I like this. What a clever, simple idea! I put cool seashells that I have varnished in old antique, clear cookie jars. Organized displays are great. Posted by Bill Bixby (Ellington, CT) over at Anitque-Bottles.net.
The most delightful and healthful Tonic ever introduced to the Southern Trade
I wrote a post earlier today on the extremely rare SUMTER BITTERS from Charleston, South Carolina (Read: Sumter Bitters – The Great Southern Tonic) and it seemed logical to pair it with a follow-up post on the extremely rare, OLD CAROLINA BITTERS, also from Charleston, South Carolina. Interesting that so many broken examples of each bottle were dug in one pit.
The Carlyn Ring and W.C. Ham listing in Bitters Bottles is as follows:
Read Further: 2 XR Augusta and Charleston Square Bitters Spotted
Read Further: South Carolina Top 25 Bottles by Bill Baab
Newspaper advertisement: Goodrich Wineman & Co., Old Southern Drug House, Re-established 1866, No. 153 Meeting Street, Formerly John Ashhurst & Co., (George C .Goodrich, Phillip Wineman, John Ashhurst), Charleston, S.C. – Edgefield Advertiser, Wednesday, December 5, 1866
Newspaper advertisement: The Old Carolina Bitters, The Great Southern Tonic, Goodrich, Wineman & Co., Charleston, S.C. – The Orangeburg News, Thursday, November 21, 1867
Newspaper advertisement: The Old Carolina Bitters, Manufactured by Goodrich, Wineman & Co., Charleston, S.C. – The Greenville Enterprise. Wednesday, September 23, 1868
Newspaper advertisement: The Old Carolina Bitters, A Southern Preparation, Goodrich, Wineman & Co., Proprietors and Manufacturers, No. 23 Hayne Street, Charleston, S.C. – The Daily Phoenix, Wednesday, August 11, 1869
Newspaper advertisement: Old Carolina Bitters, A Delightful Tonic, Goodrich, Wineman & Co. – The Sumpter Watchman (Sumterville, S.C.) May 4, 1870
Newspaper advertisement: Old Carolina Bitters, Principal Depot, Goodrich, Wineman & Co. – The Charleston Daily News, Monday, December 19, 1870
Newspaper Testimonials: Old Carolina Bitters, Goodrich, Wineman & Co., Principal Depot, No. 35 Hayne Street – The Charleston Daily News, Thursday, March 23, 1871
Newspaper advertisement: Old Carolina Bitters, Phillip Wineman & Co.,– The Charleston Daily News, Thursday, May 23, 1872
Golden Eagle Bitters (left) and Old Carolina Bitters (right) – Newman Collection
Golden Eagle Bitters (left) and Old Carolina Bitters (right) – Newman Collection
Old Carolina Bitters (left) and Golden Eagle Bitters (right) – Newman Collection
From the informative bottle web site RicksBottleRoom.com: This weeks bottle of the week is from fellow collector and member, Robert Biro’s collection. The bottle was found in a Savannah dump”.
from RicksBottleRoom.com, Example of dug Old Carolina Bitters – Robert Biro
South Carolina Top 25 Bottles by Bill Baab – Summer 2003 FOHBC Bottles and Extras
Decades of growing strife between North and South erupted in civil war on April 12, 1861, when Confederate artillery opened fire on this Federal fort in Charleston Harbor. Fort Sumter surrendered 34 hours later. Union forces would try for nearly four years to take it back.
Sumter Bitters advertisement – The Charleston Daily News, May 27, 1870
We now find ourselves with a new dug, extremely rare, Sumter Bitters example from Charleston. “The lone survivor, from a crazy pile of crushed Old Carolina’s and Sumters that literally measured up to my knee. It has issues. Missing rear corner and an interior ice pick bruise from opening. There were also 3 Old Carolinas with lip issues”. – Phil Edmunds
Sumter Bitters, The Great Southern Tonic advertisement – The Sumpter Watchman (Sumterville, S.C.) May 4, 1870
The Carlyn Ring and W.C. Ham listing in Bitters Bottles:
S 221 SUMTER BITTERS // DOWIE MOISE & DAVIS / WHOLESALE / DRUGGIST // CHARLESTOWN. (spelling error) S.C. // f //
9 7/8 x 2 5/8 (6 7/8) 3/8
Square, Amber, LTCR, Applied mouth, 3 sp, Extremely rare
Carlyn Ring and W.C. Ham Bitters Bottles S 221 listing for the Sumter Bitters
Engraving representing The 1861 bombardment of Fort Sumter
Fort Sumter is a Third System masonry coastal fortification located in Charleston Harbor, South Carolina. The fort is best known as the site upon which the shots initiating the American Civil War were fired, at the Battle of Fort Sumter.
