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Their mark under the Continental Can Company name consists of three concentric letter Cs. So, these glasses were made between 1957-1978. The Continental Can Company purchased the Hazel Atlas Glass Company in 1957 but in 1964 12 of the 14 plants of Hazel-Atlas were acquired by the Brockway Glass Company. This mark thus dates these glasses are from the 1957- 1964. Continental Can retained the Clarksburg, West Virginia plant where they continued to produce the Hazelware product line until 1972 but I don't know if they included the CCC mark. In 1978, Brockway Glass Company announced the closure of the glass tableware division that it had purchased from Continental Can Company just six years earlier. Brockway Glass Company sold the Clarksburg, WV plant to Anchor Hocking Corporation, of Lancaster, Ohio. Anchor Hocking did not manufacture any of the Hazelware product lines. Each glass stands 5 1/2 inches tall and holds 12 ounces. It has a 1/2 inch solid glass base which gives it great stability. The design is done in real gold. The three pheasants on each glass , both male and female are depicted in great detail. Know a hunter who likes a good cocktail? Buy a set now and save it to give it as a gift! So, which classic American cocktail would you make and serve in it?  The Impromptu Line was introduced around the same time as the Accent Line. It too was designed by Freda Diamond who was Libbey's head designer from 1942-1979. She was brilliant in her understanding of the American giftware market. It was produced in plain glass and with decorations on it from 1971-1982. Here is how it was described in the original 1971 catalog geared for wholesale dealers who carried Libbey glass: "The look of the future for the lifestyles of today. Casual, contemporary glassware design. Handsome, sculptured sidewalls feel comfortable …. easy to hold …. and look good, too! Offered in tasteful shades of Tawny, Olive, and new Dusky Blue. Put them on your shelves, Watch them move." It is hard to find this line in Dusky Blue color glass as it was only offered in this color in 1971-1973. I think cocktails look great in clight colored glass. Time to look up some vintage cocktail recipes and fill up these rocks with some vintage goodness!  Noritake Viewpoint grey 1978-1983 set four 4 1/2 inch champagne tall sherbet: Champagne or cocktails ... or dessert for four? Well, apparantly this is the very situation which the Noritake Company chose to address with the introduction of their 1978-83 Viewpoint line in this smoky gray color. This elegant line is highlighted by the use of a smoke gray glass bowl on top and a one piece body of the glass. They are simply stunning. The smoky gray color was very popular in the late 1960s through the 1970s. It was used by Holmegaard in Denmark in Per Lutken's iconic line as well as by the Libbey Glass Company of Toledo Ohio and Morgantown in West Virginia. For Noritake, I believe this line was their attempt to stay current with the times. This shape was marketed as a "champagne/tall sherbet" glass. Each stands 4 1/2 inches tall and the bowl is 3 7/8 inches across. It would look stunning in the right Midcentury decor. Add it to your vintage barware collection today.  This Georges Scatchard set of 4 early 4 inch tall coffee mugs is a good example of the work that Scatchard was doing in the 1970s and early 1980s before he decided to concentrate primarily on lamps. The inside is glazed in a white glaze. You can see all the ridges of the hand thrown object. The outside of the goblet is done in his signature blue glaze and one can see both inclusions and the horizontal rings from the throwing. Each mug is signed on the bottom G. SCATCHARD. A beautiful set. Currently located in Underhill, Vermont, Georges Scatchard started from a converted horsebarn with his brother Ted in 1960. An article about the two Scatchard brothers and their ceramics was published in the 1967 Spring issue of Vermont Life on pages 38-42. According to the article, he was the only New Englander to receive a merit award for three items (all pottery) entered in the 1965-1966 New England Craft Council's exhibition for new and emerging craftsmen. His current website, gslamps.com, shows his current production and gives a brief history of his work.

Vintage Midcentury signed Continental Ca

 

Set of 4 Dusky Blue vintage Midcentury s

 

Noritake Viewpoint grey 1978-1983 set fo

 

