Posts Tagged ‘1930’

Dishes
Pair of George III oval meat dishes by Frederick Kandler, London, 1765, 73 oz 2 dwt Pair of Victorian octagonal entree dishes and covers with
vegetable dividers for each and ball finials, Sheffield, 1880,
120 oz 14 dwt 450 0
George III circular vegetable dish with ivory grips, pierced sides and four scroll and foliate feet, by W.S., London, 1809, 80 oz 2 dwt 360 0
William IV shaped oblong entree dish and cover with engraved armorials and foliate ring handle, by J. C. Eddington, London, 1835, 61 oz 5 dwt 260 0
George III muffin dish and cover, the domed cover with urn
shaped finial, by Henry Chawner, London, 1791, 15 oz 1 dwt        210 0
Jugs—Cream and Milk
George III helmet-shaped cream jug with ‘bright-cut’ engraving, loop handle and square pedestal foot, by George Smith, London, 1790, 3 oz 7 dwt 80 0
George II cream jug of conch shell type with serpent handle and
three coral-like supports. Circa 1755, 3 oz 5 dwt 80 0
George III oblong milk jug engraved with crests and with gadroon lip and scroll handle, by R. and S. Hennell, London, 1808, 6 oz 2 dwt 70 0
Victorian baluster milk jug chased with flowers and scrolls and on three feet. Possibly by William Brawn, London, 1845, 5 oz 7 dwt 52 0
Jugs—Water
George III pear-shaped hot-water jug, stand and lamp, the jug with rams’ masks and laurel festoons, the stand on three claw feet with female bust terminals, by Andrew Fogelberg. The jug 1776, the stand 1775, 40 oz

780 0
George III vase-shaped hot-water jug, plain with wood handle and on circular foot, by William Fountain, London, 1801, 25 oz 11 dwt 460 0
George II baluster hot-water jug chased with scrolls, leaves and flowers, raffia-covered handle and rim foot, by Gurney and Cook, London, 1755, 19 oz 15 dwt 270 0
Jugs—Wine and Ale
Queen Anne ale jug, die ground embossed with foliage and flowers and a satyr spout, by John Wisdom, London, 1712, 35 oz 280 0
Victorian wine ewer with baluster body and engraved with Grecian figures and leaves, entwined snake handle and butterfly finial, by E. and J. Barnard, London, 1862, 27 oz 11 dwt        170 0
Marrow Scoops
Queen Anne scoop of typical form by Charles Jackson, 1713,
1 oz 10 dwt 68 0
Early George III scoop, the larger bowl engraved with initials,
probably by William Tuite, London, 1767, 1 oz 12 dwt 20 0
Mustard Pots
George III drum mustard with moulded borders, flat hinged lid and simple scroll handle, with spoon of earlier date. Pot by Ernes and Barnard, London, 1813, 5 oz 10 dwt 165 0
some auction room prices : 1968-69
William IV mustard with ribbed baluster body and hinged domed lid with floral finial, scroll handle and shell thumbpiece and spoon of same date but different maker. Pot by C.G., London, 1830, 6 oz 17 dwt
George III oblong mustard with domed cover, urn finial and angular handle on four bun feet, London, 1813, 3 oz 11 dwt
Salts
Four George I plain oval trencher salts with incurved sides, by
Mary Rood, 1723, 6 oz 15 dwt Pair of George III boat-shaped salts, reeded at the lips and
pedestal feet, gilt interiors, by Peter and Ann Bateman, 1792,
4 oz 6 dwt
Pair of George II compressed circular salts, with plain engraved bodies below gadroon lips each on three shell-headed hoof supports, possibly by Isaac Cookson, Newcastle, 1747, 8 oz 1 dwt
Salvers
George II large circular salver on four lions’ mask and shell bracket feet, the shaped border pierced and chased, by George Wickes, 1744, 137 oz
George I plain circular salver on central foot with moulded border, by W.P., 1720, 13 oz 12 dwt
George III circular salver, engraved with initials, chased wave border and gadroon rim, on three claw and ball feet, by Robert Rcw or Rugg, 1766, 24 oz 3 dwt
Victorian salver engraved in the centre with an initial and also with scrolls and foliage, moulded border, by J. and J. Angell, London, 1845, 25 oz 14 dwt
Sauceboats
Pair of George II plain sauceboats each on three shell and scroll feet with gadrooned rims and double scroll handles, by Peter Archambo and Peter Meure, 1754, 29 oz
