Kosta

Engraved glass, with motif of a cat and fishing nets. 
Signed 'Kosta L6 377 Lindstrand' to the underside.

Glass

'It smells Fish' Vase

Cut and polished glass. 
Signed 'Kosta Skawonius 2,51' to the underside.

Vase

Partially frosted and engraved glass. 
Attributed to Erik Skawonius.

Acid treated and cut glass. 
Signed 'Skawonius 58/1 Kosta 1934'.

Orrefors

Engraved and acid treated glass, with water scene and birds. 
Signed 'Of. L. 1262.34' to the underside.

Literature:
Wickman, Kerstin, 'Orrefors, One Hundred Years of Swedish Glass Art', byggförlaget Kultur (Stockholm) 1998, p. 176.

Cut and engraved glass.
Signed 'E. Dahlskog, Kosta' to the underside.

Wheel carved glass.
Attributed to Simon Gate.

Partially frosted and engraved glass. 
Signed with artist's signature, manufacturer's mark, dated, and numbered: 14/22.

Wheel carved glass depicting rowers. 
Engraved to base: 'OF.H'L5.26'.

Glass internally decorated with abstract trees in the snow. 
Engraved 'Kosta LH 1802' to base.

'Winter' Vase

Iittala

Clear glass with air bubbles, underlay blue and white glass.
Left to right 
Signed TIMO SARPANEVA IITTALA 1985 C 175. 
height.28cm diameter 16cm
TIMO SARPANEVA IITTALA 1984 C 650 
height.25cm diameter 15cm

Two 'Claritas' Vases

Translucent glass, multicoloured base.
Engraved 'Orrefors Expo B 537-67 Gunnar Cyrén'.

'Popglas' Glass

"Klot över kon" (Sphere over cone) Sculpture

John Selbing (1908-2001) played an important role for many years as the photographer for Orrefors glassworks. In the early 1950s, he also emerged as a designer of sculptures in thin glass with geometric shapes, of which these "Sphere over Cone" are the most well-known. Originally, they were composed as a group of three sculptures of varying heights. In 1961, the similar "Cylinder over Cone" was introduced.

Literature
Kerstin Wickman (ed.), "Orrefors, One Hundred Years of Swedish Glass Art", the model depicted, (photo by John Selbing), p. 76.

Model L. 1367. 
Optic blown glass with wheel engraved decor depicting the birth of Venus.
Inscribed signature, model number and engravers initials to base.

'Venus' Vase

Opaque clear, coloured glass.
Signed to the underside (red) 'Orrefors, Exp B 415-67', (blue) 'Exp B 465-67'.

Two ¨Pop¨ Glasses

Johansfors

Engraved glass. 
Signed 'Orup, Johansfors'.

Wheel engraved, polished glass.

Photographed together with: ref. <a href="https://www.jacksons.se/products/simon-gate-triton-vas-orrefors-1923-151040" target="_blank">151040</a> and ref. <a href="https://www.jacksons.se/products/vase-2011027" target="_blank">2011027</a>

'Triton' Vase

Literature:
Ostergard, Derek E., Stritzel-Levine, Nina, 'Brilliance of Swedish Glass 1918-1939 An Alliance of Art and Industry', Yale University Press (New York) 1996, p.174-175.

Engraved glass.
Signed 'Kosta LG 182 Lindstrand El'.

Carafe

Cut and polished glass. 
Signed 'Kosta, Skawonius, 252'. Paper-label 'Skawonius, 252'. Manufacturer's plaque 'Kosta, Sweden, 1742'.

Wheel engraved glass. Coloured glass base. 
Signed 'Of. G.1205.33.Hj'.

Engraved and cut optic blown glass. Decorated with two pearl divers and their air bubbles.
Signed 'Orrefors Lindstrand 1348 A2 G' to base.

¨Pärlfiskare¨ (Pearlfisher) Vase

Wheel engraved glass. 
Signed 'Orrefors, 76.404 - 25'.

Engraved overlay blue glass of fireworks and spectators. 
Signed 'Orrefors Hald 248, B4'. Engraver’s initials, engraved with monogram and commemorative date: '23 / 7 1945'.

¨Fireworks¨ Vase

History:
Originally trained as a painter, Edward Hald gained fame as a designer for the Swedish Orrefors Glassworks. Working closely together with Simon Gate, both him and Gate became leading figures of the Swedish Grace movement. The 'Fireworks' vase is represented in the collections of the world's leading design museums, for example Victoria and Albert Museum in London and the Metropolitan Museum of Art in New York.

The Metropolitan Museum describes the piece as follows: "This vase employs both techniques: an outer layer of royal blue glass is deeply etched to reveal the colorless (though frosted) layer below, allowing the design to be seen in a reverse-cameo effect. The dramatically flaring form and charming decoration are superbly integrated: stylized bursts of fireworks fill the expansive nighttime sky, while a parade of fashionably dressed spectators in a park setting below creates a continuous frieze at the bottom of the vase, visually anchoring it to its narrow base."

Literature;
Hawkins Opie, Jennifer, 'Scandinavia: Ceramics & Glass in the Twentieth Century', exh. cat., Victoria & Albert Museum (London) 1989.
Ostergard, Derek, Stritzler-Levine, Nina, 'The Brilliance of Swedish Glass, 1918-1939: An Alliance of Art and Industry', exh. cat., The Bard Graduate Center for Studies in the Decorative Arts (New York) 1996, p. 194, fig. 38.