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Gold Stemmed Cup, Mycenae

Gold Stemmed Cup, Mycenae


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Pessary

A pessary is a prosthetic device inserted into the vagina for structural and pharmaceutical purposes. It is most commonly used to treat stress urinary incontinence to stop urinary leakage, and pelvic organ prolapse to maintain the location of organs in the pelvic region. [1] It can also be used to administer medications locally in the vagina or as a method of contraception. Pessaries come in different shapes and sizes, so it is important that individuals be fitted for them by health care professionals to avoid any complications. [1] However, there are a few instances and circumstances that allow individuals to purchase pessaries from a store without a prescription or without seeking help from a health care professional. [2] Some side effects may occur if pessaries are not sized properly or regularly maintained, but with the appropriate care, pessaries are generally safe and well tolerated. [3]


How do I Identify & Value Wheeling Decorating Glass?

Wheeling Decorating Company located in Wheeling, West Virginia, decorated glass, pottery and porcelain with gold and enamels, engravings and lithographs from 1900 to 1962. This company did not make glass but decorated glass for elegant glass makers such as Duncan-Miller and Heisey. A large body of the Wheeling Decorating work was in the church plate industry, and church plates are often marked with a horizontal diamond logo or a stamp with Wheeling Decorating Co. in writing. Decorated glass is much more difficult to identify, as it was not marked.

Look for all-over-patterns (AOP) like Pickard made. The early designs were gold-encrusted and formal, and look much like Rose and Daisy by Pickard. D-11 is one of the most common early patterns identified by doves nestled in the flowers. Much of the early work of Wheeling Decorating Co. covered the entire piece with gold, with a tiny design visible in good lighting.

Find enamel patterns from the 1930s and 1940s. Wheeling Decorating Co. made more casual designs in the middle years of their production. Sporting, athletics and bird glasses were some of their popular products and many were hand-enameled. Later years saw more decal designs and less handwork.

Expect familiar shapes. Wheeling Decorating Co. had contracts with Duncan-Miller and Cambridge, according to James L. Webster in the book, “Wheeling Decorating Co.: Identification & Value Guide.” They also decorated the candlewick shapes made by Imperial Glass as well as some of the Heisey and Dunbar blanks. They may have also used West Virginia Glass blanks for some decorating.

Determine value of Wheeling Decorating Co. glass by condition, quality, scarcity and desirability. Condition is always a key element in glass values, and the condition of the gold decorating is important. Rim losses are common and gold loss decreases the value of these items. Etched patterns are more desirable than gold applied over the glass, and hand-painted enamels are more desirable than gold alone. Common patterns like the three-leaf pattern on Libbey stems are available for less than $10. Sets of etched and decorated glass plates sell for hundreds of dollars.


Heisey Triplex #136 (1932 - 1936) (Crystal, Cobalt, Flamingo, Moongleam, Sahara)

Heisey Triplex #136 candlesticks were made in the early to mid - 1930s. This elegant shape sold well and can be found in crystal, cobalt, Flamingo, Moongleam, and Sahara. The crystal and Sahara colored candlesticks are the easiest to find followed by Flamingo and Moongleam. Heisey Triplex candlesticks in cobalt are consided rare.

Twist ("Oceanic") #1252 - (1924 - 1932) (Crystal, Flamingo (pink), Moongleam (green), Hawthorne, Sahara (yellow), Alexandrite)

Twist, sometimes referred to as Oceanic, is one of Heisey's most popular Depression Era patterns. This striking Deco pattern incorporates many serving pieces into the pattern. Included are large bowls, trays, platters, compotes, relishes, ice buckets, sugar and creamer sets, oil bottles, dressing bottles, salt and pepper shakers, a mustard, jugs, candlesticks, candies and more. The pattern also has a full stemware and tumbler line with accompanying plates in various sizes. This Deco pattern is very stylized with many sharp edges and points. Finding pieces in factory condition may be difficult, but it is well worth the effort.

Heisey Yeoman #1023, #1184, #1185, #1186, #1187 & #1189 ( 1913-1957) ( Crystal, Cobalt, Alexandrite, Amber, Flamingo (pink), Hawthorne, Marigold, Moongleam (green), Sahara, and Vaseline)

Yeoman is a large tableware pattern. It is most often found in Moongleam, Crystal, and Flamingo. It can be found with or without the Diamond Optic pattern. Many etched and decorated patterns are found on the Yeoman blanks. The "Diamond H" can be found on many items.

Heisey Etched Patterns

Chintz (1931 - 1938) ( Crystal, Sahara (yellow), Moongleam, Flamingo, Alexandrite)

Heisey's Chintz etching had two very different designs. The regular Chintz etching is a beautiful all over pattern consisting of sprays of flowers with butterflies. The other etching is referred to as "Formal Chintz". The etchings on these pieces have a circular border that surround the Chintz design. Chintz is a full service dinnerware pattern and is one of the prettiest etched sets that Heisey produced. This pattern has 48+ pieces which makes it fun to collect.