George II two-handled plain double-lipped sauceboat on collet foot, with double scroll handles and waved rim, with a moulded drop beneath the spout, by Peter Archambo, 1732, 17 oz 5 dwt
Pair of George III sauceboats, each on fluted shaped lozenge foot, with gadrooned borders and double scroll handles, by William Sampcl, 1766, 25 oz
Snuff Boxes—See Small Decorative Antiques Sugar Basins—See Baskets—Sugar Tapersticks—See Candlesticks Tankards
William and Mary tankard on three lion couchant feet, scroll handle, cylindrical body and moulded base, by Robert Cooper, 1692, 31 oz
George II baluster tankard with domed cover, openwork thumb-piece and double-scroll handle, on moulded spreading foot, by William Grundy, 1755, 34 oz 5 dwt 650 0
George III baluster tankard, with domed moulded cover and heart-shaped lower terminal to the scrolling handle, by William Caldecott or Gripps, 1765, 27 oz 15 dwt 570 0
Tea Caddies
George III oval caddy, the body with two bands of bright-cut engraving in beaded borders and the plain hinged lid with urn finial, by Hester Bateman, 1781, 14 oz 10 dwt 900 0
George III shaped oval caddy, the body fluted at intervals, decorated with bright-cut engraving, hinged domed cover with wood finial, by Robert Hennell, 1787, 14 oz 17 dwt 480 0
Teapots and Stands
George II bullet teapot with engraved shoulder decoration of satyr masks, leaves and flowers, straight spout, loose lid, ivory handle and finial, by Isaac Liger, 1729, 15 oz 1 dwt 2,100 0
George III teapot stand on four fluted panel supports, by Hester
Bateman, 1789, 4 oz 15 dwt 280 0
George III oval teapot with moulded girdles and a matching stand, supported on four feet, by Crespin Fuller, London, 1800, 16 oz 15 dwt 270 0
George III oval, semi-lobed teapot, with swan-neck spout, ivory handle and finial, by P. A. and W. Bateman, 1799, 17 oz 3 dwt 170 0
George IV teapot, compressed circular body, ivory handle and
finial, curved spout, by Eley and Fearn, 1823, 25 oz 16 dwt        150 0
William IV compressed circular teapot with moulded girdle, wood finial and similar wood handle, by E. E. J. and W. Barnard, 1830, 14 oz 2 dwt 135 0
Early Victorian bullet-shaped teapot with engraved body, Edinburgh, 1840, 24 oz 82 0
George III oval teapot stand, gadroon border on four panel
supports, but George Fenwick, Edinburgh, 1806, 5 oz 14 dwt 80 0
William IV small melon-shaped teapot, with slightly domed cover and ivory finial, scroll handle and curved spout, London, 1833, 13 oz 18 dwt 60 0
Tea and Coffee Services
Victorian tea and coffee service of compressed circular form, decorated with embossed flowers and foliate handles and on scrolled feet with shell motifs, by Rawlins and Sumner, London, 1838, 72 oz 600 0
George IV three-piece melon-shaped tea service with scroll handles and shell decorated panel supports, by E. E. J. and W. Barnard, London, 1829, 44 oz 7 dwt 500 0
George III circular three-piece tea service with curved lobes, gadroon rims and leaf decorated handles, on paw supports, the pot with rose finial, by John Angell, 1819, 41 oz 6 dwt 380 0
Victorian three-piece tea service of compressed circular form,
the plain ground richly chased, by I. J. Keith, London, 1840, 48 oz
Vinaigrettes—See Small Decorative Antiques Waiters
Pair of George III plain oval waiters each on four shell and beaded bracket feet, beaded rims, by John Scofield, London, 1777, 27 oz
George II plain shaped square waiter on four hoof feet, moulded border, by Thomas Farren, London, 1734, 6 oz 17 dwt
Early George II square waiter with raised border incurved at the angles, 1727, 3 oz 18 dwt
SHEFFIELD PLATE Candelabra and Candlesticks
Pair of candelabra, each for three lights, with reeded scrolling arms, gadroon bordered knops, detachable nozzles and circular bases, 17i in high to centres
Pair of three-light candelabra, the tapering vase stems, circular bases and campana-shaped sconces decorated with chased borders, each fitted with two detachable scrolling branches, one converting to form a

