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.

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WorthPoint—Discover Your Hidden Wealth

The items come from the antique collection of Eugene Sandler of Florida.

The first auction will be held Oct. 1 at the St. Charles Convention Center in St. Charles, Mo.
The second auction, on Oct. 22 at the 4H Hall of the Sedgwick County Extension Center in Wichita, Kan. Both events are slated for Saturday mornings at 9:30 a.m., with Friday previews. Like all other Woody Auctions, every item in both sales will be offered without reserve (everything sells, regardless of price).

“These auctions are similar yet different,” remarked Jason Woody of Woody Auction. “The first is an exceptional single-owner lifetime collection, while the second contains items culled from many estates and collections. Both should do quite well.”

That second auction will includes more than 400 lots of Royal Bayreuth, Galle vases and cameo glass, Sabino figurines, brides baskets, pickle castors, biscuit jars, Rose Medallion, art glass and more.

This plated 5 ½ inch amberina milk pitcher by the New England Glass Company is in fantastic shape.

A very rare signed Daum Nancy diamond-shaped cameo art glass vase, 4 ½ inches in height.

An extremely rare Loetz “Octopus” pattern Federzichnung art glass vase with gold stencil highlights.

Three lots expected to generate much bidder buzz in the Oct. 1 auction are an extremely rare 5 ½-inch plated amberina milk pitcher by the New England Glass Company, in fantastic condition; an equally rare 4 ½-inch signed Daum Nancy diamond-shaped cameo art glass vase with ice blue, green and yellow tones and lovely winter scene blackbird décor; and a rare 6 ½-inch Loetz Federzichnung art glass vase with a brown background and “Octopus” pattern design.

Royal Flemish pieces will include an extra fine 11 ¾-inch unmarked handled ewer with three colored segments, strong gold and graphic showing a rampant lion holding a lance and banner crest; and a rare 10 ¼-inch marked oval handled ewer with blue and pink floral highlights, strong gold and graphics of a griffin and cherub fighting and a swirled serpent.

A Canton famille rose medallion porcelain unmarked water pitcher in very fine condition will be featured in the Oct. 22 auction

Biscuit jars will feature a unique 7-inch marked Locke Worcester figural jar with cream and pink tones in the shape of a flour sack with embossed wheat design, and a fancy silver-plate lid with mouse finial; and a 7 ½-inch pink satin embossed drape mold art glass jar with enamel branch and blossom décor and silver-plate lid and bail. The piece is attributed to Mt. Washington.

Two pieces certified Mt. Washington art glass are a nice 4 ¾-inch zipper mold covered jar in white and orange tones with gold floral décor, applied jewel highlights, embossed silver-plate lid and bail and turtle finial; and an exceedingly rare 7-inch egg-shaped biscuit jar having a dark maroon background with large poppy décor and silver-plate lid and bail.

Galle examples will feature a 7-inch three-color cameo cut scented oil lamp with yellow, white and lavender tones, with a floral décor and gilt metal reticulated top; a signed three-color cameo cut squat vase with sunset, tree and swallow décor; and a signed two-handled loving cup, clear with heavy green enamel and butterfly décor, black enamel handles and gold highlights.

Three expected superstar lots from the Oct. 22 auction will include a rare 7 ½-inch Royal Bayreuth “Santa Claus” figural chamber stick (blue mark) with red jacket, in excellent condition; a 6 ½-inch signed R. Lalique solid amber “Ormeaux” embossed leaf mold vase with original label; and a 12 ½-inch Willets Belleek bowling pin-shaped hand-painted vase featuring a beautiful scene of a dog carrying a pheasant and artist signed (“K. Ryba” – Stouffer Studios).

Sabino figurines will include a 10-inch by 6 ¼-inch signed Paris “La Ronde” Art Deco embossed nude vase, white (circa 1930s); and a 7 ½-inch by 8 ½-inch signed Paris “Nymphs” Art Deco oval-shaped vase with fine opalescent color and great detail (circa 1930s). Also offered will be a signed Daum Nancy three-color cameo cut vase with sailboat and tree scenic décor.

A Royal Bayreuth (blue mark) Santa Claus figural chamber stick with Santa in a red jacket.

Galle offerings on Oct. 22 will feature a 10-inch signed “Cristallerie Galle” wheel carved pedestal cameo vase, fire polished with floral blossom and branch décor; two signed light amber cameo vases (possibly the finest matched pair of Galle vases Woody Auction has ever sold); and a signed 8-inch blown mold three-color cameo cut vase with sunflower design and great color.

