Charcoal sketch on paper. Sketch shows a group of American soldiers running through a field and jumping over a fence. There is a shell torn village and a damaged church in the background. Two barrage balloons float in the sky above the soldiers.
Charcoal sketch on paper. A line of army trucks and soldiers moves along a road. There appear to be two dead horses lying on the side of the road. Fires burn on the horizon. From the catalog card: "Army trucks and soldiers moving forward in pursuit of the enemy who are burning towns in the distance. The picture is a scene in the Old No Mans Land in the St. Mihiel sector."
Charcoal drawing on light green paper of a ruined church in Thiaucourt, France, after the final bombardment. The church is badly damaged by shell fire with only part of the structure still standing. Most of the church has been reduced to a large pile of rubble and debris, which surrounds the church. Signed at bottom left by the artist, "Peixotto / Thiaucourt"
Charcoal or crayon with gouache on heavy white card. A complex of dugouts and other structures are built into the side of the hill. Soldiers move through the outdoor area in front of the dugouts.
Oil painting on canvas of an American machine gun emplacement at Seicheprey, France. Two American soldiers in olive drab uniforms are sitting in the middle of a cemetery next to their Hotchkiss M1914 machine gun. There are tombstones all around the soldiers, some of which have toppled over. A section of the rock wall surrounding the cemetery has been partially destroyed at right, giving the machine gunners a better sight line. The soldiers have positioned the gun on the rubble from the ruined wall, with the barrel of the gun pointing out of the cemetery. Signed by the artist at bottom left, "Harvey Dunn, Saishprey [sic], AEF"
Ink wash and pencil sketch on paper. The work depicts a large, stately home in Langres, France which was converted to the Headquarters of the American Army Schools during World War I. An automobile is in the drive and a man is walking up stairs to the entrance of the building.
In the 1700s, paperweights made from textured stone or bronze were part of the writer’s tool kit, which also included a quill pen and stand, inkpot, and blotter. By the mid-1800s, decorative paperweights produced by glassmakers in Europe and the United States became highly desired collectibles.
Decorative glass paperweights reflected the 19th-century taste for intricate, over-the-top designs. Until the spread of textiles colorized with synthetic dyes, ceramics and glass were among the few objects that added brilliant color to a 19th-century Victorian interior. The popularity of these paperweights in the 1800s testifies to the sustained cultural interest in hand craftsmanship during an age of rapid industrialization.
The French firm, Baccarat, was originally founded as the Verrerie Renaut in 1764, by request of the Bishop of Metz to the King of France, Louis XV. After the French Revolution, the company was re-named Verrerie de Baccarat. Peak production of Baccarat paperweights was between 1846 and1855.
Bright red Gentians highlight this star-cut base Baccarat paperweight.
In the 1700s, paperweights made from textured stone or bronze were part of the writer’s tool kit, which also included a quill pen and stand, inkpot, and blotter. By the mid-1800s, decorative paperweights produced by glassmakers in Europe and the United States became highly desired collectibles.
Decorative glass paperweights reflected the 19th-century taste for intricate, over-the-top designs. Until the spread of textiles colorized with synthetic dyes, ceramics and glass were among the few objects that added brilliant color to a 19th-century Victorian interior. The popularity of these paperweights in the 1800s testifies to the sustained cultural interest in hand craftsmanship during an age of rapid industrialization.
The French firm, Baccarat, was originally founded as the Verrerie Renaut in 1764, by request of the Bishop of Metz to the King of France, Louis XV. After the French Revolution, the company was re-named Verrerie de Baccarat. Peak production of Baccarat paperweights was between 1846 and1855.
Closely packed millefiori, “Gridel” silhouettes (said to be named after a young boy whose cut paper silhouettes inspired Baccarat’s glass workers), and blue and white torsade decorate this Baccarat paperweight. Millefiore paperweights, first manufactured in Venice, consist of sections from rods of colored glass encased in a clear, colorless sphere. By the mid-nineteenth century, glass factories elsewhere in Europe were emulating the millefiore style.
In the 1700s, paperweights made from textured stone or bronze were part of the writer’s tool kit, which also included a quill pen and stand, inkpot, and blotter. By the mid-1800s, decorative paperweights produced by glassmakers in Europe and the United States became highly desired collectibles.
Decorative glass paperweights reflected the 19th-century taste for intricate, over-the-top designs. Until the spread of textiles colorized with synthetic dyes, ceramics and glass were among the few objects that added brilliant color to a 19th-century Victorian interior. The popularity of these paperweights in the 1800s testifies to the sustained cultural interest in hand craftsmanship during an age of rapid industrialization.
The French firm, Baccarat, was originally founded as the Verrerie Renaut in 1764, by request of the Bishop of Metz to the King of France, Louis XV. After the French Revolution, the company was re-named Verrerie de Baccarat. Peak production of Baccarat paperweights was between 1846 and1855.
A bright green snake is coiled on a white “muslin” ground in this Baccarat paperweight.
In the 1700s, paperweights made from textured stone or bronze were part of the writer’s tool kit, which also included a quill pen and stand, inkpot, and blotter. By the mid-1800s, decorative paperweights produced by glassmakers in Europe and the United States became highly desired collectibles.
Decorative glass paperweights reflected the 19th-century taste for intricate, over-the-top designs. Until the spread of textiles colorized with synthetic dyes, ceramics and glass were among the few objects that added brilliant color to a 19th-century Victorian interior. The popularity of these paperweights in the 1800s testifies to the sustained cultural interest in hand craftsmanship during an age of rapid industrialization.
The French firm, Baccarat, was originally founded as the Verrerie Renaut in 1764, by request of the Bishop of Metz to the King of France, Louis XV. After the French Revolution, the company was re-named Verrerie de Baccarat. Peak production of Baccarat paperweights was between 1846 and1855.
This faceted Baccarat glass paperweight features a yellow, white, and red Buttercup or Columbine and has a deep star-cut base.