five-light and bearing flame finial, 20 in high
Pair of table candlesticks with V-shaped stems, gadroon shoulders, circular bases and detachable nozzles, llj in high
Pair of table candlesticks with circular bases, vase-shaped stems and gadroon borders, detachable nozzles, 11 in high
Coffee Pots
Vase-shaped coffee pot on pedestal foot with reeded borders, ball finial and wood handle, 13 in high
An oval coffee pot on pedestal base, with reeded shoulder, gadroon borders and angular wood handle, 9] in high
Urn-shaped coffee pot, body semi-lobed between ribbed panels, on pedestal base, ball finial and wood handle, 27 in high
Coasters—Wine
Four circular wine coasters with lobed sides below gadroon lips, the wood bases centred by crested bosses, 5J in diameter
Pair of circular coasters with beaded and ovolo rims, wood bases, 6 in diameter
Caddies—Tea
Two caddies of bombd form embossed with shell motifs Serpentined caddy with hinged lid and beaded borders
Dishes
Set of four entree dishes and covers on heater bases, oblong with scrolling foliate borders, 14 in wide over handles
Pair of entree dishes and covers with gadroon borders and
detachable foliate handles, 11 in wide 22 0
A rectangular entree dish and cover complete with liner, gadroon and leaf borders, wood end handles, on four supports, 141 in wide 20 0
Teapots
An oblong teapot, body semi-Iobed between gadrooned borders, short spout, ivory finial and angular wooden handles, 5J in high 25 0
A compressed circular teapot engraved with swirling leafage,
fruit finial and scroll handle, 5J in high 18 0
Tea and Coffee Services
Oval three-piece coffee service with vase-shaped pot, oval jug and basin decorated with bands of sprays and foliage, 10 in high the pot 160 0
Three-piece tea set with compressed circular bodies, fluted,
foliate collars, scroll handles and foliate panel supports 38 0
Tea Trays
Oblong two-handled tray, engraved with armorials within a chased surround of scrolls and floral sprays, gadroon border, 30 in wide 220 0
An oblong tray, gadroon bordered and reeded end handles
springing from chased foliage, 28 in wide 95 0
Tea Urns
An inverted compressed pear-shaped urn, the body engraved
with a crest, foliate handles and flower finial, 16 in high 75 0
An oviform urn with an applied plain shield, the cover with vase finial, reeded loop handles, on square base with ball feet, 221 in high 45 0
Tureens
Large shaped oval sauce tureen on four feet below heavily
chased floral motifs, detachable liner, 16J in wide 230 0
Pair of oval sauce tureens and domed covers with gadrooned rims, decorated with acorns and oak leaves at the handles, 8Ј in wide (end handles missing from one tureen) 120 0
Wine Coolers
Set of four coolers, the campana-shaped bodies engraved with contemporary armorials above lobing reeded handles and gadroon borders, on pedestal bases, 9i in high 520 0
Pair of coolers with campana-shaped bodies, reeded handles and
on pedestal bases, 9J in high 200 0
NON-PRECIOUS METALS
Brass
Pair of eighteenth-century andirons, with spherical finials, and
masks, 29 in high 100 0
SOME AUCTION ROOM PRICES ! 1968-69
A club fender
A Corinthian column floor standard
An embossed fire kerb
A two-handled log tub on paw feet
An alms dish with lobed centre and inscription border, the rim
with punched rosettes, 15} in diameter Pair of spirally-turned candlesticks on domed feet, 20J in high A hanging oil lamp Pair of chambersticks, with snuffers A heavy log tub with lion mask handles on paw feet Brass

and steel semi-circular fender
An oval fire insurance plate with a crest of a stag, dated 1774 Pair of carriage lamps A helmet coal-scuttle
A warming-pan with turned wood handle Pair of baluster candlesticks, 9 in high
Bronze
Figure of a racehorse and jockey after Isadore Bonhcur, I0j in
high
The Capture of Alexander by G. Halse. Two warriors hold a
struggling youth. Signed and dated 1860, 24 in high Eighteenth-century Italian figure The Dying Gladiator signed
