Stevens & Williams Bowls and Baskets

Circa 1890 American brilliant period cut glass bowl. Deeply & elaborately cut with virtually vertical sides. Very good condition. 7.25" dia., 3" h.

This is a Roseville Art Pottery Columbine pattern bowl. The bowl is blue and is adorned with a branch of yellow Columbine flowers and green/yellow leaves in the front. There are two ...

Lovely late 20th century Waterford crystal footed bowl in the Comeragh cut (pattern). Irish made. Highly collectible! Perfect, i...

Jewel-Tones Murano Glass Sommerso Dish/Bowl w/Gold Polveri, Seguso/Barbini suspected. UPDATE: Due to agreement with 1stDibs, we'll be staying through the end of the year. This gorgeous piece measures about 7.5 x 7 x 1.75 inches. We feel it is likely a Seguso or Barbini piece. The colors and shape are stunning. IMPORTANT INFORMATION FOLLOWS; PLEASE READ THE BELOW IN ITS ENTIRETY. ABOUT OUR LISTINGS: -Most vintage Murano glass is unsigned and unlabeled (see more about this topic below, under the "about vintage Murano glass" section). We identify items as best we can based on our research and experience, but without signature, identifying label, or other documentation, it is ultimately not possible to guarantee an item is from Murano or is by a specific Murano glass maestro. By purchasing from our shop, you are agreeing to accept this fact. If you are uncomfortable with this policy, we ask that you purchase only items that have their original label, artist signature, or other documentation. -Measurements are approximate and generally represent the approximate widest/longest/highest areas of each item. -Please be aware that the color on your monitor and/or in your environment may look somewhat different than in ours and that glass colors often look deeper on dark backgrounds than they do on light backgrounds. -Please keep in mind that vintage glass usually will show evidence of previous ownership, such as scuffing, scratching, and/or other wear such as dulling or mars on base, etc.. Buyers of vintage glass are presumed to understand and accept such hints of previous ownership. We cannot realistically guarantee perfection since vintage glass has typically been used at some point in the past. We do however inspect for and describe flaws found. ABOUT VINTAGE MURANO GLASS: -"Murano" is not a brand. It is the name of the Italian island where the most celebrated master glassblowers create(d) their works. -Vintage Murano glass items may be heavy or light, thick or thin, substantial or petite, etc. Thickness and thinness of glass will tend to vary on some items, especially sculptural items. -Sometimes, small inclusions may be found in or on Murano glass, such as ash or tiny bubbles from the blowing process or tiny raised or pitted areas. These are not considered "damage" but naturally occurring. Nevertheless we point them out if found. -While on occasion a vintage Murano glass item will bear the signature of its creator or have an original label affixed, this is relatively rare; most vintage Murano glass available to the general public is unsigned / unlabeled, especially in the more affordable price ranges. -The bases of Murano glass items are often polished, but not always; the glassblower may have decided not to grind a pontil mark down or highly polish a base if there seemed a risk that doing so could cause damage to the item. -A pontil mark on a Murano glass piece may be visible or not, and may be smooth, rough, raised, indented, or some combination of these. Some finer, more delicate Murano glass items may have a rough pontil mark that may also be either raised or indented, with the rest of the base not. --However, an unpolished base that is also entirely, extremely foggy and rough (as if the entire bottom were grinded with very course sandpaper or metal) is generally considered indicative of a non-Murano work. ABOUT THE TERMS WE USE: "Suspected" means just that -- we suspect the item is by the named artist / from the named region due to its similarities to other items from that artist / region, and sometimes also by the lack of the item's characteristics appearing in other artists' works, but we are not certain. "Assumed" or "likely" means we feel pretty confident it is by the named artist / from the named region but have not found sufficient documentation to confirm it, so while we believe it to be as stated, we are not absolutely certain. "In the style of" means that based on characteristics, we believe it could be by the named artist / from the named region but we could not find sufficient enough evidence to feel comfortable declaring that definitively. In such cases the item could also be by another glassblower (from Murano or otherwise) who was inspired by the named artist. It takes time and study to train the eye to recognize what is and is not Murano-made. While no one is perfect, we feel we're fairly good at it and will state, using terminology explained above for clarification, if we do not feel reasonably certain. However much knowledge may be accrued, no one dealer is likely to know absolutely everything. Since we do not offer returns, please message us with concerns or questions if you have any before purchasing an item. We'll be pleased to respond. #MuranoGlass #Bowls #Decor #mid-centurymodern #vide-poche #MCM...