The Fort Sumter Flag is a historic United States flag with a distinctive, diamond-shaped pattern of 33 stars. The flag was lowered by Major Robert Anderson on April 14, 1861 when he surrendered Fort Sumter, in the harbor of Charleston, South Carolina, at the outset of the American Civil War.
The original flag is still on display at Fort Sumter in a museum maintained by the National Park Service. Commercial replicas of the flag are widely available.
Anderson brought the flag to New York City for an April 20, 1861 patriotic rally, where it was flown from the equestrian statue of George Washington. More than 100,000 people thronged Manhattan’s Union Square in what was, by some accounts, the largest public gathering in the country up to that time. The flag was then taken from town to town, city to city throughout the North, where it was frequently “auctioned” to raise funds for the war effort. Any patriotic citizen who won the flag at auction was expected to immediately donate it back to the nation, and it would promptly be taken to the next rally to repeat its fundraising magic. The flag was a widely-known patriotic symbol for the North during the war.
On April 14, 1865, four years to the day after the surrender and as part of a celebration of the Union victory, Anderson (by then a major general), raised the flag in triumph over the battered remains of the fort.
The Rev. Henry Ward Beecher was the principal orator at the 1865 celebration, and gave a lengthy speech, as was the custom of the day. He said: ” On this solemn and joyful day, we again lift to the breeze our fathers’ flag, now, again, the banner of the United States, with the fervent prayer that God would crown it with honor, protect it from treason, and send it down to our children…. Terrible in battle, may it be beneficent in peace [and] as long as the sun endures, or the stars, may it wave over a nation neither enslaved nor enslaving…. We lift up our banner, and dedicate it to peace, Union, and liberty, now and forevermore.” – Rev. Henry Ward Beecher
Coincidentally, later that night President Lincoln would be shot at Ford’s Theatre.
The Heroes of Fort Sumpter – Fort Sumpter Officers
1861 – 1961 4 cent Fort Sumter Civil War Centennial United States Postage Stamp
SUMTER BITTERS // DOWIE MOISE & DAVIS / WHOLESALE DRUGGISTS – Tom Leveille
SUMTER BITTERS // CHARLESTON S.C.- Tom Leveille
An area of high interest to me is early American blown three mold glass and in particular decanters. Elizabeth and I typically see decanter pieces at the mid Atlantic and New England shows such as Baltimore, Heckler in CT and Keene, NH. I really like the geometric pattern and beauty of these pieces since they seem so different from the Bitters bottles I collect. With examples periodically appearing in auctions and facebook on the bottle group sites such as Bottle Collectors and Early American Glass, I thought it was high time that I dig a little further into this area. I also realize this will be an important part of the FOHBC Virtual Museum of Historical Bottles and Glass.
I have compiled some pictures and information from Wikipedia which seems like a good place to start. Information is limited online which is surprising but I did find a nice article by New England collector Michael George. Read More: Glassmaking in “early” New Hampshire by Michael George
Early American molded glass refers to functional and decorative objects, such as bottles and dishware, that were manufactured in the United States in the 19th century. The objects were produced by blowing molten glass into a mold, thereby causing the glass to assume the shape and pattern design of the mold.
Common blown molded tableware items bearing designs include salt dishes, sugar bowls, creamers, celery stands, decanters, and drinking glasses. Household items, other than dishware, made using the three-mold method include inkwells, oil lamps, birdcage fountains, hats, medicine and perfume bottles, and witch balls. Whiskey flasks bearing unique designs were made in two part molds. Undecorated bottles used as containers for a variety of liquids were blown into square molds to give them corners so they could be packed into compartments of wooden cases.
After the War of 1812, American glass manufacturers began using molds as an inexpensive way to produce glassware similar in appearance to the very costly cut glass that was imported from Waterford, Ireland. A dearth of skilled glassblowers may have also led to the increased use of molds. Blown molded glass was popular for about twenty years before it was superseded by pressed glass.