Canova
Figure of a dancing fawn, holding up a bunch of grapes and
balanced on his left foot, 14 in high Figure of an infant satyr playing a set of pipes, 9j in high Pair of busts of Henry IV and Sully, three-quarter length, both
wearing ruffs and decorations, on rouge marble socles, 20} in
high
Pair of Art Nouveau winged figures stamped A. Moreau, 9J in
high
Pair of five-light candelabra on bulbous stems Italian figure of Venus, 7 in high
Copper
Early nineteenth-century tea urn on a square base
A street lamp
Three large saucepans (one with lid) Two coal scuttles A large kettle
Coal helmet with swing handle
Large two-handled urn and cover
A copper and brass tea urn with tap
A long turned wooden-handled warming-pan
Iron and Steel
Steel and brass basket grate with pierced frieze and baluster
uprights, 20 in wide Seventeenth-century Sussex wrought-iron fireback, 2 ft 10 in
by 1 ft 8 in and a log fork Wrought-iron shaped fire-back Regency iron and brass stick stand on paw feet
Victorian cast-iron corner stick stand 5 10
Victorian cast-iron oil heater 3 10
Pewter
A charger with secondary touch of Thomas Lanyon, circa 1730,
20 in diameter 36 0
Five quart tankards 35 0
A four-branch candelabrum, 24 in high 22 0
Eighteenth-century circular charger, 20 in diameter 22 0 Pair of altar candlesticks, baluster-shaped stems on triangular
bases, 20 in high 16 0
Pair of baluster and cup candlesticks, 18 in high 15 0
A hot-water meat dish with two handles and a grill, 22 in wide 15 0
A travelling chamber-pot, stamped Jas. Dixon 14 0
Two tankards and a mug 6 0

JUG  DARK GREEN BOTTLE GLASS Willi
c OMBED OPAQUE WHITE THREADED DECORA I KIN
England, laic iSth early 19thcentury
Hi. 105 mm (4-13 in.)
PIPE IN (TEAR COLOURLESS GLASS WITH OPAQUE
WHITE STRIPED DECORATION
Probably Sowerby’s Ellison Glassworks, England,
about 1X60. I.englh 367 mm (145 in.)
Vessels made from bottle glass, and later
clear glass, with applied glass threads,
usually opaque white in colour, marvered
and combed to the surface of the glass,
have come to be known as ‘Nailsea’ glass.
The tradition that associates this type of
glassware with the Nailsea glass-house,
near Bristol, England, is a strong one, but
since this factory made crown window
glass, the earlier bottle glass wares arc
unlikely to have been made there. Because
most of these vessels were made as a
sideline, little documentary evidence re-
mains to show exactly when and where
they were produced. The few dated
examples come from the early part of the
ioth century. It is known that clear glass
‘Nailsea’ type wares were made at a glass-
house in Warrington in Lancashire. ‘Alloa’
glass is the Scottish term for a ‘Nailsea’
style glass. Though there is little direct
e\ idence, there is no reason why the Alloa
Glass-house in Scotland should not have
produced this glassware.
Many other simple wares in a style akin to
‘Nailsea’ glass were produced in the first
half of the 19th century. Among these were
the friggcrs, or glass fantasies—unlikely
objects such as fantastic tobacco pipes,
rolling pins, walking sticks, shepherds’
crooks, bells, witchballs and musical in-
struments represented in glass. Many of
the rolling pins and most of the tobacco
pipes have applied glass threads in opaque-
white or coloured glass, in true ‘Nailsea’
tradition. It is impossible to say where
most friggcrs were made, and they should
be considered as individual pieces of glass-
makers’ skill made both for amusement
and for commercial purposes. They were
produced as private sidelines in the largest
window glass concerns such as Pilkington
Brothers of St. Helens. Probably triggers
were made throughout the 10th century
but a new interest in them appeared at the
end of the century, when small factories
started to produce ruby pipes and bells,
spun glass ships and birds and walking
sticks in quantity.
JUG IN AMBER GLASS WITH WHITE BLOBBED
DECORATION
Found in one of the Aegean islands, mid-tst
century A.D. Ht. 238 mm (9*35 in.)