Brides baskets sold Oct. 22 will include an outstanding 20 ½-inch centerpiece with Webb cased pink melon ribbed bowl set on an elaborate figural silver plate frame, with large enamel floral and gold leaf décor; and a wonderful 16 inch by 11 ½ inch pink cased melon ribbed art glass bowl by Webb, with enamel floral décor set on a nice figural silver-plate stand by Wilcox.

From the pickle castors category comes two examples worth mentioning. One is a rare 10 ½-inch by 9 ¾-inch double pickle castor having Rubina art glass inserts with enamel apple branch décor and fancy Meriden silver-plate frame; and an extra nice 12-inch pickle castor having a square cranberry insert with a white enamel floral décor, set on a Toronto silver-plate frame.

Examples of Canton famille rose medallion will include a wonderful pair of 24-inch unmarked porcelain covered urns showing elaborate Chinese figural scenes with flowering branch highlights, on matching teakwood stands (also quite possibly the finest such set Woody Auction has ever offered); and a 13 ½-inch porcelain unmarked water pitcher in fine condition.

Rounding out just some of the expected top lots in the Oct. 22 sale are an elegant 14-inch signed Devez three-color cameo cut long-neck vase with mountain, lake and tree scenic décor; and a 6 -inch figural silver-plate double inkwell desk set featuring an “Iron Duke” steam engine with heavy clear pattern glass inserts. The rare and attractive lot was manufactured circa 1860s.

Internet bidding will be facilitated by Proxibid. All Proxibid terms and conditions apply. Absentee bids will be accepted with a written statement indicating the amount of the bid. These must be received no later than noon two days prior to the sale. Absentee bids may be faxed to 316.747.2145 or e-mailed to info [at] woodyauction [dot] com.

For more information about this auction, call 316. 747.2694 or visit the Woody Auction website.

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WorthPoint—Discover Your Hidden Wealth

– BS, Fresno, Ohio

ANSWER: Readers of this column know that I am a big fan of reference librarians. Add Thomas A. Barker, assistant reference librarian at the John McIntre Library (Zanesville, Ohio), part of the Muskingum Library System, to my list. A call and follow-up e-mail resulted in my receiving photocopies of three newspaper articles written in 1954 by Norris Schneider about C. Stolzenbach and Son.
Conrad Stolzenbach, born in Homburg, Germany, on May 8, 1836, bought a small bakery in Zanesville, Ohio, in 1858. His business prospered during the Civil War when he provided hardtack (a biscuit made from flour, water, and some salt) to the Union Army. By the early 1870s, the company added ginger and lemon snaps to its line of products. Stolzenbach continued to expand, building a new three-story bakery building in 1875. William R. Baker, who married Louisa Stolzenbach in 1883, joined the company, serving first as its sales manager and later general manager. When a fire destroyed the plant in early August 1889, it was quickly rebuilt. The company’s product line included: “Royal, Columbia, French home-made and square bread. His brands of crackers were crisp butter, Columbia butter cream, Star butter, Farina, Lunch biscuit, Eureka milk, White Lily, and assorted meal crackers, graham and oyster crackers.”

[Milk Biscuit: A milk biscuit is made with milk rather than water.]

Charles H. Stolzenbach, Conrad’s son, joined the company in 1877, beginning his work as a scrap boy. Charles became a partner in the firm in 1883. In 1890 Conrad organized the United States Baking Company and sold his plant to the new conglomerate. The new organization continued to produce product under the Stolzenbach and Son brand. Charles left the company in 1890 to work for the Elliott Bakery in Columbus. United States Baking became part of National Biscuit in 1898. Once again, the Stolzenbach and Son brand name was preserved. Conrad Stolzenbach died in 1912.

Based on the above, your crate most likely dates from the turn of the 20th century. The label’s brittleness is being caused by the acid leeching from the wood into the paper. If you wish to preserve the label, it needs to be removed and treated by a paper conservator, a process likely to cost several hundred dollars. Once done and an acid-free backing applied, it can be reattached to the crate.

Your crate has multiple values: $45 to an advertising label collector, $75 to a decorator, and $100 to a local Zanesville collector. A milk biscuit collector, provided you can find one, might pay more.

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QUESTION: I own a glass vase that measures 15 inches tall, 5 ½ inches across the top, and 5 ¾ inches across the bottom. The marbleized, orange-colored, slight squat body bulges out in the center and has multiple vertical rows, each with four bubble protrusions. The glass surface is covered by a steel overlay consisting of a top (just below the lip of the vase) and bottom collar to which is connecting an alternating pattern (first and third in one row, second and fourth in the next) of rectangular black and white vertical motif units (the top one a two-step motif reminiscent of the top of an Art Deco building; the second a one-step motif, the third a square-sided rectangle, and the fourth a reverse repeat of the top motif). The glass is 3/8in thick. The piece weighs 17 ½ pounds. What do I have?

