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41
Glass Paperweights / Re: Murano or American scramble
« Last post by tropdevin on Yesterday at 07:43:25 AM »
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Hi.  There was an article on the use of aventurine in paperweights in the Paperweight Collectors Circle Newsletter, Issue 112, August 2013.  In that the author identified over 23 different makers (including TVG) post 1920, and 8 different countries pre-1920, who had used aventurine in paperweights! 

Alan
42
Glass Paperweights / Re: Murano or American scramble
« Last post by Lustrousstone on Yesterday at 07:02:44 AM »
and aventurine features in weights made by Teign Valley Glass
These are not always signed or labelled but the indented fire polished base can provide a clue here
43
I always think Gordiola has a slightly "off" Victorian style, like its trying to hard to look old.
44
Glass Paperweights / Re: Murano or American scramble
« Last post by tropdevin on Yesterday at 06:40:32 AM »
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Hi.  I agree this is a Murano scramble - a common design.

Regarding the use of aventurine, it is certainly true that it often features in Murano paperweights, but there are quite a lot of modern Chinese pieces that use a slightly duller version of aventurine - often blown into a bubble, and combined with white and / or pink threads in 'jellyfish' or 'firework' shapes.  These are sometimes listed on eBay as 'Murano', or with even wilder attributions such as 'Scottish' or 'antique French'.

Alan
45
Glass / Re: Help with this Feathered Vase Maker
« Last post by langhaugh on Yesterday at 06:36:49 AM »
No marks on the base?  My guess was American studio glass. Rather than feathering (fenicio), it looks like it was created by twisting the blown gather in an optic mould, adding more glass, and then again twisting the gather in the optic mould, but in the opposite direction. But I've been wrong more than a few times.


David

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I tentatively concluded Sowerby about mine on some basis or other! I think we can rule out the US, as it's a pretty common salt here. I think you're right about Joseph Webb
47
Glass / Re: (Italian) Glass terminology etc.
« Last post by langhaugh on Yesterday at 06:30:57 AM »
Good questions, Bob. One problem is that there are a few terms used for Murano, and other, glass that are used fairly loosely. My recommendation is to understand the techniques that are used so that you have a clear idea of what is actually happening in the glass-making process. Your question about latticino vs reticello vs zanfirico is a good example. The term latticino is used widely to describe canes that are white, but the term isn't really a Murano term. Reticello is an established technique where a bubble is created in the middle of intersecting canes applied to a blown gather of glass.  Zanfirico is generally the result of rods of glass being  heated, fused together, and the pulled and twisted. I should say I've also e seen narrower definitions of zanfirico.

Two books that have helped me enormously and are very different. One, Murano Glass: Themes and Variations, is by is by a renowned glass writer, Marc Heiremans. The photographs are of very high end Murano glass. The other is Advanced Glassworking Techniques (ISBN 0-96387281-8) by Edward T. Schmid, who is a working glassblower in the Pacific Northwest. The  book has only drawings and looks handwritten, which was off-outting at first, but it contains everything you want to know about glassblowing techniques. And he writes in a straightforward, easy to understand style.

Good luck.

David
48
Very nice. British is a good guess LOL
49
Glass Paperweights / Re: Murano or American scramble
« Last post by BobKegeles on Yesterday at 05:58:08 AM »
Thank you
50
Glass / Re: Figuring out who made this and when...
« Last post by amlovelady on Yesterday at 03:29:09 AM »
I just thought I would mention that this picture of the mark is an impression on an eraser not the actual mark which I thought would be easier to see this way. Thanks for your time and for taking a look.
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