Scatchard set 4 monogrammed blue coffee

Made in the style that Fantoni often used, this charming little 4 1/4 inch diameter hanging plate is marked "Made in Italy". It features a design of a still life of a purple and orange wine bottle and a yellow piece of fruit or perhaps a round loaf of bread. Much ware in this style was made in the San Marino area of Italy in the 1950s-1970s for the tourist trade. It is in excellent condition. Put it up on the wall of your Midcentury bar  Here is a whimsical modern stoneware piece from David Gil at Bennington Potters in Vermont. It is from the 1955-1960 period. Bennington by Gil started in 1948 . They are among the few American studio potteries that turned into production potteries in the midcentury. It evolved into a co-operative of different art potters. They made their bread and butter by making gorgeous modern styled dinnerware that was distributed throughout the US and sold in fine department stores but this is an earlier more studio inspired piece. Marked #1540 this is a stylized owl in a highly abstract style. David Gil designed a series of animal banks, including a hippo, an owl and a lion. Like Glidden Parker under whom he studied at Alfred University in the early 1940s, Gil used various animal motifs often on his ware, though most are two dimensional representations. This fun and funky owl stands 5 1/2 inches tall to the tip of its ears. the lower portion of the bank is unglazed with some impressed triangles to symbolize the rest of the owl's body. The head is glazed in one of the original Cooperative Design glazes. It has the original red plastic cork to seal the opening on the bottom. It is signed Cooperative Design Bennington VT which places it before 1960-61 as that was the time when Gil included the new Bennington Potters name in a transitional mark. this bank is in excellent condition with no damage. I have priced this Sitting Owl bank very fairly. It would make a stunning sculptural piece on a McCobb or Eames era credenza or coffee table. David Gil was featured in the publication Vermont Life in its Winter 1961 issue. In an eight page spread with one full color image and 13 black and white images, there is a full history of the founding of the pottery along with great visual references of the ware being made at that time. One can see the iconic designs of Yusuke Aida, especially the double trigger mug and coffeepot along with other fascinating items. A great reference!  Each of the four glasses in this set stands6 7/8 inches tall x 2 1/2 inches across the top. Each holds 16 ounces. Each has frosted glass on the sides and a clear bottom. Each is signed with the F in the shield mark of the Federal Glass Company. There are three different decorations visible on this set of four. Two have a pear, cherry, orange over a cluster of grapes. One has pineapple slices and three cherries over an orange slice over a basket of berries. The third variation is a lime and a lime slice over strawberries and cherries over a lemon slice over some leaves and a grapefruit and slice. What a fun funky and festive set of glasses. Wipe up a pitcher of sangria or just some iced tea, grab a tray and head for the patio or veranda. All are in excellent condition with strong colors and no damage to the silkscreened designs. Price is for the set. Go green! Save resources and purchase a piece of the past. It is ready for your home today.  Annemarie Davidson (1920-2012) learned her enameling craft first from the great Doris Hall (1907-2001) in Cambridge, MA in 1957. In California she continued her studies with Curtis Tann. Her combination of geometric and organic form in her designs culminated in her most celebrated abstract designs, her Jewel line which features pieces of glass used to create free-form organic shapes which she calls Jewels. She also uses a sgraffito technique, incising straight lines from the center of her plate with the sharp point of a dart. Now in her late 80s, she no longer produces work today as of 2011 I have been told. This 7 3/4 inch diameter low bowl, most likely from the 1960-1961 time period, is a good example of an earlier Ghostline piece. This plate features 3 large yellow gold jewels and 3 smaller pumpkin orange jewels, all symmetrically arranged on the plate. The lines are under the Jewels. A prominent Palm Springs CA dealer James Elliot-Bishop on his website has named this pattern as Ghostline. This particular example is unusual in that the two colors of jewels used are not in high contrast to each other as on many of her pieces. Also, this shape bowl was often used in the earlier 1958-1959 period. The back of the plate has the gold paper label and is signed with her charcteristic AD interwined intiial. I believe this particular version of the label predates the more common one with the black line. It reads Annemarie Davidson handcrafted enamels Sierra Madre California. Every piece was handcrafted by her alone, from start to finish. It is in excellent condition. The work of Annemarie Davidson was included in the seminal exhibit titled Painting with Fire which opened in Jan 2007 at the Long Beach Museum of Art. She was one of 30 enamelists included with a one page entry on her life and work. Her page is page 266 of the catalogue.

Midcentury Italian small hanging retro p $20.00

  

Bennington Potters David Gil #1540 Owl b

 

set 4 Federal Fruit Slices zombie glasse

 

