I agree with Frank. That vase socked me one when I saw it and held it. It is easily the most instantly recognisable one-off piece of glass I know, made for love, nothing else, and never repeated. One strange feature of it is that it is a lot smaller than I had expected, like the surviving fragments of the Morrison tazza in Broadfield House (see Hajdamach). If you are fortunate enough to see this vase you will never forget it — it is stunning.
Two rather ordinary pieces of glass are rather special to me. One is the engraved cup which my brother Andrew won at the Midlands Classic Bike Show in 1996 for the best restoration of a special. I was given this after his untimely death five years later, when he was killed by a Tesco lorry pulling out of a side turning on to the Chester Road without properly checking for oncoming traffic, leaving him with nowhere to go. The other is a simple early blown Jobling Pyrex tumbler with a slightly flared rim in an elegant EPNS holder, which Janet's mother always used for her nightcap.
I think my favourite piece of glass in stock, which I would be rather distressed to sell, is my purple ribbon cloud 278 and holder. This is by far the most spectacular and interesting example of cloud glass I have ever seen, and, with Adam's invaluable assistance (although not necessarily his wholehearted agreement), enabled me to work out most of how and why ribbon cloud glass was made. I use the term
ribbon cloud with some hesitation, as to my knowledge it is not yet proven that Davidson used the term cloud glass for it.
What is interesting is that the process enabled Davidson's glassmakers to make just one at any time, unlike conventional cloud glass where the process favoured making a run of glass in that cloud colour combination. Unfortunately the problem of how the spiral of amethyst glass was made is still unresolved. Three possibilities are from rod, trailing a spiral on the marver, and moulding using a pincer-type tool (compare Hajdamach plate 284 and the text immediately below).
This 278 made me much more interested in cloud glass generally. Subsequently I have recognised two 279s made with two distinctive gathers; a clear first one followed by a cloud second. Also I found an Ora 279 made from amber cloud, not the more usual purple cloud, and now I always look closely at Ora to see if it is possible to determine which colour was used as the base. This also raises the possibility that some (or all) examples of tortoiseshell are just Ora with the paint stripped off.
I like and am fascinated by puzzles. Bernard C.