The process of blowing molten glass into a mold made of clay is known to have been employed in Syrian workshops as early as the 4th century BC. Romans adopted the technique in the 1st century CE. Molds used in 19th century European and American glass factories were cast in iron or bronze. They were made by professional mold manufacturers in many large United States cities and were universally available.
Although no intact molds have been found, fragments of molds have been excavated at glass manufacturing sites in Sandwich, Massachusetts and Kent and Mantua, Ohio.
The mold, which was placed on the floor or below floor level, was not three molds, but one mold in three parts. It was made of hinged sections that could be opened and closed by means of a foot or hand operated treadle. One of the vertical walls of the mold was permanently fastened to the base and the other walls were attached to it by removable pins. Designs were cut into the inside walls of all mold parts. Some molds impressed a pattern on the object and base, while others omitted the base. Most molds were in three parts, but could also be constructed of two or four parts. Regardless of the number of parts of a mold, all objects produced in a mold are called three-mold glass.
The process of molding was just the initial step in the manufacture of three-mold glass. After removal from the mold, the glass was expanded by means of additional blowing. The object was then cracked off at the rim and hand finished by grinding and polishing. Pitcher rims, decanter necks and bases all required hand work. In New England, pieces were often finished with threaded lips. Handles were also added after removal from the mold. Lamps, candlesticks and vases were pressed in separate parts and fused together while still hot. Finished pieces were fire polished by reheating in the furnace, which softened the pattern and gave the piece a diffuse brilliance.
Between 1820 and 1840, one hundred glass factories are known to have been in operation in the U.S. It is known from descriptions in advertisements and invoices that the Boston and Sandwich Glass Company and the New England Glass Company were major producers of blown three-mold glass. Most colorless glass was made by the New England Glass Company in Cambridge, Massachusetts. Also producing three-mold glass in New England was the Boston Crown Glass Manufactory, as well as the Quincy Glass Works in Massachusetts, which made snuff bottles molded to a square form.
Three-piece molds were used from 1815 to 1835 in midwestern houses, most notably in Ohio. Marlboro Street Factory in Keene, NH manufactured dark green and amber bottle glass and was known for the manufacture of inkwells. In New York and New Jersey, famous glass manufacturers of blown three-mold glass include the Mount Vernon Glass Company, Brooklyn Flint Glass Works, and Jersey City Glassworks. The Coventry, CT Glass Company was also a manufacturer of three-mold items. It is believed that glass factories in Pittsburgh, Philadelphia and Baltimore also produced three-mold glassware, but since excavation is not possible, no proof exists. Some foreign molded three-part glass manufactured in England, Ireland (two part molds) and France (three part molds) in the early 19th century, is sometimes mistaken for American glass.
Colors of blown three-mold glass are relatively rare, however, some objects in deep gray-blue, sapphire blue, olive green, yellow-green, citron, aquamarine and amethyst-purple have survived. Items made of colorless glass and green bottle glass are most commonly seen.
The three main categories of three-mold glass patterns are Geometric, Arch and Baroque. Diamond patterning, also known as diamond diapering or diamond quilting, is the most common Geometric design found on molded glass. Other common designs include ribbed and popcorn. Items bearing Geometric designs are the most numerous and include tableware, such as decanters, stoppers, cruets, casters, condiment sets, pitchers, punch bowls, pans, dishes, preserve dishes, mugs, tumblers, wine glasses, celery glasses and salts, and doll dishes. Also in the Geometric category is ribbing, which could be imprinted on the object vertically, horizontally, diagonally or in a swirled pattern. Ribs can be narrow or wide, differently spaced, rounded, flat or inverted. Arch, the most rare of the three designs, uses a series of Gothic (pointed) or Roman (rounded) arches. Sometimes both types of arches appear. Baroque patterning includes Shell (rocaille) ornaments with broad, rounded, vertical ribbing and often combined with design of a band of palmettes or trefoils. Other Baroque designs include stars in circles, rosettes, thick chains (guilloches), hearts, a horn of plenty, pinwheels, and fluid drapery.