– GC, Jerseyville, Ill.

ANSWER: The Polaroid (I was unaware they were still making film for the camera) picture of the vase that accompanied your letter indicated you most likely have a piece of Art Deco Czechoslovakian glass dating from the mid-1920s through the early 1930s.

Bold orange was one of the favorite colors of the Art Deco era. The black and white vertical lines of the metal section, plus the stepped (pyramid) shape of the metal pieces, are other strong Art Deco motifs.

Although American glass manufacturers were capable of producing products of this nature, the vast majority came from Europe, primarily Czechoslovakia. The size and design has a European “feel.”

There is another possibility. The piece may be the product of an independent glass studio. The workmanship to create the piece and its design appears to prohibit mass production.

The thickness of the glass concerns me. Most 1920s Czech glass is thin. However, there are always exceptions to general rules in the antiques and collectibles business.

Send a series of photographs to the Corning Museum of Glass, Corning, N.Y., and ask their glass experts to weigh in on the origin of your piece. Make certain to include photographs of the bottom of the piece and details of the steel work.

Based solely on my evaluation from the single photograph, $100 appears to be a conservative value. Determining a final value for your vase depends on the information provided by the Corning experts.

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QUESTION: I have an iron or copper statue of what appears to be a cavalry officer riding a horse. There are no markings on it. It was in my father’s basement for years. I do not know where he acquired it. I think it might be General Custer. Is this possible? What is its value?

– CR, via e-mail

ANSWER: Although your statue was made in the late 19th or early 20th century, it is not General Custer. The picture attached to your e-mail allowed me to identify the rider as a Corsican/Italian/Swiss-type cavalier dressed in early to mid-19th century garb.

Inspirational statues whose themes glorified the romance of the cavalier, man’s and woman’s conquest of nature, the family, and knighthood and sainthood were a common fixture in hallways and parlors of turn of the 20th century homes. They were designed to inspire noble thoughts and the imagination.

Most were slush metal castings. The Web site www.intota.com defines slush casting as: “A metal casting process in which a hollow casting is made without using a core by rotating the metal alloy inside the mold; when a solid layer of metal forms on the interior of the hollow mold, the remaining molten metal is poured off, leaving a hollow casting.” In the case of these turn of the century statues, slush casting allowed the production of a statue that was light in weight, featured a high-degree of detail in the casting, and was durable and inexpensive.

If your statue had been a figure of General Custer, the saddle and uniform would have matched that found in illustrations of the General’s last stand. Further, the front feet of the horse would have been raised off the ground. Equestrian statue tradition dictates that if an officer survived a war unscathed, the horse has both feet on the ground. If the office was wounded, one foot front foot is raised. If the officer was killed, the two front feet are raised.

In order to create a stronger sense of value, many of these statues were given a thin bronze or silver coating. These coatings mellow over time. Further, if the statue was dusted vigorously or cleaned with a polish, this thin layer disappeared and portions of the slush (base) metal showed through.

Many of these statues were enhanced with accessory pieces, ranging from reins for a horse (which are missing from your statue) or weapons (bow and arrows, spear, or firearm). These accoutrements are often lost over time.

Collector interest in these inspirational/romantic slush metal castings is minimal. First, if damaged, they are impossible to repair without inflicting further damage. Attempting to solder a break will melt the surrounding metal. Second, the cost of recoating is prohibitive. Finally, the themes no longer inspire young collectors.

Your statue’s primary value is family, an emotional value that is difficult to quantify. Your father’s keeping it in basement storage provides a hint. The statue’s conversation value is between $60 and $75. If displayed, it is hard to ignore.

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QUESTION: This ceramic tile bracelet, which I believe is Egyptian, was purchased in the Middle East around 1945. The tiles appear to tell a story, and there is a manufacturer’s symbol engraved on the clasp. Is the origin correct, and what is its worth?

– S.T., New York

ANSWER: Although your bracelet may have been purchased in Egypt, the motif suggests a possible Persian (Iraq/Iran) or Indian origin. You need to find a person familiar with Arabic script to translate the mark on the clasp.

If the bracelet tells a story, I failed to locate any information about it. My guess is that the individual tiles are scenic and not related in story one to another.

