Art Glass
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It is a great privilege to study, conserve, and
live with significant works of glass. I have received much pleasure from my
custodianship of this glass. However, I feel the rewards of this collection go
beyond my enjoyment. Many of these works are recognized as significant
achievements in the history of glass, and so this collection has an importance
for the continued development of the field of glass art.
The first pieces of glass I owned were a group of old, colored Steuben pieces. They were given to me by my mother shortly before she died. While I was in high school we lived in Corning, New York, just a few houses away from Frederick Carder. Carder was the founder of Steuben Glass and he designed the majority of the colored pieces Steuben produced between 1903 and 1933. I had always enjoyed living with the Steuben works that were previously my mother's.
When I started to
experiment with glass in 1958, I sought out Mr. Carder. I traded him a small
ceramic pot of mine for a piece of his glass This was the true beginning of my
collection. When I began teaching glass-working I used the few pieces I owned to
show my students how they were made and to discuss their significance. Since my
father worked for Corning, I had been raised to look at glass-from water
tumblers and ash trays to the most elaborate works-to consider how it was made
as well as the problems of its production. I continued this approach when
discussing my "teaching" collection.
As I accumulated more glass, I began to set some parameters. I was particularly interested in "Art Glass," as the term is generally used in the antique trade, and not other types of glass such as paperweights, carnival glass, depression glass, or early American bottles. My primary criterion was that pieces should be attributable to an individual artist or designer or to a factory that utilized designers whose work carried their personal stamp Tiffany, Gallé, and Carder were naturals according to my criteria. All three were trained as artists and each had enough money or resources to establish their own factories During the 1960's I bought what I could afford of their glass.
I was attracted to Loetz glass, particularly the material from pre-World War I Austria-Hungary. I also began to recognize the genius of the various designers who were centered in Vienna at the turn of the century I continue to search for works of the Viennese and Czech artists Among the many French artists I have found the work of Charles Schneider particularly intriguing He was a sculptor who had worked for Daum before establishing his own factory in Alsace-Lorraine.
When I began thinking
of making glass in 1957, I heard of Jean Sala and looked him up in Paris I had
the opportunity to see him several more times before his death in 1975. Sala
worked alone in a small atelier in Montparnasse in Paris, before he stopped
working about 1950 I have found only one of his pieces, but I cherish it as a
fine work of art and as the reminder of our brief friendship Sala led me to all
the producers of "Pate de Verre" -a method of casting ground glass or
glass shards in molds and sintered in a furnace. I acquired works by Gabriel
Argy-Rousseau, Walter, Despret, and Decorchemont. I had created two Pate de
Verre pieces in Corning, in 1942 and 1946, so I was particularly fascinated by
these French glass artists.
I have found many
friends in the glass world. As other artists have done, I traded for works as
well as buying their
work when it appeared on the market. I met Andries Dirk Copier in London in 1968.
He was there to address the Eighth World Glass Congress on his retirement as the
Vice-President and Artistic Director of the Royal Leerdam Glass Factory in
HoIland. Later, I found a few of his glass pieces. Copier visited me in North
Carolina in the early 1980's to produce a series of pieces in my studio He made
three visits; the last was in 1985 at the age of 84. These visits to my studio
resulted in the creation of a fine body of work.
Sybren Valkema became my friend and associate in 1964. In addition to producing his own work he also worked for Leerdam, producing "Unica" or unique works. He too worked in my studio on several occasions. In 1972 at a conference and symposium in Zurich, Switzerland, Valkema and I met Raoul Goldoni of Zagreb, Yugoslavia. I enjoyed Goldoni's friendship and later shared an exhibition with him at the Heller Gallery in New York City. After the exhibition ended he visited my studio, and we made a few pieces together. When several of his major works came up for auction at the New York Sotheby's, I was fortunate enough to purchase them. I believe that his "Head of a Doe," produced in Murano at the Seguso furnace, is one of the greatest single pieces of artist produced glass in the twentieth century.
I cherish all the pieces I have acquired, and hope I have been a good steward. The pleasure this collection gives me is my greatest reward. I appreciate the opportunity to exhibit this portion of my collection, and look forward to sharing them now and in the future.
~ Harvey K. Littleton
Glass for sale from the Harvey K. Littleton Collection
Click on pictures to enlarge
Auguste
Jean
Vase with enameled and gilt portrait, "Clemence d'Anjou"
$5,000
Daum
An unusual bowl. Pressed opal glass with inclusions of pink, green and blue.