Marvering small pieces ofglass into the body
of a vessel is a somewhat cruder form of
decoration than applied glass thread-work.
The Romans certainly favoured this mode
of decoration for their vessels. This jug, in
amber-coloured glass, has opaque white
blobbed decoration. The white blobs cover
the whole of the body and the neck of the
vessel, though only a few stray ones can be
found upon the base. Pieces of white
opaque glass would have been scattered on
a flat stone slab (marver) and caught up on
the hot gather of amber glass on the
Roman glass-worker’s blow-pipe. By work-
ing the gather of glass on the marver, he
would bring the white glass level with the
surface of the amber glass, so that a smooth
surface was achieved when the vessel was
eventually blown. This 1st century A.D.
decoration was probably produced in
Northern Italy.
Adding: The Glass-maker’s Skill
FLASK IN PALE BLUE GLASS WITH ‘PEBBLED’
DECORATION
France, 17th century. Ht. 157 mm (6-13 in.)
Though the technique was never wholly
forgotten, the next notable instance of
small pieces of glass being used as a
decoration on the surface of the vessel
came in France in the second half of the
16th century. The technique had been
practised by the Venetians, and was copied
from them by the French glass-makers.
Their multi-coloured ‘marbled’ or ‘peb-
bled’ glass usually consisted of bright
opaque colours splashed on a light blue
glass ground. Shapes favoured by the
French glass-house which produced this
glass were the characteristically French
pilgrim-bottle and barrel-shaped vessels.
There are ample records that Venetian and
Altarist glass-makers worked in France
from the late 15th century onwards,
though few examples of their work have
been recognised. This ‘pebbled’ glass is a
genuine example of French glass a la
fag on de Venise, but remains distinctly
French in style.
Adding: The Glass-maker’s Skill
JUG IN GREEN BOTTLE GLASS WITH FLECKED
DECORA! IDS
England, 18th century. Ht. 181 mm (7-13 in.)
Glasses with flecked decoration, consisting
of fragmented coloured glasses marvered
into the surface of the glass, have often
been brought under the general heading of
‘Nailsea’ glass. This was indeed a charac-
teristic form of decoration for ‘Nailsea’
glass, besides the bold looped and striped
decoration described in the previous sec-
tion. As already mentioned, ‘Nailsea’
glass must be regarded as a style rather
than as a product of any specific glass-
house. Generally speaking, ‘Nailsea’ glas-
ses were made in green bottle glass,
which was used for its cheapness, as it
avoided the Glass Excise Acts of England
(repealed in 1845). Clear glass with striped
and flecked decoration is sometimes also
ascribed to Nailsea and Wrockwardine
Wood, though it was probably produced at
many of the other centres that made this
type of glassware. Products notably in-
cluded jugs, bottles and flasks in the flecked
ware, though more fanciful examples can
be found, such as top hats.
Hobhs, Brockunier& Company, U.S.A., 1884
Ht. 152 mm (6 in.)
In 1884 a patent was issued to William
Leighton, Jr, of Hobbs, Brockunier &
Company of Wheeling, West Virginia, for
his method of producing ‘Spangled Glass-
ware’. His process was a simple one. Flakes
of biotite or mica were laid on a marver and
picked up on a gather of opaque white or
transparent coloured glass. The gather
with the flakes adhering was then dipped
into a pot of clear colourless glass, which
locked in the ’spangles’. The gather could
then be blown and shaped into the desired
article. Spangled glass became one of the
most popular products in both art and
table glassware produced by the Wheeling
company. Sowerby’s, of Newcastle-upon-
Tyne, England, produced a similar ware,
usually with a deep blue base called ‘Blue
Nugget’. ‘Spatterglass’ is similar to Span-
gled glass, except that instead of metallic
flakes, variously coloured fragments of
glass were marvered into the opaque white
or coloured glass base.
About 1884. Ht. 127 mm (5 in.)
In the same style as the foregoing were the
so-called ‘Vasa Murrhina’ glass products.
