IAN SIMMONDS

Tall, elegant and colorful, this vase with rock crystal engraving is of a kind presented in 1903 by its manufacturer to the Pennsylvania Museum and School of Industrial Design as an example of its very best.

Rock crystal relates this highly polished decoration to that found on Renaissance and Baroque objects cut from naturally occurring crystal — a near colorless and transparent quartz that could also be highly polished.

Two strikingly similar blown and cut nine inch tall pitchers left a Midwestern glasscutter's shop together in the 1840s, marked as a pair.

Each is marked with a small scratched number '5' to the right of its upper handle attachment.

An extremely rare opalescent fruit basket made in New England about 1840 emulates porcelain twice — in form and color — and in some ways surpasses it.

With open sides consisting of ribbons of glass it emulates a form long known in porcelain. Porcelain fruit baskets were popular in early Federal period America. They were both imported from Europe and made by America's most successful porcelain manufacturer of the period, the Tucker factory of Philadelphia.

A near-black vase with bright swatches of green, blue and pink marks America's 1878 entry into what we now call Art Glass.

1878 — all fashionable manufacturers went to Paris for its Universal Exposition, the latest World's Fair. Gallé, Webb and the Venice and Murano Company displayed adventurous glass designs. An American visitor wanted to shout out loud,

This seven inch diameter footed bowl with hinged tin lid was known in its day as a cracker bowl or bar sugar.

The original use of antique objects is often lost to time. Without its lid this bowl might be called a small compote or footed bowl. However, with fitted metal lid and rim it was clearly made for some special purpose.

Two six inch plates with identical centers but different borders reveal a major innovation in early American pressing - the cap ring.

Early collectors of American glass were astonished at the sheer variety in pressed glass design. Close comparisson would show that two plates with radically different borders had identical centers. How could factories afford to create so many molds and, since it appeared that they did, why go to so much trouble to replicate the designs so precisely?

A pitcher and large bowl made in the Boston area in the 1820s highlight the esthetics, technology and economics of one of the more distinctively American categories of early nineteenth century glass.

Both pieces received their pattern in the same three part, hinged, decanter-shape mold before being further shaped by the glassblower into their final form.

Two rare flasks of brilliant Ohio glass are icons of the '20s - both the 1820s of their manufacture and the 1920s research of Harry Hall White.

Portage County is south of White's home town Cleveland in what was once the Western Reserve of Connecticut. As White scoured the countryside looking for old glass he heard locals talk of Mantua bottles and Kent flasks.

With its prominent band of pointed arches reminiscent of a medieval cathedral, this compote is one of the more spectacular glass objects of the American Gothic Revival.

The Gothic Revival in America was inspired by its counterpart in England where architects and decorative artists joined painters and writers in the Romantic rejection of earlier Classical formality.

Globular bottles from Zanesville and other factories in Ohio shine in gem-like shades of amber, aquamarine and, more rarely, green. Ever so often one stands out from the crowd.

Since most are of similar size, large ones such as the one on the left are particularly admired.