Ground pontil, signed in mold in relief.
3 x 8 inches
$3,000
Daum
A large vase rolled in manganese and apple yellow. Wheel signed on the side.
19 1/2 inches high
$4,000
Click on pictures to enlarge
Gallé
Etched and wheel ground cameo vase, Etched in relief on wall "Gallé"
9 1/8 inches high (23.8 cm)
$3,600
Marcel
Goupy
Yellow vase with black and white enameled decor
$2,000
Legras & Cie
Long necked vase, body flattened on three sides.
Inclusions of red in green glass. Acid cut and gilded leaves and berries decor.
Signed on base with LGc cipher, St. Denis - Paris.
24 ½ inches high (62 cm)
$5,000
Loetz
Cameo vase, ca. 1923
Opal white with overlay of violet and dark green glass, acid cut decor
10 1/4 inches high (10.5 cm) Etched in relief "C.a. Loetz" on wall
$3,500
Click on pictures to enlarge
Loetz
Four handled vase in Aastra decor, 1902
Production crack on one handle
Signed Loetz Austria in basel globe HKL #1019
11 7/8 inches high (30 cm)
$8,000
Loetz
Vase with Medici decor
8" high (20.5 cm) unsigned
$2,000
Loetz
Vase with two handles, optic mold blown, 1904
8 ½ inches high (21.5 cm) unsigned
$ 900
Loetz
Vase, Phänomen Gre 6893
5 3/4 inches high (14.7 cm) unsigned
$4,000
Click on pictures to enlarge
Loetz
Vase with Diaspora decor, 1902
Tricorn top, three deep indentations on everted lip
5 1/2 inches high (13.7 cm) unsigned
$2,500
Loetz
Bottle, Phänomen Gre 1.844, 1901
9 1/2 inches high (24 cm) unsigned
$2,500
Loetz
Vase, yellow glass over clear, Medici decor
5 1/2 inches high (14 cm) unsigned
$2,000
Loetz
Martele decor with prunts, 1900
3½ inches high (8.5 cm) unsigned
$ 800
Loetz
Vase Phänomen Gre. 1/78, 1901
5 1/4 inches high (13.2 cm) unsigned
Click on pictures to enlarge
Ludwig
Moser
Green chrome glass with acid cut. Gilded band of Neoclassical style.
Small chips underneath shoulder above gilded band. Signed "Moser Karlsbad Czechoslovakia"
6 inches high
$1,500
Ludwig
Moser
Cut amber selenium glass with acid-etched and gilded band. Repeating satyr/maenad design.
Signed "Moser Karlsbad" in acid on base.
12 1/2 inches high
$3,500
Click on pictures to enlarge
Ludwig
Moser; designer Heinrich Hussman, 1920s
Signed in basal globe with cipher and on base "Made in Czechoslovakia Moser Karlsbad"
5 inches high, 7 inches wide
$3,500
Ludwig
Moser
Amber box with gilded acid-etched bands
3 inches high
$1,100
Orrefors, designer: Sven Palmquist
Ravenna bowl nr 2690, Signed
4½ inches high, 13 inches diameter
$6,000
Click on pictures to enlarge
Orrefors,
Designer: Gunnar Cyrén
Graal B947-77, Signed
4 5/8 inches high
$ 750
Schneider (attributed)
Vase, wrought iron cage, unsigned
6 1/2 inches high (16.4 cm)
$1500
Schneider
Acid etched decor, manganese purple underlay shading to clear glass at top
7½ inches high (19 cm) Signed in acid "SCHNEIDER" on base
$1,000
* Prices are subject to change without notice.
To order:
Email The Littleton Collection (press "contact us" below) to let us know which object you would like to purchase; we will confirm the price and that the piece is still available.
Florida, North Carolina and District of Columbia residents: State tax will be added to the purchase price.
Prints are shipped flat. Shipping and handling adds $25 to the price of the object.
Payment:
Send check or money order for glass objects tax and shipping to:
The Littleton Collection, 3690 N. US 1, Fort Pierce, Florida 34946
We also accept Visa and MasterCard over the telephone.
Shipment and returns: Glass objects are shipped to the purchaser in a double box. Shipping and insurance adds to the price of the object. Please ask for an estimate.
If you are not satisfied with your purchase return it within seven days of receipt in the packaging in which it was sent. The Littleton Collection will refund the purchase price on undamaged merchandise.
Questions: Email below or phone us in Florida at 772/595-9845 (9:00 to 5:00 EST -- long distance charge).