Frontenac ( Etching #440) - (1922 - 1942) (Crystal, Flamingo, Hawthorne , and Moongleam)

Frontenac is a fancy swirled floral etching with a pretty border near the top of the pattern. It was a large full service dinnerware set. Frontenac is not easily collected, but it is certainly worth the effort spent to obtain a collection. It is most commonly found in crystal. Unusual pieces include jugs, cream soups, soup bowls and 10 1/2" dinner plates.

Ivy is a stunning etch. It is found primarily on the Plantation shape. Plantation is a beautiful Heisey pattern that is based on a simple pineapple motif. The large undecorated areas display this lovely etching well. A complete set of Heisey Plantation with the Ivy etch can be found. Ivy is elegant enough to be used for special occasions. It is priced reasonably which also makes it possible to use everyday.

MINUET #503 - (1936-1956) (Crystal)

The Minuet pattern was introduced in 1936. The etching is both elegant and elaborate. The etching features early colonial figures in fancy dress. within a medallion / cameo. Most pieces have 3 different figures in medallions surrounded by a lace like border. Some larger items feature an additional figure. One scene features a male figure playing a cello or violin, another shows a male figure holding a bouquet of flowers, a the third depicts a lady fanning herself with an elaborate fan. The additional scene pictures a female figure holding up opera glasses. Some think that the setting is an opera while others think it is royal ball. The name Minuet certainly fits an opera setting. The pattern has over 50 different pieces. Items include numerous serving bowls, candlesticks and candle vases, a compote, cocktail icer and liner, cups and saucers, creamers, sugars, goblets, an ice bucket, marmalades, mayonnaise bowls and sets, relishes and a pitcher. Plates range in size from 7" to 15" and include a 10 1/2" dinner .

Old Colony- (1930-1939) (Alexandrite, Amber, Crystal, Flamingo (pink), Marigold, Moongleam (green), Sahara (yellow)

Old Colony is an early Heisey etched p attern. It was made in all the colors listed above, but Sahara is the most commonly found color. This beautiful pattern features a stylized floral design around the edge of pieces. Flat dinnerware pieces may me found in a square shape and will have the pattern at each corner. For those who prefer a rounder shape this pattern is also found on a round Heisey Empress blank.

Orchid - (1940-1957) (Crystal)

Orchid is probably the most collected etched Heisey pattern. This pattern can be found on many Heisey blanks, but the two most common are the Queen Ann and Waverly blanks. This pattern is one of the most collected of all the orchid etchings of this time period.

Peacock#366 Etch (1916 - 1928) (Crystal)

Peacocks are whimsical creatures that have inspired many glass designers. Paden City, Tiffin, and Cambridge had their own versions of a peacock pattern. Heisey's peacock is facing to the left. He is sitting on a branch surrounded by what looks to starflowers. This beautiful etching can be found on a number of different pitchers, several styles of stemware, bowls, and plates.

Pied Piper #439 ("Dancing Girl") - (1922 - 1942) (Crystal)

The Pied Piper pattern patent was applied for in 1922. The patent was granted in 1926. This beautiful pattern got its name from the Grimm's Fairy Tale "The Pied Piper of Hamelen." Each piece of this pattern has a series of evenly spaced Cameos which hold the figure of man (or angel) blowing a pipe, and figures of others that may be depicted as children dancing. There is a small lace like band near the of the pattern, from which the Cameos and strands of fine chain like lace hang. The pattern has captured the imagination of many collectors. Pieces made in the Pied Piper pattern include a candy (covered compote), plates, a decanter, finger bowls and underplates , grapefruits, other numerous pieces of stemware, and at least four styles of pitchers.

This beautiful pattern is an etching consisting of long stemmed roses. It is a full service dinnerware pattern and one of the largest etched sets that Heisey produced. The Rose pattern is found on quite a few of the Heisey blanks. Heisey Rose stems are easily told from other Rose patterned stemware by the rosebud incorporated into the stem design. There are well over 150 different pieces in this set, so the size of your collection will be limited only by your sense of style, or your pocketbook.

Tally Ho (Silhouette Etching) (1933 - 1952) (Crystal)

Tally Ho is a beautiful deep cut etch that depicts an early coach scene and a old style tavern. The pattern is most often found on barware. An ice bucket, serving plates, bitters bottles, a decanter, and a full line of tumblers and stemware can be found with this striking etch. The production of Tally Ho began in 1933 and was discontinued between 1946 to 1949. It was reintroduced in 1950 and was again discontinued in 1953.