Are you certain the titles are ceramic? Most bracelets of this type feature animal bone panels. Look at the bracelet under a 10-power loupe. If you see dark spots and/or streaks, these are blood capillary tracks.

In the period immediately following World War II, American G.I.s and government employees working in the Middle East brought back many similar examples of this type of bracelet. This inexpensive costume bracelet has an exotic appeal, thus making it the perfect gift for girlfriends, wives, sisters, mothers, etc.

The value of your bracelet is between $35 and $45.

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Rinker Enterprises and Harry L. Rinker are on the Internet. Check out his Web site.

You can listen and participate in Harry’s antiques-and-collectibles radio call-in show “Whatcha Got?” on Sunday mornings between 8 a.m. and 10 a.m. Eastern Time. It streams live on the Genesis Communications Network.

“Sell, Keep Or Toss? How To Downsize A Home, Settle An Estate, And Appraise Personal Property” (House of Collectibles, an imprint of the Random House Information Group), Harry’s latest book, is available at your favorite bookstore and via Harry’s Web site: http://www.harryrinker.com.

Harry L. Rinker welcomes questions from readers about collectibles, those mass-produced items from the 20th century. Selected queries will be answered on this site. Harry cannot provide personal answers. Photos and other material submitted cannot be returned. Send your questions to: Rinker on Collectibles, 22 Stillwater Circle, Brookfield, CT 06804. You can e-mail your questions to harrylrinker [at] aol [dot] com. Only e-mails containing a full name and mailing address will be considered. Please indicate that these are questions for WorthPoint.

Copyright © Rinker Enterprises, Inc. 2010

WorthPoint—Discover Your Hidden Wealth

This 25-inch marked Handel lamp with Egyptian design was the top-selling item in the single-owner lifetime collection of Dale Gabel, held Apr. 9-10, 2010, at the St. Charles Convention Center in St. Charles, Mo., gaveling down for $16,000.

ST. CHARLES, Mo. – An outstanding marked, 25-inch Handel leaded and reverse painted lamp with an Egyptian design and large 20-inch square shade lit up the room for $16,000 at a sale of the single-owner lifetime collection of Dale Gabel, held Apr. 9-10, 2010, at the St. Charles Convention Center. The auction was conducted by Woody Auction, based in Douglass, Kan.

Gabel was a dedicated collector of antiques in a wide range of categories. More than 850 lots crossed the block, to include Daum Nancy, primitives, art glass, R.S. Prussia, lithographs, marbles, lamps, Royal Bayreuth, Flow Blue, Wave Crest, advertising items and more. His collection was so massive that a Part 2 sale has been scheduled for later on this year (Sept. 11).

The Handel lamp was the top lot of the sale, and no wonder. The piece was in excellent condition and boasted a spectacular shade with a scene of an Egyptian queen surrounded by blue, green, red, amber, cream and multi-colored slag swirl leaded panels. At the base were three large, full figural Sphinx lions. The example even had the original four light sockets and pulls.

About 200 people came to the sale, of which around 120 were active bidders. “This was a well-attended auction, with lots of bidders from all over the country,” said Jason Woody of Woody Auction. “As for prices, they were strong for some items, a little flat for others. But that’s what makes for a good and interesting auction.” Woody added that absentee bidding was very active.

Internet bidding was facilitated by Proxibid.com. Over 400 people registered to bid online.

Following are additional highlights from the auction. All prices quoted are hammer, exclusive of a sliding commission structure (there is no buyer’s premium at Woody Auction):

This unmarked Wave Crest pipe rack plaque with Indian Chief portrait décor sold for $9,750.

• The second-highest-grossing item was an extremely rare and unmarked Wave Crest pipe rack plaque, with an embossed scroll mold showing an Indian Chief portrait décor. In excellent condition, the plaque soared to $9,750. Also, an equally rare 6 ¾-inch signed Daum Nancy “Spring Season” cameo pedestal vase, with a cherry blossom tree scenic décor, brought $4,300.

• A 7 ¼-inch signed Daum Nancy cameo-cut five-color tulip-shaped vase with nice long stemmed floral décor went for $3,100; an 11 ½-inch R.S. Prussia pedestal covered urn with keyhole “Spring Season” portrait and iridescent bronze Tiffany background brought $2,900; and a 6-inch signed Daum Nancy five-color cameo cut vase with field of flowers décor hit $2,600.

• A Bradley & Hubbard leaded glass table lamp with 19-inch diameter multi-color caramel shade with geometric designs and nice, three-light base coasted to $2,700; an 11-inch Loetz style flower form vase, gold iridescent with green applied pulled leaf design commanded $2,500; and a 10-inch signed Galle three-color cameo cut vase with attractive floral décor realized $2,200.

