Much of what I write here will sound familiar to you if you follow my silver overlay offerings. I am delighted to add this fantastic vase to my other La Pierre vessels, and, however spectacular those pieces are, this one is really special because of the iridescence. I must admit, as I have said about other silver overlay pieces in my shop, my attraction to them is because I love their silver overlay, and, if it happens that the glass maker is someone of note, that’s even nicer. Other than some glass pieces I KNOW to be by certain makers and can definitively report that in a description—either because of the shape of the vessel or certain identifying characteristics of the glass—like “Titania,” for example—I must refrain from name dropping or Ruby Lane would be unhappy. I feel confident saying that the glass is European, most likely Austrian or Bohemian, and it was likely made around the turn of the 20th century.

My several La Pierre pieces enable you to see some of the variety of different items that bear the combined “F” and “L” mark. The La Pierre Mfg. Co. had an apt trademark, considering the objects it made. The founder was Frank La Pierre, whose initials not only identified him and his company by virtue of that stylized monogram, but the combination of those initials in that specific form also looks very much like the symbol for the British Pound Sterling.

Speaking of the La Pierre mark, it is located on the bottom band of silver on the front of the vase. The upper half of the mark has worn away, but there is enough left to identify the maker. I think part of the wear may be from polishing, but because the mark is on the bottom of the vase, moving the vase on a hard surface from time to time over the years may have contributed to the wear as well. If polishing was involved in the wear, it does not appear that the rest of the silver has suffered; the chasing is strong and deep.

Speaking of polishing, my pictures reveal to me (and to you too ;-)) that I could have done a more complete job. I promise that the vase will be sent to its new owner free of telltale tarnish.

I am showing you how the perceived color of the vase is affected by the lighting, position, and the color of the background in which you view it. I guess the basic color is orange, but you see greens, and golds, and even purples!

My seventh image required brightening (and hence lightening) the orange to a hue that is different from what it is likely to look in any normal display situation. I had to over-brighten that view of the vase to show you what is actually a very small stain, or more accurately, a small “string” of stains (with the leftmost one being the largest but still not very big) on the bottom of the vase—not the literal bottom, where the mark is, but on the bottom half of the vase that slants into the base. I can’t tell you—and would not admit if I knew—just how many pictures I took of those small spots to make them visible to you! They were really hard to capture. The stains are no big deal because they are small and out of view, but I wanted you to see this minor defect. I don’t know if the marks came about somehow in the glassblowing process or they were caused by something put into the vase by the owner.

The rest of the glass has no noteworthy flaws, just a few rubs (for lack of a better word) in the iridescence and a few tiny bubbles.

There are insignificant little scratches and dings in the silver. I don’t know whether these came about in the depositing process or were due to handling and use. It does not matter very much (or at all!), since you should be able to see from my clear and large images that the silver looks spectacular. The main thing to know about the silver—in addition to the nice chasing I already noted—is the fact that the coverage is complete, with no missing or lifted sections. I determined this both visually and by feel, using my “palm-rub-around” test. The actual design of the silver is wonderful too. I don’t know much about botany, but the blooms, leaves, and intertwining tendrils are beautifully laid out on the glass.

Part of the nice chasing is the single letter (I THINK it’s a “Y”) in the cartouche. I know there are people who would see that as a flaw or a detraction, but to me, monograms or dates engraved into a cartouche are part of an item’s history, to be enjoyed with everything else.

The only thing left to tell you are this beauty’s dimensions. The vase is 2 3/8 inches high and about 3 1/8 inches across its widest part. The diameter of the base is about 1 1/2 inches, and the top diameter is 1 1/4 inches.

I can’t think of anything else to tell you, but please write if you have any questions. This is a beautiful vessel, and it will be a wonderful addition to your collection—or the collection of someone you love.


*******!!!!!!!YOU MUST READ THIS!!!!!!!****** If you are buying more than one item from me, you can save on shipping. To complete your purchase, first indicate PayPal as your payment method, but PLEASE, PLEASE, DON’T GO THERE BEFORE I SEND YOU AN INVOICE
ITEM ID
2578
COLOR
Rainbow
STYLE
Jugendstil
ORIGIN
Europe • European
ITEM TYPE
Antique

Rosalie's Steiff & More

Antique Early 20th Century European La Pierre Sterling Silver Overlay Cabinet Vase Iridescent Glass

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