Art Glass Nouveau

Art Glass Nouveau

Ray Grover

Language: English

Pages: 235

ISBN: B008C8ZQAG

Format: PDF / Kindle (mobi) / ePub


Art Glass Nouveau was originally published by Tuttle Publishing in print form in 1967.

NEVER BEFORE has there ever been such a rapid and widespread surge of interest in any field of collecting as there now is in discovering the magnificent beauty of colored art glass, the many unique pieces that were produced extensively
in the United States, Great Britain, and other European countries during the late 19th and early 20th centuries, when this fine art was at its height. And never before has there been such an informative, useful, and thoroughly illustrated book on this subject as this definitive work by Ray and Lee Grover.
All of the illustrations are in full color. The book contains 424 plates, 50 of which are full page. The complete description of each piece indicates its size, the type of glass used, its identification marks, the names of the designer and/or producer, when known, and its present owner. While every significant type of art glass produced during this period is covered in the succinct text, the exciting galaxy of 424 plates, interspersed throughout the book, were selected
not only because of their rare beauty and authenticity, but also to show representative pieces, similar to those that are still obtainable. Most important of all in identifying a piece and determining its value, according to the authors, are its color, its shape, and the texture of its surface, to which they constantly give particular attention.

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On p. 82 162. Black iridescent Tiffany cologne bottle with matching numbered stopper, signed L. C. T. D 1180, 7 3/4", collection of Helen Eisenberg. 163. Iridescent, gooseneck-shaped Tiffany vase, signed L. C. T. 1156 A, 13", collection of Helen Eisenberg. 164. Red Tiffany vase, signed L. C. Tiffany, Favrile 5593 E, 12 1/2", collection of J . Jonathan Joseph. 92 165. Blue satin Iridescent Tiffany vase, signed L. C. Tiffany, Favrile 1678 E, 8 1/2", collection of Mr. and Mrs. Hugh McKean.

Covered jar,8 3/4", collection of Mr. and Mrs. G. W. Bray. 2. Amberina covered j a r signed Libby, 4 1/2", collection of M r . and Mrs. J . Michael Peaison. 19 Text on pp. 17—18 3. Amberina engraved creamer, 6", Chrysler Art Museum. 4. Amberina celery vase, 6 1/2", Chrysler Art Museum. 5. Amberina creamer, 4", collection of Maude B. Feld. Text on pp. 17-18 20 6. Amberina rope handled pitcher, 7 1/2", col lection of Mr. and Mrs. Gerry Philpot. 7. Amberina fluted top vase, 6 3/4",.

Decorations as shown in Plates 43, 49, and 51, the last one listed showing an exquisite application of "wishbone" feet. In 1886, one year after patents were first taken out, licenses were issued to Thomas Webb & Sons, England, permitting them to copy as well as to produce their own shapes and designs. While most of the English Burmese was acid finished, Mt. Washington offered this ware in the glossy as well as the acid finish. There was no limit to pattern decoration, although certain motifs 36.

The separations giving an overall effect of looking through a stained glass window. Royal Flemish is noted also for its painted enamels with the designs in high relief, the old Roman motif medallions often being used (Plate 66). Fanciful designs including winged creatures, cherubs, as well as Guba ducks (Plate 62), so-named after the artist who designed them, are highly prized by all collectors. Shapes and designs follow the standard types in all of the Mt. Washington groups. When Royal Flemish.

Museum. Text on pp. 40-41 plain ashtrays. They come acid and glossy finished, and are accordingly illustrated. Type 4, not too common, is the Thomas Webb & Sons, England, Peach Blow (Plate 88). While there is a question as to what color combination is indicated in Webb Peach Blow, that generally accepted consists of a two-layered ware, the outer shell shading from a pink at the base to a deep rich red at the top. The inner lining is an off color cream, having a slightly greenish cast. This was.

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