This extremely rare signed Daum Nancy “Spring Season” cameo pedestal vase, brought $4,300.

• An 11 ½-inch pickle castor with amberina coinspot insert set on a Tufts silver plate frame climbed to $2,200; a 4 ¾-inch black amethyst vase marked “R. Lalique” with overlapped cut feather design demanded $2,100; and a 6-inch signed L.C. Tiffany Favrile #6491 stick vase, gold iridescent and decorated with a lovely green heart design, went to a determined bidder for $2,000.

• An American Brilliant Cut Glass bowl featuring a hobstar center with butterfly, floral and vesica highlights and thick heavy blank fetched $1,900; a 6 ½-inch signed Daum Nancy cut vase having a textured body with smooth polished foot and red floral blossom décor reached $1,900; and a signed L.C. Tiffany Favrile compote, with nice green pulled feather design, rose to $1,800.

• A Burmese Jack-in-the-Pulpit-shaped vase with enamel floral blossom décor achieved $1,700; a 13 ½-inch signed Pairpoint boudoir lamp with 9-inch diameter puffy reverse painted shade and floral and lattice décor breezed to $1,600; and an original Hubley cast iron mechanical bank from 1906 with a man on a goat dropping coins into a frog’s mouth topped out at $1,600.

• A 6 ½-inch Weller Louwelsa scenic vase, artist marked, with a dark gray to cream background and sailboat scenic décor topped out at $1,500; an American Brilliant Cut Glass blown star-shaped bowl with thick blank and quality hobstar and arch design brought $1,100; and a 5 ¾-inch signed Daum Nancy cylindrical vase with iris and leaf décor achieved $1,300.

• A signed lithograph by Birger Sandzen, titled “Sunshine Creek” and measuring 20 inches by 26 inches in the frame, sold for $1,050; a rare 13-inch Ward’s Orange Crush syrup dispenser, figural orange with embossed lettering, changed hands for $1,000; and a 9 ¼ inch Rookwood yellow matte vase with a floral décor of white blossoms and leaves, dated 1929, made $1,000.

• Rounding out the weekend’s list of top lots: a very rare 24 inch by 32 inch Currier & Ives historical railroad print, drawn by F.F. Palmer and titled “Across the Continent,” in great condition, found a new owner for $950; and a 30 inch by 20 ¼-inch advertising tin sign, saying “To School Well Fed on Grape Nuts: There’s a Reason,” showing a young girl with her dog, fetched $900.

For more information about this auction, call at 316.747.2694, e-mail to info [at] woodyauction [dot] com or visit the Woody Auction Web site.

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WorthPoint—Discover Your Hidden Wealth

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A par of 11-inch Mont Joye square-shaped art glass vases with floral décor and gold highlights will be among the 850 lots up for auction in no-reserve auction of the single-owner lifetime collection of Dale Gabel on April 9-10, 2010.

ST. CHARLES, Mo. – The outstanding single-owner lifetime collection of Dale Gabel—a dedicated collector of antiques in a wide range of categories—will be sold without reserve (everything goes, regardless of price) the weekend of April 9-10, 2010, in the junior ballroom of the St. Charles Convention Center.

More than 850 lots will cross the block over the course of the two days, including Daum Nancy, primitives, art glass, R.S. Prussia, lithographs, marbles, lamps, Royal Bayreuth, Flow Blue, Wave Crest, advertising items and more. Gabel’s collections are so massive a second auction will be held later in the year (time and date to be determined) to complete the liquidation.

“Mr. Gabel amassed his items over many decades of careful picking and choosing,” said Jason Woody of Woody Auction, which is facilitating the auction. “Like many antiquers, he began to keep some of the better pieces for his own personal collection. In fact, he’s been attending our auctions for over 30 years. Now, it is my privilege to offer his collections at auction to the highest bidder, without reserve.”

Vases will be served up in abundance, and in a variety of types and styles. Examples include: a rare 10-¾ inch marked Rookwood vase with a dark green blue glazed background with a white stork décor, dated 1921, artist marked and in excellent condition; and a Rookwood #562r 9-¼ inch scenic vase with dark brown tones and stork décor, dated 1893 and artist signed “Mad.”

Other vases expected to do well are a 7 ½-inch, signed Devez three-color cameo-cut vase with a well-cut scene of a cottage, lake and woman watching geese; a 9 ¾-inch signed Legras cameo cut vase, three colors (white, lavender and green), with deeply carved leaf design; and a 7 ¼-inch Daum Nancy cameo cut vase, five colors, with tulip shade and nice, long stemmed décor.

