown cobalt blue glass and a thick layer of monochrome and metallic murrina (bits of glass rods) “rolled” over the entire vase. An outer layer of clear glass is normally found encasing décor like this, but there was none. The murrina layer was added to the surface, and causes a slightly raised irregular texture. As I reached for the matching vase, my heart raced. Whoever made these vases was very good at the art. The décor told me that they were very difficult to create. I just knew that it would be easy to find more information about them…but it wasn’t.

My first thought was Italian (Venini, Toso, etc) or Bohemian, 1940s/1960s. I was positive the décor alone would lead the way to the maker. To my surprise, every clue gleamed from the vases led to a dead-end. Next I tried other regions and contemporary studio glass. No luck. The only thing I’ve managed to learn about these vases is the exterior décor process is called “Roll Up”:

ROLL UP – Glass technique that uses colorful sheets of glass produced with kiln-fusing, which are then rolled over the blown vessel, then attached to a blow pipe and blown again. It involves warm, hot, and cold methods all in unison.

Italian LABELLED Blue Crystal Modernistic Egg-Shaped Pokal Goblet

It has a label, should be a breeze to discover its origin! It’s thoroughly modernistic shape suggests mid 20th century Franco Pozzi, Joe Colombo, Moretti…and more. All I had to do was match the label. No such luck. The label, the best clue one could possibly hope for, led to a dead-end.

A “Pokal” is a covered wine goblet used in the far past to keep insects and varmints out of the drink. Church’s and royalty used Pokals. This strange and beautiful goblet was made of quality blue hand-blown crystal. The lid gently slips over the vessel, there is no lid ledge to hold it in place. When covered, it resembles a stemmed egg. I am confident that it was made sometime in the mid-20th century. It’s a modernistic Pokal form.

Research continues on these objects. Readers who have clues or suggestions to pass along are welcome to post them here.

At the start of 13th century, the city of Venice was the known world’s major hub of glassmaking. Its glassmaking secrets had been refined throughout time as a result of commerce with the Islamic territories of Levant and North Africa. By the late 13th century, glassmakers on the group of islands off the coast of Venice, called Murano, had perfected the art with brilliant methods and recipes.

The secret recipes and decorative techniques of Venetian glass were guarded as if they were classified material. Glass artists enjoyed high social status and accumulated great wealth, but were held captive on the Island of Murano, by the government of Venice, for fear their secrets would be shared with the rest of the world. It is widely believed the glassmakers and their furnaces were isolated on the Murano islands of the Venice lagoon (Adriatic Sea) to prevent fires from spreading in the city of Venice. The fear of fire may have been a factor, but proprietary secrets were the main concern.

Although their captors provided them with the finer things in life, captivity itself made them yearn to leave. The trade monopoly was crumbling by the mid 14th century as escapees from Murano plied their trade outside of the Republic of Venice. By the 1600s, Venetian glass secrets were spread around the world.

Venetians lose fine glass dominance

No longer holding the monopoly of fine glass, and unhappily under the rule of Austria, the Venetians experienced a decline until the mid 19th century. The Austrian government preferred Bohemian glass and the import of raw materials to Murano was restricted and highly taxed.

To its rescue came the Fratelli Toso family in 1854 and Antonia Salviati in 1859. Their companies employed the skills and inventions of Murano’s glory days, lost for over 200 years, and incorporated ancient forms and methods once practiced by the Phoenicians Romans. Again Murano glass found itself in the welcoming arms of the world.

Then, in 1866, Venice freed itself from Austria to become part of the Kingdom of Italy. Glass producers from the region again began to flourish. The wealthy of America routinely enjoyed lengthy tours of Europe and it is estimated that 80% of the Italian glass output was brought to America as souvenirs during the mid 19th and early 20th centuries.

In the 1950’s, an explosion of creativity prompted yet another world-wide craving for Italian-made glass. The Toso and Salviati companies were joined by the likes of Vistosi, Venini , Barbini, and Seguso, among others. The glass factories of Italy produced innovative designs to appease the thoroughly modern population who proudly displayed fashionable Italian art glass in their homes.

