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Glass / Re: Vase signed G.S.F. - American?
« Last post by Paul S. on Today at 12:28:23 PM »
hello m.          well, Manley commented that T/Webb had no record of this surface pattern, and commentators from 2012/2013 GMB posts appear to have exhausted all avenues and came to the conclusion there was no justifiable reason for hanging on to the Webb provenance.     As for your comments about the Webb catalogue, this is possibly an instance of not being able to disprove a negative, so to speak.
The Webb attribution has been maintained by those who it appears have not carried out proper research, instead relying on prior comments from others only and just copy the wording - combined with the mysterious G.S.F. initials  -  which as far as I can see have never been shown to belong to anyone at T/Webb who can be linked positively to manufacture of the Rd. 41925 design.
Your link is another States based source, and it does seem the other side of the pond are more than keen to maintain the Webb attribution since it will carry a better price  -  despite the probable fact that none of them has actually researched these pieces, and what does the comment "Concurs with house" mean? :)

Looking back to where I added pix of the original photos of the designs from W. & R. (for scale and hammered decoration), my opinion is that the piece in your link shows the hammered design Rd. 39086, and not the scale design Rd. 41925.
Again, only my opinion, but the lack of details of provenance by the auction house, in your link  -  omitting the W. & R. connection, and attributing their vase to the wrong decorative pattern - shows that research has not been done effectively.     Again, like so many sellers of these things, on the face of it there looks to be copying of someone else's description, and not a good one at that. :)

Have to say that I was surprised that Fieldings described Rd. 41925 (for the scale pattern) in the link to their sale, as being cut  -  it seemed far more likely that it had to be a moulded pattern.
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Quote
it looks as if Nic's lamps are spot on (unless he photoshopped them  ;D )

Because I buy/sell, and run through lots of photos, I have to make post-production editing as quick and pain-free as possible... so they're definitely spot-on!  :)

Additionally, if going for fluorescent tube lighting and you anticipate photographing coloured glass, always try to get tubes with a high colour rendering index (CRI) - 90, preferably - it will ensure that your colours are as close as possible to real life. Again, saves post-production tweaking time.

It's usually indicated in the coding on the packaging, if not already explicitly outlined - so a 5500k tube with a CRI of 90, say, will be '955', 3500k with 70 CRI is '735', etc...
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Glass / Large Green Uranium Bowl - Help with Possible Maker?
« Last post by auliya on Today at 11:19:32 AM »
I am hoping someone can help with identifying this large green uranium glass bowl. To date I have had no luck, so I am hoping someone here recognises it :-)
Many thanks.
Auliya
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Glass / Re: anyone recognize this signature on a French Deco vase?
« Last post by chopin-liszt on Today at 10:56:30 AM »
Thank-you, yet again, Anne, for your hard work and generous contribution to our knowledge. :-*
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Glass / Re: anyone recognize this signature on a French Deco vase?
« Last post by Anne Tique on Today at 09:51:40 AM »
I forgot to mention, that the last article was a report on the Exhibition of Lyon in 1923. I love the way some things were described in the early days. It mentions that the Stand of Decorative Arts exhibits a very nice artistic collection of footed bowls, flower bowls, ceiling lights, lamps, sconces, powder boxes, little electric lamps all in enamelled glass from which the reflections are the brightest and shiniest. All the objects on display carry the signature from the decorating artist  Quenvil, a young man who can be classified as one of the best. His works of art are for sale in all department stores of good taste.

The clippings have no copyright on them and I have  the permission of the person who found this information, who's happy to share it with you.
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Malta Glass / Early Mdina etched signature
« Last post by WhatHo! on Today at 09:36:16 AM »
Hi Guys, most of the early pieces that are just signed 'Mdina' are signed by Maria or Dobson with a dremel tool. Does anybody know of examples that are scratched on with a diamond point scribe (not including fully signed Harris pieces) ? Any info or pics would be very welcome.
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Glass / Re: anyone recognize this signature on a French Deco vase?
« Last post by Anne Tique on Today at 09:12:18 AM »
Several posts on this subject, so I thought I just pick one.

Quenvit, Quenoil ... several suggestions from different books etc... but I thought i'll share something that has been dug up on a different forum.

As mentioned earlier on, Quenvit was suggested bu Cappa. What I don't like about some parts of his books,  is that he makes a very vague suggestion and then in the re-edition, he refers to himself in the earlier edition and makes the suggestion more or less a fact. He also does this with Verlux and Etling.

In 1991 he says about Quenvit "this unknown signature could probably be connected to Legras, as it, the signature, could be one of many variations". The illustrated vase is therefor attributed to Legras, but signed Quenvit.

In 1997 he says that the signature Quenvit can be linked to Legras because a vase looks very much like one from Legras. Ref edition Cappa 1991.

Hartmann says in the Glasmarken Lexicon, that it is a signature, that is often mistaken for Quenvit or Quenvil, but should be read as Quenoil. His reference comes from the 1930 Inventory of Ceramics and Glass manufacturers in France. The address of the mentioned company was 47, Rue d'Hauteville in Paris.

Unfortunately no Quenoil was ever registered there or ever existed, and I was surprised to read that, as Hartmann does refer to the inventory of 1930 having read Quenoil.

What was registered at this address, was a Henri Quenvil, glass and ceramics decorator. A clever person managed to find a couple of clippings  in the online french library, dating back to 1919, 1923 and 1925.

One add is a demand for glass decorators from the newspaper 'Le Journal' 19 sept 1919, one from a listing in an industrial report from 1925 and one article from Le Figaro from 18 march 1923.

So I guess we can say this signature belongs to Henri Quenvil and not Quenvit or Quenoil.

What is also interesting, is that some books on Legras, say that Quenvil has got nothing to do with Legras, because the quality is far more superior then Quenvil, but at the same time, there was an outlet/department for Saint Denis Glass in the same street on number 62, so maybe as mentioned above, Legras produced blancs for Quenvil.
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Glass / Re: Vase signed G.S.F. - American?
« Last post by flying free on Today at 08:47:55 AM »
Well, the only thing is, it's ok to be emphatic but there was never a definitive no to Thomas Webb on the basis of pattern books.
And then I found two vases Fieldings 'sold as Thomas Webb' that had the same collar pattern and gilding (they weren't the fish scale or hammered vases though).  So that does raise a query.

I am adding a link to a good example of a gilded pink fishscale vase - so people can look at the attributions of these vases and perhaps get more clues:

https://fineart.ha.com/itm/art-glass/webb/an-english-satin-and-enamel-glass-vase/a/614-30228.s

- it has a polished pontil, a black enamelled GSF signature on the base, the firepolished crimped rim, and a gilded design on it.

m
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Glass / Re: Vase signed G.S.F. - American?
« Last post by Paul S. on Today at 08:23:10 AM »
looking at some of the knowledgeable comments from two or three years back, regarding the W. & R. 'scale' pattern Rd. 41925, I can't now help but feel we've currently been wasting a lot of time and effort going back over what appears to be very well trodden ground.           I should perhaps read these things in more depth, but it seems there was no shortage of folk being very emphatic, then, that T/Webb had been quite properly dismissed as the maker of these pieces.             Taking that thought together with Manley's comments etc., it would seem pointless for anyone to maintain the Webb provenance.

Unfortunately, when a reputable auction house - many of whom understandably don't have the time for in-depth research  -  maintains faith in a particular provenance/attribution, then there is an assumption, by the public, that the assertion/s must be true.
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Glass / Re: John Walsh Walsh Crushed Strawberry Vases
« Last post by Lustrousstone on Today at 08:18:08 AM »
Definitely. Mrs Green here.
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