Coloured glass and mica flakes were em-
bedded in the opaque base, with an overall
transparent casing. John Charles De Voy
of the Vasa Murrhina Art Glass Company
of Sandwich, Mass., and Hartford, Conn.,
registered a patent for this type of glass-
ware in 1884. Sheets or particles of mica
were coated with gold, silver, copper or
nickel. The coated mica was then incor-
porated on to a gather of glass, which was
subjected to heat. This caused the glass to
flow over and adhere to the mica. The
gather could then be blown into the article
required. Shards of ‘Vasa Murrhina’ type
glass have been found on the site of the
company’s factory in Sandwich, also on
the old factory site of the Boston &
Sandwich Works. Patents for this type of
glassware were registered in England
between 1878 and 1882.
WINE-GLASS INCORPORATING rHREADS Of OPAQUI
WHITE GLASS
Venice, Italy, 16th century. Ht. 131 mm (5-13 in.)
Incorporating threads of opaque white glass
into the body of a vessel was a development
of the Venetian glass-makers. Thin rods
of opaque white glass (lattirno) were
probably set at exact intervals round the
inside of a heat-resistant open container.
A gather of clear, colourless glass would be
blown into the centre of the container, and
the rods of glass caught and worked very
gently into the gather of glass. The bubble,
now containing the white threads, could
then be blown to the desired shape.
Another method that might have been
used by the Venetians was to lay alternate
rods of opaque white and clear, colourless
glass side by side on a tray, and then to fuse
them together in a kiln. These could then
be caught up on a gather of clear, colour-
less glass and blown to the shape required.
In both these processes, in order to make
the ends of the rods meet, the end of the
bubble would have to be pinched together
and the unwanted glass cut away.
The influence of Venetian glass-making
spread all over Europe, notably to Spain,
Germany, France, the Netherlands and
England, during the 16th and 17th cen-
turies. Thus the technique of incorporat-
ing threads of lattimo glass into the body
of a vessel appears in other glass-making
centres besides Venice. Each of the Euro-
pean countries mentioned developed its
own version in the facon de Venise, the
influence of the local glass-blowers making
itself felt, so that pure Venetian inspiration
vanished and strong regional characteris-
tics began to prevail in the glassware. The
jug illustrated—a remarkable example of
the use of broad vertical bands of lattimo
glass between very narrow lines of clear,
colourless glass—is, in shape, a vessel of
typical late mediaeval form in the Southern
Netherlands. The contemporary value of
the piece is reflected in the use of silver-
gilt mounts on rim, handle and base. A
similar glass is listed in the 1559 Inven-
tory of Queen Elizabeth I of England.
In Roman times glass-makers sometimes
decorated the edge of vessels with a rope-
pattern, where an opaque white thread was
twisted and embedded in clear, colourless
or coloured glass. This is the only early
parallel to the Venetian technique of
incorporating threads of white glass into a
vessel. The Italian glass-makers who
migrated to other countries, and their
pupils, certainly had full command of the
technique. As well as the illustrated flute
glass, which has made delicate use of the
technique in the long bowl, handsome-
tankards employing the technique were
produced at Liege or in the Netherlands.
In Germany, the popular tall cylindrical
glass, or ‘Stangenglas’, was not only made
of cristallo glass, but was often decorated
with these bands of lattimo glass incor-
porated into the vessel. Rarely, coloured
as well as opaque white threads were used,
in colours like yellow, purple and blue.
Adding: The Glass-maker’s Skill
A superb sophistication of” the technique
just described is shown in the plate
illustrated. It is in fact made up of two
plates, with opposing white radiating
thread decoration, which were fused to-
gether to form one piece. Tiny air bubbles
were caught between the threads, giving
the plate a rich and delicate appearance—a
wonderful example of the Venetian glass-
maker’s versatility. The essentials of the
technique have been copied successfully
by the American glass artist and tech-
nologist, Dominick Labino, of Grand
Rapids, Ohio. He placed 12 opaque white
threads in a metal container at even dist-
ances and worked these into a gather of
glass, as already described. He then blew
the gather into a bubble, catching the end
of it and twisting the glass one way so that
the threads spiralled to the left. After
forming a bowl shape, he put this into a
specially prepared crucible and placed it in
the annealing kiln to keep warm.