Fabulous examples of mid-century modern Italian glass can be seen in the background of many films made in the 1930’s to 1970s. Sophia Loren, in Three Coins in a Fountain, decorated her lavish villa with modernistic Italian glass; Lolita’s mother displayed miniatures in her home before she was run over by a car and her husband ran off with her daughter; nearly all of the “Rat Pack” movies have examples of the most modern Italian glass of the time, to mention a few examples. Take a look into the blurry backgrounds of 1950s movies, you’ll find many examples of mid-century modernistic glass design.

The images with this article of were provided by Retro Art Glass (www.retroartglass.com). These examples show a range of the décor and styles used during the mid 20th century. The glass was almost always hand-blown. The forms were usually large and heavy, often free-formed. Lavish use of aventurine, cannes, layering, intentional inclusions, optics, unusual colors, flame heated applications, and modernist shapes thrilled the buyers then, and still do today.

Vintage glass a good investment

Collecting this type of vintage glass is a good investment. Examples are still plentiful today, and affordable, but as time passes by this will quickly change. Glass breaks, so over time great quantities of this fabulous art glass will be lost to accidents. The pure genius and exceptional quality of the Italian artists of the mid-century era will probably never be produced again. Today, most decorative glassware is made in China. Much of it tries to replicate the “retro-look”, but the quality and décor is very poor in comparison. New art glass of today’s progressive artists can be of exceptional quality and design, but is very, very expensive to obtain.

Authentic mid-century glass will become rare and expensive in the near future, just as most antique art glass is today. Mid-century Modernism is now an official category of the Antique Decorative Arts trade, and is just beginning to see an upsurge of popularity among the young of today who love the “Vintage Retro Modern” look.

I’m new to the art glass collecting hobby. My main interest is Scandinavian art glass. I found this at a garage sale. To me, it looks like Scandinavian glass and I am wondering if it could have been made by Holmegaard around the 1950s. I’ve uploaded the image into my profile. Any suggestions?

Folks:

I just picked up a piece of glass that I love, a “jack in the pulpit” Murano vase which allegedly dates from the 50s. (It includes a J.I. Co. label which appears to be authentic.)

Now, though I’m loving it in any event :-), I’m wondering whether I paid a fair price for it. Any thoughts?

-Anne

Your Worthpoint Page was developed when you registered with Worthpoint. You can use this page to organize your images, post blogs and navigate the site.

To post a question or comment in this community, you must first be a member of the community. At the lower right of the page you are reading now, you’ll find the “Join this Community” button. Click through, you will become a member automatically.

Next, choose “Write a Blog” from the options on the right side bar of either this community page or your Worthpoint page. Give the blog a title. Add “blog tags”. Blog tags are key words and can contain information that points to your discussion. Your keywords must be separated by commas.

Enter your comment in the “Post” box.

NEXT & VERY IMPORTANT: Make sure this community “Art Glass and Glassware” is checked under “Audience” at the bottom of the form. NOTE: if you have not joined the Art Glass and Glassware community, it will be available as an Audience. Only the communities you’ve joined will be available to select for your audience.

Although you have not uploaded your images YET, the next step is to “Preview” or “Submit”. In preview you can check your comment post and change the words if you want. Press “Submit” to post your comment. Your comment is now submitted and ready for image upload.

Look at the top left corner of your post and you will find three tabs. Click on the tab marked “Images”. Follow the prompts to add your image(s). To upload your images from your hard drive, simply press the browse buttom, follow the prompts, and double click on your saved image and it will auto input the correct address. Click “submit” at the bottom of the page again to view your comment with image included.

It’s easier than it sounds! You’ll only need to learn the process once.

The famous Venini glassworks was established in 1921 by Paolo Venini on the island of Murano near Venice. A large glass industry already had existed there for centuries, transforming quartz silica and other common materials into three-dimensional art as well as everyday items. But Murano glass had become predictable and commercial.

Venini wasn’t a craftsman; he didn’t blow glass, but he revolutized the way glass was created, marketed and sold.

Venini extended Modernist trends beyond architecture and painting into glass art with dazzling designs that have been the subject of several museum exhibitions and Venini glass still seems fresh today.