A 25-inch marked Handel leaded and reverse painted Egyptian design lamp with large 20-inch shade.

Lamps will feature a fine 25-inch marked Handel leaded and reverse painted Egyptian design lamp with three large full-figural sphinx lion base; a 23-inch signed Pairpoint lamp with colorful reverse painted garden scenic shade and base with three candle lights; and a 17-inch peg lamp with yellow satin swirl shade and matching font set on brass figural base with three geese.

Plates and plaques will include an unmarked Wave Crest pipe rack plaque with embossed scroll mold and an Indian Chief portrait décor, in excellent condition; a nice 10 ½-inch Nippon embossed plaque with a scene of an Indian riding a horse while shooting a rifle; and a 9 ½-inch signed Beehive scenic plate with cobalt blue border and gold highlight trim, signed “F. Hiebel.”

Fans of R.S. Prussia will be impressed with an extremely rare 11 ½-inch pedestal covered urn with keyhole spring season portrait and iridescent bronze Tiffany background with great gold stenciled highlights. Also offered will be a 5 ½-inch-by-8-inch signed Nakara round-hinged “Collars and Cuffs” box, in pink tones with blue floral décor, very nice and in wonderful shape.

Figural renderings will include a 7-inch-by-6-inch Austrian bronze figural group of an Arab riding horseback with flintlock rifle, boasting excellent paint; a 17-½ inch figural bronze group with black marble base of a young girl and boy, Paris studio mark, artist signed Moreau; and a 12-inch Heubach bisque figurine of a baseball player in period clothing holding a bat.

Rare and attractive prints and lithographs are certain to get paddles wagging. A pair of lots to watch are a very rare 24-inch-by-32-inch Currier & Ives historical railroad print, drawn by F.F. Palmer and titled Across the Continent, in great condition; and an original 23-inch-by-28-inch Louis Icart lithograph, dated 1922 and depicting a scene of a woman reclining on a couch.

Rounding out the weekend’s expected top lots: an nice oak-cased “Diamond Dyes” advertising cabinet, with original interior compartments all labeled; a 13-inch-by-10-inch Victorian-era kaleidoscope with wooden pedestal holding a leather and brass scope (1873); and 13-inch Ward’s Orange Crush syrup dispenser featuring figural orange with embossed lettering.

Internet bidding will be facilitated by Proxibid, and all Proxibid terms and conditions will apply. Absentee bids will be accepted with a written statement indicating the amount of the bid, and must be received no later than noon Thursday, Apr. 8. Absentee bids may be faxed to 316.747.2145 or e-mailed info [at] woodyauction [dot] com.

For more information, visit the Woody Auction Web site.

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WorthPoint—Discover Your Hidden Wealth

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The top lot of the sale of the lifetime personal collections of Elizabeth and the late Clarence Lee Dubois of Arkansas was this outstanding marked KPM oval porcelain plaque, titled “Rembrandt’s Mother,” which gaveled for $7,250.

WICHITA, Kan. – An outstanding, marked KPM oval porcelain plaque, boasting a finely detailed portrait titled “Rembrandt’s Mother,” sold for $7,250 at the sale of the lifetime personal collections of Elizabeth and the late Clarence Lee Dubois of Arkansas. The auction was conducted Feb. 1, 20103 in the 4-H Hall of the Sedgwick County Extension Center here in Wichita.

Woody Auction served as auctioneers for the event, which attracted around 100 on-site bidders and nearly 50 absentee bids. In addition, more than 250 people registered to bid online, through Proxibid.com. “It was a good sale because the quality of the merchandise was so high,” said Jason Woody of Woody Auction, “plus the weather was nice.”

Mr. and Mrs. Dubois were dedicated collectors of KPM porcelain, Tiffany sterling, Pickard, art glass, Limoges table sets and Oriental and flume paperweights. In all, 520 lots crossed the block. The top achiever was the KPM oval porcelain plaque, which measured 20 inches by 16 inches, had no visible artist’s signature and was of excellent condition and quality. Following are additional highlights from the sale. All prices quoted are hammer, exclusive of a sliding commission structure. There is no buyer’s premium at a Woody Auction.

KPM porcelain vases with colorful bird décor with gold highlights brought $4,750.