An important small Frederick Carder Art Nouveau Rose Flambé Alabaster vase by Stevens and Williams originally from their own museum and probably unique. Alabaster glass was first cre...

Nouvel Studio presents a new member of the Pedro and Pablo series by Mexican designer Emiliano Godoy. “Vilma” integrates into this bowls series and stand...

Tapio Wirkkala glass footed bowl, Inari, Model number 3543. Impressive cut and blown-molded footed bowl cast in clear glass by Finnish artist and designer, Tapio Wirkkala. Mode...

Large Worcester punch bowl, well painted in blue with a version of the Precipice pattern, with several pavilions scattered across the continuous landscape of islands, the interior wi...

This is a rare handblown crystal vase made by Stevens and Williams, England, circa 1910. The 12.25" tall and elegant proportion makes this a stand alone piece of art as well as a fun...

An exceptional, fine and impressive antique Victorian English sterling silver presentation bowl; an addition to our ornamental silverware collection This exceptional antique sterling silver bowl has a circular form onto a circular domed foot. The lower portion of this Victorian bowl is encircled with a band of impressive chased fluted decoration each terminating with a spiral design. The body of this presentation bowl is further embellished with exceptional chased floral and foliate decoration on a matte background. The decoration to the body incorporates a large shield...

Important tray made in gilded bronze and “cloisonné” enamel attributed to Elkington and Willms. Ornamented with a centering polychrome enameled peacock plaque, made of very high standard quality, mounted on a gilt-bronze dish, decorated in relief with Japanese Nô theater masks. The great Birmingham firm of Elkingtons, was largely the creation of George Richards Elkington (1800-1865), who worked from 1824 in Birmingham as a manufacturer of silver-mounted scent bottles. By 1829 the business had expanded sufficiently for a branch to have been established in London. In the late 1830s the Elkingtons began making experiments to apply the principles of electro-metallurgy to gilding and plating with silver and in 1840 the patent was at last taken out. Elkingtons owed their rise to a position amongst the most important silversmiths of the country to their exploitation of this new process and the two of the most famous designers then employed, both of them French, Albert Wilms (1827-1899) and Morel-Ladeuil (1820-1888), who helped to make Elkingtons’ reputation with their elaborate exhibition pieces. Albert Willms was apprenticed as modeler and engraver to Klagman, Dieterle and Constant in Paris before working for Morel & Co. in London in 1848. On his return to Paris he was employed by the great Parisian silversmiths including Christofle and Froment-Meurice, for whom he designed pieces to be presented at the 1855 Universal Exhibition in Paris. It was during this period that he joined the firm of Elkington in London as head decorator. Elkington was soon to become one of the first to produce refined pieces in “champlevé” enamel in the Chinese and Japanese styles, which were presented with great success at the London Universal Exhibition in 1862 (see Masterpieces of Industrial Art & Sculpture at the International Exhibition 1862, J.B. Waring, London, 1863, III, pl. 211). Willms’ “champlevé” enamels could not be compared, however, with the delicate “cloisonné” enamels exhibited by Japan at the Universal Exhibition in Paris in 1867. This explains why Elkington adapted the ancient Japanese technique to produce pieces according to European taste and custom. Followings the 1867 Exhibition all the major European artists rivaled in ingenuity for the 1873 Universal Exhibition in Vienna. In London Albert Willms presented his luxurious vases and cups in “cloisonné” enamel for Elkington (see Illustrations of Art Manufacturers in the Precious Metals exhibited by Elkington & Co., Inventors, Patentees and Manufactures of electroplate, 1873), whilst in Paris, Ferdinand Thesmar (1843-1912) produced in the workshops of Ferdinand Barbedienne (1810-1892) a tray decorated with a golden pheasant in “cloisonné” enamel on copper...

A glass bowl Sweden, 1960s