Group of blown three mold decanters, Keene, NH circa 1815-1825 – Michael George
Blown three mold decanter, (McK# GII-3), deep olive green, cylindrical, pontil scar, half-pint, applied sloping collar with ring. Blown at the Keene Marlboro Street Glass House, Keene, NH, 1820-1840, extremely rare. This truly exceptional blown three mold decanter is one of four known examples and one of only two in private hands. The other examples can be found in the Toledo Museum of Art, Winterthur and in a 40 year New England Collection. For those who have collected since the early 90s you may remember that this example was unearthed on Cape Cod and sold in Heckler Auction #5 for $9900 – Jeff and Holly Noordsy
Pair of colored blown three mold! This is the Quart and 1/2 Pint sized GII-3. As far as I know, a pint does not exist – Michael George
Quart Flint glass decanter with the word SCOTCH embossed inside an area that is encircled by snakes. Decanter is referenced in several places in McKearins book as the GIV-7 pattern. It dates from the 1830’s, and was noted as produced by the Boston & Sandwich Glass Company in Massachusetts. See comment at bottom of post.
Another Great pair of Blown Three Mold…the GIII-2 in the Pint and Quart size, attributed to the Mt. Vernon factory, 1820s. This historic glass has beauty and rarity! – Michael George
Pair of three mold blown decanters with original stoppers, (McK# GI-29), deep cobalt blue, pontil scars, half-pints, tooled and flared mouths, mint. American, probably blown at the Sandwich Glass Works, Sandwich, MA, 1820-1840.
Blown three mold decanter – American Glass Gallery
I dedicated this post to Michael George awhile ago. He really did inspire me (along with Mark Vuono) and I assembled a trio of Keene GIII-16’s in colors. The darker green one has exceptional mold definition….Rick Ciralli
Blown three mold decanter, (McK# GI-29), pale yellow green, cylindrical, pontil scar, quart, as found with a 6″ long crack. Blown at the Mount Vernon Glass Works, Vernon, New York, 1820-1840, very rare.
Blown, three mold decanter, GIII-16, yellowish olive green. Keene Marlboro Street Glassworks, 1820-1840 – GreatAntiqueBottles.com
Pattern three mold decanters – Richard Tucker collection
Pair of three mold blown decanters with original stoppers, (McK# GIII-26), clear with a moonstone tint, cylindrical, pontil scars, quarts, flared mouths, about mint. American, 1820-1840, very scarce – Jeff and Holly Noordsy
Blown three mold decanter, (McK# GIII-2 Type 1), clear olive green, cylindrical, pontil scar, quart, flared mouth, Blown at the Mount Vernon Glass Works, Vernon, NY, 1820-1840, rare.
Here are a couple of blown three mold GII-28 long necks… pint and quart! – Michael George
Blown three mold GII-7 early American decanter – John April
Embossed WINE decanter, GIII-2 type 2. Stopper not true but period to the bone. – Rick Ciralli
A couple more GII-28 molds… pint and quart decanters. I love the original stopper! – Michael George
Two gorgeous blown three mold decanters – Woody Douglas
Early blown three molds – Michael George
Nineteenth century GIII Keene blown three mold glass decanter attr. to Keene Marlboro Street Glass Works, Keene, NH.
Blown three mold decanter, (McK# GII-7), clear olive green, barrel-shaped cylinder, pontil scar, 8 ½”H, applied sloping collar with ring, Blown at the Keene Marlboro Street Glass House, Keene, NH, 1820-1840 – Jeff and Holly Noordsy
The ‘Loaf of Bread” demijohn bottles are a favorite of ours and especially my wife Elizabeth. If you see one at a show, and the condition is good, buy it fast because I have missed two (2) recently trying to find my wife at the beginning of a show when I have spotted one. They are very popular and can be found with or without wicker. They are usually a shade of green and have great glass character. The problem with buying an example with a wicker covering, you are always itching to remove the wicker to check on the glass.
There is some good information online provided by John Odell (RIP). Read: BIG BOTTLES BIG HISTORY Part 2
“Demijohn” is an old word that formerly referred to any glass vessel with a large body and small neck, enclosed in wickerwork. The word may derive from the name of a Persian town, Damghan, but this is not supported by any historical evidence. According to The Oxford English Dictionary the word comes from the French dame-jeanne, literally “Lady Jane”, as a popular appellation. This is in accordance with the historical evidence at present known, since the word occurred initially in France in the 17th century, and no earlier trace of it has been found elsewhere.