Annemarie Davidson 8 inch wide low bowl

Nancy Wickham signed modernist A507 numbered crystalline glaze vase with blue crystalline glaze on a tan base glaze background measuring 4 inches tall x 3 1/8 inch wide top opening. This vase dates to the early 1940s when she worked for Lee Rosen's firm Design Technics in New York City. It is considered to be very scarce. Per the authoratative website vasefinder, Nancy Wickham Boyd studied at Alfred University from 1943-1945. She was later a designer for Design Technics. In 1949, she set up her studio in Woodstock, Vermont. This gorgeous vase is in excellent condition, no chips, cracks or breaks. Signed on bottom WICKHAM and A507. Add it to your Vermont Midcentury or Studio pottery collection today  Annemarie Davidson learned her enameling craft first from the great Doris Hall (1907-2001) in Cambridge, MA in 1957. In California she continued her studies with Curtis Tann. Her combination of geometric and organic form in her designs culminated in her most celebrated abstract designs, her Jewel line which features pieces of glass used to create free-form organic shapes which she calls Jewels. She also uses a sgraffito technique, incising straight lines from the center of her plate with the sharp point of a dart. This 6 inch shallow bowl features another of her celebrated designs. This design uses overlapping leaves of brown over orange on a gold background. It can be seen in the seminal article by Alan Rosenberg in the Spring 2003 issue of David Rago's fine Modernism magazine on page 71. The dish shown in the magazine article is cobalt blue over a lighter blue and is circa 1960. The back of the plate is signed with her charcteristic AD interwined intiails and her paper label which reads Annemarie Davidson handcrafted enamels Sierra Madre California. Every piece was handcrafted by her alone, from start to finish. It is in excellen condition. It is an impressive enamel of Mid-Century enamel art! Add it to your Davidson or Mid-Century enamel collection today. The work of Annemarie Davidson was included in the seminal exhibit titled Painting with Fire which opened in Jan 2007 at the Long Beach Museum of Art. She was one of 30 enamelists included with a one page entry on her life and work. Her page is page 266 of the catalogue.  Dating most likely from the Mid-Century era in California this little gem is made by the Freeman-McFarlin company mostly known for its ceramics. As you can see by the photo, it is clearly marked F Mc F and Calif USA along with what looks like the number 202. It is metal most likely copper with enamel highlights. It stands only 1/2 high and is 3 3/4 inches in diameter. It stands on three feet which are part of the body. It is in excellent shape. One can see a very similar piece on page 114 of Jack Chipman's excellent 1999 book called Collector's Encyclopedia of California Pottery Second Edition.  Annemarie Davidson learned her enameling craft first from the great Doris Hall (1907-2001) in Cambridge, MA in 1957. In California she continued her studies with Curtis Tann. Her combination of geometric and organic form in her designs culminated in her most celebrated abstract designs, her Jewel line which features pieces of glass used to create free-form organic shapes which she calls Jewels. She also uses a sgraffito technique, incising straight lines from the center of her plate with the sharp point of a dart. This 7 1/2 inch 3 rest ashtray, most likely is from the 1961-1962 time period. This ashtray features 3 large yellow and 6 smaller orange jewels arranged in pairs between the larger yellow jewels. The underlying copper color can be seen near the edges. A prominent Palm Springs CA dealer James Elliot-Bishop on his website has named this pattern as Ghostline. The back of the plate is signed with her charcteristic AD interwined intiails and her paper label which reads Annemarie Davidson handcrafted enamels Sierra Madre California. This is what I think is her earliest label with the black line separating the words handcrafted enamels and the words Sierra Madre, California. Every piece was handcrafted by her alone, from start to finish. Excellent condition. The work of Annemarie Davidson was included in the seminal exhibit titled Painting with Fire which opened in Jan 2007 at the Long Beach Museum of Art. She was one of 30 enamelists included with a one page entry on her life and work. Her page is page 266 of the catalogue.

Nancy Wickham signed Midcentury Vermont

 

Annemarie Davidson enamel Starburst dish

 

Freeman-McFarlin Space age small vase $25.00

  

Annemarie Davidson 7 1 / 2 Jewel enamel as

Produced by Vermont Mid-Century studio potter Stanley Ballard, a student of Glidden Parker at Alfred University in the 1940s who worked in the Burlington area, this unusual decorated #19 vase carried the standard incised Ballard signature and the original price in pencil of $2.50. It measures 5 1/2" tall. The design on the front of the vase is of mountains and pine trees done in a dark blue glaze. The rim of the vase has also been traced over in the same blue glaze color, giving it an almost violet effect. The back is plain. This is the only item I have yet seen with this decoration. Excellent condition  This cone shaped vase was made and decorated by Mark Bellaire, another great Californian Mid Century designer. This 9 inch tall vase features stripes of color, a chocolate brown and terra cotta red with a wild yellow blotch which could be the sun. It measures 3 inches in diameter at top and 5 inches in diameter at he bottom. Signed with standard black signature. Two black outlined figures with raised arms are on the vase. Excellent condition.  Ruba rombic smoky topaz 6' vase purchased at PCGCC convention auction. Excellent condition.  Sascha Brastoff 5.5't Abstract Original vase, signed F20 in with gold Rooster mark. Great combo of horizontal banding and crackle surface, all accented with horizontal gold banding. Excellent condition.

Ballard decorated #19 pine trees / mount

 

Mark Bellaire 9 inch abstract figures va

 

Ruba rombic smoky topaz 6 inch vase

 

Sascha Brastoff Abstract Original vase $125.00
Standing 3 inches tall, this lucite paperweight features a miniature roll of newspaper. Each end of the roll has a decal with the logo of the International Paper Co or Ticonderoga NY. It carries the words 'International Newsprint'. A great piece of Americana!   

International Newspaper 3 $50.00

   


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