• A pair of 12 ½-inch KPM porcelain vases featuring a colorful bird sitting in branch décor and having great gold highlights, realized $4,750; a 16-inch by 10 inch German porcelain plaque with a finely detailed scene of “La Belle Chocolatiere” brought $3,900; and a 10-inch by 17 ½-inch porcelain plaque set in the original ebony shadow box frame, signed R. Diettrich, also rose to $3,900.

• A marked KPM porcelain plaque showing young women carrying flowers to a shrine, wonderfully detailed and signed A. Loffler, commanded $3,800; a 14-inch beehive mark porcelain plaque set in a round gilt wooden frame, artist signed W. Lojos, made $3,500; and a French porcelain tile adjustable fireplace screen in a gilt frame with adjusting knobs hit $3,500.

This signed Tiffany & Co. sterling silver reticulated basket sold for $2,900.

• A marked KPM porcelain plaque in a gilt wooden frame, with a scene of a young girl holding a cat while the cat watches a butterfly, coasted to $3,200; a Tiffany & Co. sterling silver reticulated basket with an elaborate embossed blackberry and leaf décor achieved $2,900; and a marked Tiffany & Co. pedestal urn-shaped clock with a yellow satin porcelain body hit $2,800.

• A marked KPM porcelain plaque featuring a beautifully detailed scene of a servant girl with tea tray, artist signed, soared to $2,600; a marked KPM porcelain plaque showing young Renaissance women carrying a sacred relic achieved $2,400; and a Victorian Mary Gregory-style vase on a figural stand, with a Reed & Barton silver plate stork base, topped out at $2,200.

This 7-inch marked Meissen crossed sword figurine of a siren with harp and serpent went for $2,000.

• A 7-inch marked Meissen crossed-sword figurine, depicting a siren sitting on a rock ledge with a harp and sea serpent, went for $2,000; a set of four Royal Worcester scenic fruit plates, nicely detailed and artist signed H.H. Price, breezed to $1,900; and a 6-inch bronze figurine on a marble base of a young girl, artist signed F. Preiss, crossed the block at $1,700.

• A 10 ½-inch Pickard two-handled vase, with a brocaded gold background and multi-colored hummingbird décor, demanded $1,600; a set of six Royal Worcester fruit décor cups and saucers with great detailing, artist signed Schuck, hammered for $1,400; and an 11 ½-inch decorated Burmese gourd-shaped vase with a heavily enameled bamboo décor earned $1,400.

• A nice oil painting in fine condition, signed by the artist F. Cassell and depicting a scene of five dogs preparing to attack a rat, went to a determined bidder for $1,250; a 20-inch figural four-lily epergne with an outstanding gilt metal three-camel base finished at $1,200; and a set of 12 Theodore Haviland oyster plates, white with a pick rose décor and gold highlights, hit $900.

For more information about this or upcoming sales at Woody Auction, call 316.747.2694, e-mail to info [at] woodyauction [dot] com or visit the Woody Auction Web site.

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This KPM porcelain plaque, measuring 6 inches by 9 inches and in a gilt wooden frame owned by Elizabeth and the late Clarence Lee Dubois of Russellville, Ark., will be among the items sold at auction on Feb. 13, 2010.

WICHITA, Kan. – The lifetime personal collections of Elizabeth and the late Clarence Lee Dubois of Russellville, Ark.—which includes KPM porcelain, Tiffany sterling, Pickard, art glass, Limoges table sets and Orient and flume paperweights—will be sold to the highest bidder, without reserve, on Saturday, Feb. 13, 2010.

The auction, which features some 520 lots and will be facilitated by Woody Auction, will be held in the 4-H Hall of the Sedgwick County Extension Center in Wichita, Kan. “There are quality items in this sale,” said Jason Woody of Woody Auctions. “I expect a big crowd that day.”

While the venue is sizable and can accommodate a good number of people, bidders may also participate online, through Proxibid.com. There will be no phone bidding, but absentee bids will be accepted (if received by noon on Thursday, Feb. 11, 2010), with a written statement indicating the amount of the bid. All absentee bids will be charged an additional 10 percent of the selling price, plus shipping.

The fact that there are no reserves (meaning every item that comes up for bid will sell, regardless of the final gavel price) virtually assures a handsome turnout and a successful sale. “This will be a great opportunity for folks to kick off the snow, shed that cabin fever and bid on some truly wonderful items for their collections,” added Woody. “The Dubois’ were dedicated collectors for over fifty years.”

Plaques and plaque sets, many by KPM, will be abundant at the auction. Some KPM examples include an outstanding 20-inch by 16-inch marked oval porcelain plaque with a finely detailed portrait titled “Rembrandt’s Mother,” framed; and a 10-inch by 7 ½-inch porcelain plaque set in the original ebony shadow box frame, signed R. Dietrich and with beautiful detailing of young women gathering flowers.