The so-called “loaf of bread” demijohn was patented (see patent below) in 1884 by Edward R. Emerson of New York to furnish a demijohn convenient to carry, compact in form, so that a number can be packed together sided by side without loss of space. Kidney-shaped bottles are another later form. Both of these types would have been mold blown to form the basic body shape.
Label under glass wicker covered demijohns were patented by Richard Dempsey of Philadelphia in 1874. His intention was to provide a convenience for druggists, liquor-dealers and others who loan bottles and demijohns to their customers for temporary use.
Wicker-covered vessels frequently also require to be permanently marked with labels descriptive of the nature of their contents, and this has hitherto been done by a tag, which is easily displaced and lost. My improve is designed to obviate the difficulties referred to; and it consists in forming an opening of the required size and shape in the wicker-work, and fastening to the body of the covered vessel a label of glass or other material containing the name and address of the owner.
Loaf of Bread Demijohn patent drawing
Three nice Loaf of Bread Demijohns sitting on porch rail - Dale Santos
Apple Green Bread Loaf Demijohn Utility Bottle, circa 1855-1870 - eBay
Uncovered "loaf of bread" demijohn - Meyer collection
Two nice pictures of a cobalt blue, Eagle Masonic historical flask were posted on facebook the other day by New Orleans, super collector Charles Aprill (2 l’s) that rocked the site prompting some high praise from all who viewed. This set of a few other collectors to post their examples such as Denver collector Sandor Fuss and Michael George. By coincidence there is also a nice example of an exotically colored example in the American Bottle Auctions | Auction 55 that concludes tomorrow evening (see auction example). This set my wheels in motion to gather available information and hone up on my limited knowledge of the great molds that I have always admired.
Two previous, rather well done articles about the Eagle Masonic historical flasks are referenced below. I strongly suggest that you check these out. They sure filled in a lot of missing gaps of information for me.
Read more: Masonic Glass & Blown, Bottles and Flasks by Kevin A. Sives
Read More: Mason Flasks – Pieces of History by Charles I. Bukin
Image from Masonic Glass & Blown, Bottles and Flasks by Kevin A. Sives
Image from Masonic Glass & Blown, Bottles and Flasks by Kevin A. Sives
Masonic Eagle JKB pint flask (GIV), very early and probably made in New England between 1815-1820
Masonic Eagle GIV-3, There is a nice piece about this flask in the Edmund & Jayne Blaske Auction catalog. Item #525. They got it from a Canadian dealer, sight unseen, for approval. Opened the package late one night, on returning from a trip, "weary". When he saw it, The Judge was "wide awake" and they stayed up several more hours " washing and admiring" the bottle. - Charles Aprill
Masonic Eagle GIV-3 - Charles Aprill
Masonic Eagle GIV-3 - Sandor Fuss
Masonic Eagle - Sandor Fuss
Masonic Arch and Emblems – Eagle Historical Flask, probably Keene Marlboro Street Glassworks, Keene, New Hampshire, 1820-1830. Light bluish green with wide profuse amethyst striations, heavy tooled round collared mouth – pontil scar, pint. Probably GIV-8 Beautiful bottle, great color, fine condition. A big heavy “2 pounder”. Ex Sam Laidacker.
MASONIC/EAGLE G-IV-1 Sheared and tooled mouth with pontil. 1822-40. Keene-Marlboro Street Glass Works. Once in a while an ultra rare bottle passes our way and this time it was all the way from England. I was contacted by a pottery collector from Manchester who happened to come across this GIV-1 Justus Perry flask in a beautiful medium to deep amethyst and deep cobalt blue at the top and near the bottom.
GIV-2 Eagle Masonic Historical Flask - photo Michael George
GIV-2 Eagle Masonic Historical Flask - photo Michael George
Eagle Masonic initial embossing GIV-1A - eBay
Keene Marlboro Street Glassworks GIV-5 Keene, New Hampshire, circa 1820-1830. Medium green color - Jeffrey Tillou Antiques
Keene Marlboro Street Glassworks GIV-5 Keene, New Hampshire, circa 1820-1830. Medium green color - Jeffrey Tillou Antiques
GIV-2 Masonic Arch Keene-Marlboro-Street Glasswork This glassworks made many beautiful bottles including the GIV-2 Masonic/Eagle Flask which has the initials of Henry Schoolcraft (HS) on the front
Here are two tough New England masonic flasks, the GIV-2 and the GIV-16. These are early, historical and beautiful, and what really sets them off is the applied lips... unusual for early flasks! GREAT pieces! - Michael George
My association with bullseye window panes is limited, but on two occasions I almost crossed the line and obtained examples for the house here at Peach Ridge. The first encounter was at a country antique store west of Houston. This lady had just opened her antique shop and Elizabeth and I were attracted to a stack of bullseye panes. When I asked her for the price, she hesitated and said she was thinking about using them for her house and they were not for sale. A few more inquiries about other items produced similar responses. She is no longer in business. It kind of reminds me of myself attempting to be a bottle dealer a few times a year at shows. You see, I hate selling my bottles and regret most sales. I am a collector first.