His studio’s designs from the 1930s-1950s are especially collectible. While you can find bowls and other simple pieces for $2,000, a tall 1950s-era vase will be valued as high as $17,500. Rare vintage pieces attributed to specific Venini designers now approach $100,000.

Venini visited Venice as a soldier during World War I and the city made a deep impression on the young man drawing him back after the war. His forbearers had been glass-makers, but Paolo Venini was trained as an attorney. He invested in an existing glassworks with antique glass dealer Giacomo Cappellin, but by 1925 the partnership had dissolved and Venini was pursuing a strikingly independent course.

He adopted the French fashion industry’s approach of using designers to create individual styles and lines of glass. Most had never worked in glass, but were painters, architects and other artists who brought fresh ideas to the island. He liberally encouraged them to experiment with new design concepts and new glassmaking techniques. At the same time, Venini insisted that his designers collaborate closely with Murano’s expert glassblowers and other artisans.

He also reached out to a wider audience and new markets and he regularly entered his glassware in major exhibitions throughout Europe.

Distinctive Venini lines are associated with particular designers and art directors including Napoleone Martinuzzi, Carlo Scarpa and Fulvio Bianconi and serious collectors pursue their work.

Napoleone Martinuzzi

Originally a sculptor, he was the art director from 1925 to 1931. Martinuzzi’s designs are notable for their intense colors and originality – glassworks like Vetro pulegoso (bubble glass rendered opaque by millions of bubbles), Pasta vitrea (glass paste), and Incamiciato (double layered colored glass).

Carlo Scarpa

His daring designs became a Venini trademark. He left the glassworks shortly after World War II and became one of the 20th century’s notable architects. He developed glass manufacturing techniques such as “a murrine” that employed small glass patches and designs with ribboned, corroded and milky surfaces. His son developed one of Venini’s signature geometic lines, “Occhi” (eyes), which feature blobby circles within rectangles.

Fulvio Bianconi

Bianconni was an illustrator who renewed the company’s postwar fortunes. His most creative period was in the 1950s when he produced some flamboyant designs, such as the famous “Pezzato” (patches) and “Fazzoletto” (handkerchief) vases.

All true Venini pieces are etched with identifying stamps. These have changed from decade to decade, but they are widely cataloged and make the works easily identifiable. They include the Venini name, the designer’s name, ID numbers and other marks.

Venini managed the enterprise with great verve until his death in 1959. In the 1980s the Venini family sold the glassworks and now it is owned by Royal Scandinavia. Many original designs have been reissued, but if you can afford it, go for the vintage pieces.

Their limited availability only increases their value. And, the older ones were made in charcoal furnaces. Many collectors believe they have a special beauty that pieces fired in modern gas kilns cannot match.

To begin collecting, educate yourself on all aspects of Venini glass.

The Internet is a good place to start. Visit the Venini site for a list of museums with Venini glass.

Click here for the Venini site.

Look for the glass displays at major museums including the Corning Museum of Glass, The Metropolitan Museum of Art, the Victoria and Albert Museum in London.

Follow the glass sales at major auction houses.

Read books by glass experts; such as “Italian Glass: Murano-Milan, 1930-1970″ by the Kunstmuseum director Helmut Ricke and the glass scholar Eva Schmitt.

Always buy from a reputable dealer or gallery and be sure that you have a certificate of authenticity with the production date for your purchase.

The Cambridge Glass Co. was one of America’s premier glass companies in the 20th century. It was founded in 1873, but its factory did not open in Cambridge, Ohio until 1901. The factory’s first piece of glass was a three pint pitcher produced in May, 1902.

After ownership changes, the company went out of business in 1958 as a result of the influx of cheap, foreign made glass.

Cambridge Glass was an innovator of colored and etched glass. Its glass colors included moonlight blue, pink, emerald green, amber, gold-encrusted and a creamy, opaque hue called Crown Tuscan that can range from light pink to dark tan.

Their etched glass styles included Rosepoint, Portia, Diane, and Minerva. Their most collectible etched glass is Rosepoint. It was made as a complete table set and could be found on three different blanks.

Caprice is probably one of the most collectible pressed patterns of Cambridge. It is generally found in moonlight blue. Some pieces sell for a few thousand dollars.