A Tiffany & Co. pedestal urn-shaped clock.

Additional KPM pieces will feature a 9-inch by 6-inch porcelain plaque in a gilt wooden frame, with a scene of a young girl holding a cat that’s watching a butterfly, unsigned; a 9-inch by 6 ¼-inch marked porcelain plaque with a detailed scene of a servant girl with tea tray, artist signed; and a 9 ½-inch by 6 ½-inch unsigned marked porcelain plaque of Renaissance women carrying a sacred relic.

Other plaques of note include a pair of oval Old Paris plaques (circa 1890s), framed, with portraits of fancifully dressed young women against maroon backgrounds, artist signed A. Dusson; a set of three 3 ½-inch hand-painted oval medallions set in a 12-inch hanging plaque, artist signed K. Gope; and a 16-inch by 10-inch German porcelain plaque with a scene of “La Belle Chocolatiere,” unsigned.

Tiffany & Company will be represented in the sale. Anticipated top lots include a 17 ½-inch marked pedestal urn-shaped clock with yellow satin porcelain body, lavender cherub highlights and cobalt blue top; and a fantastic signed sterling silver reticulated basket with elaborate embossed blackberry and leaf décor. Also sold will be a nice, signed Nakara square-shaped hinged jewel box.

A pair of 19 ½-inch Royal Worcester candle holders.

Meissen pieces will feature a 7-inch marked crossed sword figurine depicting a siren sitting on a rock ledge with a harp and sea serpent at her feet; and a 4-inch marked figural group showing a cherub sitting near a teapot and preparing tea, in very good condition. Also sold will be a wonderful pair of 19 ½-inch Royal Worcester candle holders, with different boy-and-girl figural depictions on each holder.

Pairpoint brides’ baskets are sure-fire crowd-pleasers. Examples include a 17-inch by 10-inch signed basket dated 1891, showing a figural cherub on a gilt silver base with Webb cased art glass bowl and enamel floral décor; and a 10-inch by 16-inch signed basket with fancy pink satin herringbone pattern and mother-of-pearl melon ribbed bowl set on a gilt silver plate with a two-handled frame.

Rounding out the highlight lots: a 4-inch French enamel fireplace screen showing a man and woman courting, featuring a medallion with bright red border and a scene on the back side; a 7-inch Wheeling peach blow water pitcher boasting very dark and rich colors; and a 4 ½-inch by 12-inch American Brilliant Cut Glass blown mold melon ribbed bowl with sharp cutting and clear blank.

For more information about this auction, call 316.747.2694, e-mail to info [at] woodyauction [dot] com or visit the Woody Auction Web site.

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Philanthropists, fine-art buyers, community leaders and famous glass artists were in attendance, while online bidders followed the action live via high-definition video produced by Auction Network.

The entire fourth-floor ballroom held displays of more than 350 stunning art-glass objects. Slow, cool jazz tunes played live as guests mingled among the exhibits, enjoying appetizers and cocktails, admiring the brilliant art on display and placing “silent” bids” on more than 250 objects of glass art. The silent bidding ended as dinner was served.

Finely appointed dining tables encircled a large raised platform where the auctioneer, Kip Toner, dazzled the audience and encouraged bidding. Tuxedoed servers provided food and wine as some 70 glass-art objects were presented to the audience, one by one, for live auction. The guests bid happily and competitively, raising more than $800,000 for the school. It was an eye-dazzling event successfully orchestrated to help fund the important work being done at Pilchuck.

Pilchuck Glass School is recognized worldwide as a leader in art education in the medium of glass. Established in 1971 by famed artist Dale Chihuly, benefactors Anne Gould Hauberg and John H. Hauberg, Pilchuck is now an international center for glass-art education. The school operates under the visionary methods of Mr. Chihuly and is now co-chaired by him and Leslie Jackson Chihuly.

For further information concerning support, educational programs, future events, etc., call the Pilchuck Glass School at 206-621-8422.

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WorthPoint is pleased to partner with our sister company, GoAntiques, to inform and educate people about the diverse world of antiques and collectibles. In this video, Jim Kamnikar, who was the CEO and President of GoAntiques and is now the President of WorthPoint and GoAntiques, interviews Alan Grodsky at the Miami National Antiques Show. Grodsky specializes in early art glass, especially lamps and talks about what to look for in style and quality of early 20th century lamps.

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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.

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.”
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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.

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