My second encounter was at the Yankee Bottle Show in Keene, New Hampshire this past year. A dealer had some gorgeous yellow panes for sale. I almost purchased them. Getting them back to Houston was the challenge. Oh well…I am on the lookout.
Green, crown glass bullseye windows
Throughout Georgian Britain, the predominant type of glass used to glaze domestic windows was Crown glass. This was manufactured by blowing, from a set-quantity of molten glass, a small globe of material and then spinning this, using a pontil or punty stick, into a large, thin, spherical disk, usually just over five feet in diameter. Once manufactured, the thickness of the disk was greatest at the centre where the pontil stick was attached. The quantity of glass at this point and the imperfection caused as the pontil stick was broken off made the central section unsuitable for general use and it was usually either re-smelted or used in low-end applications such as the glazing of stable and works areas. The nickname bull’s eye has come to be associated with this piece of glass.
The glassblower, viewed more as an artist in recent times, was an essential craftsman who produced fundamental products. The process of blowing molten glass into a balloon-like shape was the first step in creating window glass.
Spectacular clear glass bullseye panes in an English house
The first meeting-house of Friends in West Jersey was at Salem. In 1681, Samuel Nicholson and Ann his wife, conveyed to the Trustees of Salem Meeting his sixteen acre lot, whereon stood his dwelling-house, for the purpose of a meeting place for Friends; an addition was built to this house, making it when completed, 40 feet in length by 16 feet in depth, partly of brick, and partly frame, it was provided with a large open fire-place at each end, windows with 4 panes of thick “bulls eye” glass, 7 by 9 inches in size, benches or forms without backs, and “a good clay floor.” It was thus used until about the year 1700.
Crown Glass – The crown glass method involved the glass blower creating a sphere. This sphere was then attached to a solid rod and the blowpipe removed. The opening left by the blowpipe was then enlarged as the sphere was continually spun, eventually forming a small disk. This disk was then spun again inside a large opening in the furnace until it became very thin and with a rather large circumference. The thin disk was cut into several individual square or rectangular panes that fit into a window sash. The individual panes in a sash were called lights. Many eighteenth and early nineteenth century windows have six or nine lights in each sash. The middle of the disk, which was attached to the spinning rod, could not be used for an unobstructed window pane. Rather than returning this wasted piece to its molten form, it was occasionally used for windows that didn’t offer a view. This “bull’s eye” glass was often found in transom windows over solid doors to allow daylight into entrance halls.
Cylinder Glass – Cylinder glass, also created by the skilled glassblower, began in the shape of large jar. The ends were removed and the remaining cylinder was then cut down the side. The split cylinder would be heated and unrolled into a flat sheet.
Both crown glass and cylinder glass were manufactured throughout the first three centuries of house building in this country. Until the mid nineteenth century, it seems that crown glass was preferred. By the latter part of the 1800s, improvements in the cylinder method of production made it the most common form of window glass. One improvement resulted in the ability to create much larger individual panes. Two-over-two windows become the dominant style by the late-Victorian era.
I have assembled a group of pictures from online searches and from bottle collectors below.
Beautiful Bullseye window pane – Chris Helenek
Bullseye window panes – eBay
Bullseye with green bottle glass
Bullseye window panes used in an English country house
Close-up of clear glass bullseye in leaded frame – My House Extension
Artistic photograph of bullseye window
Bullseye panes used in a renovation project – Robert Silverwood
Five green bullseye panes over a doorway – Chris Helenek
Green bullseye window panes and leaded glass contrasting with snowfall
Possible Temple glass including a bullseye window pane that was removed from a 1780’s house 2 miles from Temple, New Hampshire – Michael George
Two colorless bullseye panes – Skinner auction
Contemporary red glass bullseye window panes
No big story here. Just wanted these three pictures of two gorgeous inks to sit on a page alone. Everything is right here, the photography, composition, lighting, subject matter and color. The pictures tell the story. All 10’s. Hats off to John April.