Cambridge also made figurines that could be used as flower frogs – bashful Charlotte, two kids, and the rose lady. They also made ball vases with a keyhole stem in all the colors that are collectible.

The Cambridge molds were purchased by the Imperial Glass Co., which went out of business in 1984. Many of the old Cambridge molds were sold again to other glass companies, as well as an Ohio not-for-profit organization, National Cambridge Collectors Inc., that operates the Cambridge Glass Museum in the company’s hometown.

Seldom do we get to see our forecasts come true in a short period of time, but my projection of Lotton Glass becoming the next art glass to have the investment value of Tiffany is playing out right before my very eyes. I made this prediction last June 13, 2007 in a news article.

After returning from Kentucky this week, I checked eBay for completed sales of Lotton Glass and was pleasantly surprised to see several miniatures Lotton vases that sold for impressive prices. One of the miniatures brought over $700 for a piece just 2 inches tall. The other miniatures commanded prices that have doubled or tripled from prices they were selling for just a few months ago when we, ourselves, sold several Lotton Miniatures.

Not to be outdone, Lotton’s regular size vases are also on a run up. One particular 9 1/2” tall John Lotton vase just sold for $7,200. When you consider that I bought a comparable vase, only 15” tall for half that price six months ago, wouldn’t you agree that Lotton is on the move? I remember when Lotton Lamps would come to auction and receive no bids, but that isn’t true today. They are bringing higher prices with each sell.

This price move isn’t being missed by the major auction houses either. Next month, The Lotton Glass Club will have its annual meeting in Cincinnati, preceding Early’s Fine Glass Auction. Charles Lotton will be appearing to share his unlimited knowledge of Art Glass with the club.

Going across the auction block will be some of the best Art Glass ever produced, so try to make it if you can. This will be a two day auction, and a perfect place to rub shoulders with many of the experts in the Art Glass field. To obtain more information on these events go to the Lotton Glass Club Website at www.lottonglassclub.com.

If you aren’t fortunate enough to attend the Lotton Glass Club meeting nor the auction at Early’s, be sure to examine the sale on the Early auction website. More than 30 pieces of Lotton Glass will be presented at Early’s auction.

Not too long ago when I would mention Lotton Glass, I’d get the response, “What is that?” The story has definitely changed. In the past, checking for Lotton Glass at upcoming auctions was an effort in futility because it seldom came up for sale. Not today. And the pieces that are being auctioned are bringing sparkling results. and the pieces that are being auctioned are bringing sparkling results.

I also hear The Cincinnati Art Galleries’ upcoming auction will include 30 or more pieces of Lotton Glass. Be sure to keep up with this auction, too, as I am sure this trend in Lotton Glass is going to continue for some time.
Information like this is what sets your 31 Club ahead of all the others in the search for treasure. Projecting the trends in what is hot and what is not will equip our members for their success in building their personal accounts up with enough funds to live a funded life during their golden years or way before that. By discovering items that will become trendsetters for the upcoming years and presenting them to you before they are recognized by the masses as real treasures is part of what will help form you into the savvy investor with an account worth millions. If you haven’t yet joined us, what are you waiting for. Join us today.

The 31 Club uses a wealth building plan that can help you accumulate enough funds to last a lifetime, buying and selling antiques, collectibles, and fine art. Join the 31 Club. Learn about Antiques & Collectibles. Learn How to Invest in Antiques & Collectibles and build lifetime wealth. The plan is in my book. When you join today, you’ll receive my 220 page book, 31 Steps to Your Millions in Antiques & Collectibles, FREE.

“…I spent about 15 years in the antiques and collectible field
and I can tell you this is one of the best books you will ever
read about making money with art, antiques and collectibles.”
-Skip McGrath, Auction Seller’s Resources & EBay Powerweller

If you haven’t yet had a chance to see what we’ve got listed in the 31 Gallery & Marketplace, click on over and take a look. You might even find a real bargain. We’ve got many high quality items priced reasonably. If you have a high quality piece you’d like us to find a buyer for, why not consign your item to us. No high fees when you sell with us.

Here’s the original news article where I made the Lotton Glass Prediction: Author Predicts Lotton Glass to be the Next Tiffany.

Visit our Website at www.31corp.