The next stage in the production of
Labino’s vetro di trina was to repeat the
procedure with another gather of glass.
this time with the 12 threads spiralling to
the right. The first bowl shape was then
taken out of the annealing kiln in its
container, and the second partially-blown
gather dropped into it, so that the two were
joined when further blowing was em-
ployed. The two joined paraisons were
then reheated, and a further gather of glass
taken over them, to give the finished object
added strength. From this Labino formed
in the usual way a dish which had opposing
white radiating thread decoration in the
Venetian tradition. The Italian name for
this type of glass means iace glass’; in
German it is known as ‘Netzglas’. Apsley
Pellatt in his book Curiosities of Glass-
making (London, 1849) describes basically
the same technique, whereby two cup-like
formations, one with milk-white canes
spirally applied inside the cup, the other
with milk-white canes spirally applied
outside, were combined, the former over
the latter, to produce a vessel in vetro di
trina. The technique was used in England
and on the Continent in the 19th century.
In the mid-iqth century, Bohemian,
French and English glass factories all
imitated Venetian techniques of glass
manufacture. This included the incor-
poration of opaque white or coloured
threads of glass into the body of a vessel.
So-called 19th-century ’striped’ glass fol-
lowed this technique. Coloured and clear,
colourless glass rods would line a mould.
A bubble of glass blown into the mould
picked up the rods, and they became as one
with the body glass. When the bubble of
glass was deftly twisted, the embedded
rods could be made to spiral around the
body of the finished vessel. To produce
the fine effect seen on the ewer illustrated
demanded a considerable amount of skill
on the part of the glass-maker. A patent
for ‘Improvements In Decorating Glass
With Stripes’ was taken out in 1885 by
V\ illiam Webb Boulton of Bonbon &
Mills, who had the Audnam Bank glass-
house in England.
Ice Glass: The Venetians decorated some
clear glass by plunging a bubble of hot
glass for a moment in water and then
reheating it. This produced a roughened,
fro/en or crackled appearance, given the
name ‘Ice Glass’. A further means of
producing a frosted effect upon glass is to
roll a bubble of glass over a marver that
has previously been covered with frag-
ments of broken glass. The fragments
adhere to the hot bubble, and when the
whole is slightly reheated, form an ‘icy’
effect. The bubble can then be worked to
form the desired article. The beaker
illustrated is a handsome example of the
Venetians’ work. The frosted texture is
only on the outer surface of the glass, the
interior surface remaining smooth to the
touch. Visually, these pieces appear to be
covered with cracks, but the reheating
makes them perfectly whole and quite sale
for use. Once the technique had been
invented by the Venetians, it spread
quickly throughout the Continent.
Apsley Pellatt (1791-1863), the 19th-
century glassmakcr of the Falcon Glass-
house in Southwark, London, continued
to make his mark on his trade by the
publication of two books on glass-making,
published respectively in 1821 and 1849.
In his Curiosities ofGlassmaking, published
in 1849, he described several of the
Venetian techniques, including the pro-
duction of ‘Ice Glass’ or frosted glass. At
the 1851 exhibition his firm made a special
display of the technique, which he called
‘Anglo-Venetian’. In his explanation he
shows how a gather of glass was slightly
inflated, then plunged at nearly white heat
into cold water; it was then immediately
reheated, giving a crackled effect on its
outer surface. The bottom of the bubble
was flattened and a pontil rod attached;
the blow-pipe was removed and the article
finished on the pontil rod. Great care had
to be taken not to overheat the article, as
this would melt out the frosting.
Apsley Pellatt claimed that the technique
of ‘Ice Glass’ was known and practised
only by the Venetians until he revived it in
the mid-i9th century. This would seem to
be incorrect, since several examples of the
technique are to be found from the
Continent between these dates. At first,
only clear colourless ‘Ice Glass’ was pro-
duced, to simulate real ice, but mid-igth
century fashion soon desired it to be
coloured. Usually the base glass was
coloured in ruby, rose, yellow, blue or
green, the fragments picked up being clear
and colourless. Occasionally the reverse
happened, the fragments being coloured
and the base glass clear and colourless. Ice
Glass known as ‘Craquelle’ and ‘Overshot’
was produced by the Boston & Sandwich
Works, and possibly by some other
American factories. It was advertised in
1883 by Hobbs, Brockunier & Company in
‘Rose, Sapphire, Old Gold and Marine
Green’ colourings.