Well the dust has settled on that surprising blue Cathedral Pickle that closed today on eBay for a handsome $16,200. WOW! Here are a series of pictures and write-ups the seller (storybook553) posted:
[Initial Description] This is a beautiful old bottle in wonderful condition. I bought this from an estate sale. The owners of the estate had been collecting for years and had many fine antiques. On just about every item they had there was a slip of paper that stated the date they bought the item, what they paid and whom they bought it from. On this bottle the paper is taped to the bottom and I have decided to leave it. It reads: $25.00, April 12, 1976, Bernard Taylor. There are air bubbles through out this bottle and the one close-up photo shows two side-by-side “blemishes”. The blemish to the left is a blob of glass that is only felt from the inside. The blemish on the right is an area that is “spalded” and is probably where the blob of glass came from. It can only be felt from the inside also. The bottle is 10 3/4″ high and 3 3/8″ across on the bottom. Three sides are decorated, one is smooth. The mouth is not perfectly round and the lip seems to roll outward slightly. The color in the close-up photo is most true. There are no chips or cracks in this bottle-it is nice.
[Seller follow-up] First of all, thank you for the interest in this bottle…and thanks for suggestions and info. Mostly, the question is: “What color is it?” I have taken 4 more photos outside this morning to get truest color. I also found two other bottles to help make visual comparisons. One is what I would call “aqua”, and the other is what I would call “cobalt”. In my opinion, the comparisons make the pickle bottle “blue”. It is a soft blue-the new pictures show it very accurately. Notice how just the lip turns aqua though…very pretty. I hope these pictures help. I also took one good close-up of the blemishes…please understand, this is not a hole (many questions on that from people-and that is ok-I am happy to try and clarify anything.) This area is more like a slight “void” on the inside only….cannot be felt from the outside at all. Overall, this bottle is a lot like my husband…..a few blemishes, a slight void on the inside. and wonderfully imperfect!
[Seller follow-up] Because I am getting a lot of questions on the bottle, and due to the amount of money already bid and the possibility of more money involved, I would like to have the bottle professionally evaluated today or tomorrow (my only opportunities), and be able to post that evaluation Monday evening. I am not feeling comfortable evaluating myself and don’t want anyone being unhappy with their purchase. I have had so many questions regarding color and condition. I am happy to answer ANYTHING-I just want to feel comfortable about my answer. I would rather pay for a professional evaluation. So, does anyone know a good bottle appraiser in Centre County Pennsylvania? Please let me know. Thanks! Carol
[Seller follow-up] I have taken the bottle to someone whose expertise I have a great deal of faith in. He has been in the antique business for decades and deals ONLY in the finest antiques. His evaluation is that the bottle has no concerns other than those I have already stated with the exception of a surface scratch felt on the outside of the bottle. His advice was “Stop worrying and offer them their money back if they aren’t happy with it”…. Good ol’ common sense…I love it. So, there you go….if you aren’t happy in the end, I’ll refund your money. The bottle is blue and “no” – It isn’t dyed. It has no chips or cracks that we can detect. There are air bubbles throughout. That’s the best I can do. Hope this helps to alleviate concerns to some degree.
[Seller follow-up] Have posted a few more pictures to try and help those interested….One thing I feel very certain about: the bottle is blue. Lord only knows I have looked at it enough lately to be able to say this. Also, I am an artist. When I look at this bottle, I see blue until the lip. At that point I see green color coming in quickly which transitions the lip into an aqua. The last new picture was taken inside near a large storefront window with loads of natural light. Included in this picture is a blue magnesia bottle and an aqua bottle. This pickle bottle is truly quite lovely and, depending on the light it is in, changes in its blue intensity slightly. I have talked to several people on the phone regarding the bottle and have really enjoyed that…you bottle people are a nice bunch! One of you explained that the lip could have been applied which would explain the color transition…hard to tell. I don’t think whoever ends up with this bottle will be disappointed…..but I have stated that I will accept the bottle back and refund your money if you are. I hope this help you. Good luck to all involved!