Trojan ( 1918 - 1939) (Crystal)

Trojan is a Heisey elegantly etched pattern. There are three different etched cameo figures that appear in the pattern at even intervals around the pieces. A winged boy with a draped urn, a woman that appears to be cooking, and a Roman soldier holding a sword are the three predominant figures. These cameos are inserted into a pattern of bands and drapes. Trojan is a large pattern that includes an abundance of stemware. There are also serving and accessory pieces in this striking pattern.


Dorothy Thorpe

Dorothy Thorpe was a mid-century American artist who designed beautiful glassware and ceramic pieces out of her Los Angeles studio. She purchased simple blank glassware, mostly crystal, from U.S. and European manufacturers and decorated them with her personal designs. She created these breathtaking designs by using a sandblasting technique. She was also known for her silver overlay and paint speckled glass pieces, which included all types of glassware and punchbowl sets. This silver overlay is now her most popular and collected pattern. While some of Thorpe&rsquos glassware pieces are signed with a large &ldquoT&rdquo and a smaller &ldquoD&rdquo, many of her pieces found today do not carry her signature or her original logo sticker on them. Since Thorpe designed on &ldquoblanks&rdquo, the only known silver pieces that can be attributed to Thorpe are her timeless and modern, wide-band sterling overlay glass pieces. If you&rsquore a minimalist, then Dorothy Thorpe is your go-to for fine cocktailware.

Where to buy: vintage stores, Etsy, One Kings Lane

Shop now


Pygmy Date Palm

The pygmy date palm is a type of little palm tree with spiky trunk

As its common name suggests, the pygmy date palm (Phoenix roebelenii) is a small-sized palm tree. This is a true type of palm in the family Arecaceae and it doesn’t grow taller than 10 ft. (3 m). The small palm tree can be identified by its single stem with long bushy pinnate fronds that measure around 3 ft. (1 m) long.

This palm species is an excellent ornamental flowering tree for subtropical landscaped gardens. The arching-drooping fronds of pygmy date palm are large and showy and almost hide the spiky-looking trunk. These short palm trees also grow well in containers.

Although pygmy palm trees produce dates, the fruit generally isn’t as tasty as dates that grow on larger date palms.


Highball or Hi-ball

Tall and narrow (in proportion to its height) with straight or slightly flaring sides. As David Embury says in his The Fine Art of Mixing Drinks, "Don't expect to have the Highball which you order at a bar served in anything larger than a Sour glass unless you order a double. It is a decidedly generous bar that gives you a full 2-ounce drink in a Highball. Two ounces of liquor in a 14 or 16 ounce glass filled with ice and carbonated beverage would more nearly resemble the traditional Sunday-school lemonade than a Highball." Ideally use 8oz (235ml) Hi-ball glasses as these are the optimal size for both highballs and fizzes. Use frozen or at least chilled.
Capacity to brim: 6oz-10oz / 18cl-30cl


Herbal Teas

"Herbal tea" is a catch-all term for most any tea that doesn't consist of tea plant leaves. Instead, an herbal tea is created by steeping spices, herbs, and other plants.

Reported Benefits: It's a stress reliever, it aids digestion, and it's a soothing friend when you have a nasty cold.

Caffeine? Usually there is no caffeine in herbal teas.

Chamomile Tea

A popular tea to wind down the evening with, chamomile is an herb that, when steeped, creates a tasty, perfumey brew. Some believe chamomile is the most stress-relieving of teas.

Chrysanthemum Tea

You've seen the flowers, now drink the tea! Chrysanthemum tea, predictably, tastes a lot like what you might imagine a flower would taste like&mdashfeel free to add a little honey to balance the bitterness.

Hibiscus tea

Made from the petals of the roselle flower, hibiscus turns water into a handsome shade of red, and has perhaps the most fruity, tart flavor of any tea on this list.

Rooibos Tea

Rooibos is made from a South African plant and accordingly is especially popular in southern African countries. It's somewhat similar to hibiscus, but adds earthy tones to its tartness.


The Beaker people

The Bronze Age © It is widely thought, although not certain, that bronze was first brought over to Britain by the Bell Beaker folk. They were so named because of their distinctive bell-shaped pottery drinking vessels. They probably came up through the south-west coast of Britain, which at the time had rich deposits of copper and tin.

The Bell Beaker folk readily mixed with any new culture they encountered, including the Neolithic farmers they found in Britain, and Bell beakers have been found in megalithic tombs, with the henge temples of the Neolithics.

They improved the existing temple at Stonehenge, which is proof that they got on well with the original inhabitants, and at Avebury they made another great henge monument. This is a large circular ditch and bank, and within it was a ring of standing stones - although these have now gone. Nearby, at Silbury Hill, stands the largest man-made mound in prehistoric Britain, again thought to have been made by the Beaker people. No burial has been found inside it.

The emergence of the Beaker people in Britain gave rise to what is now termed the Wessex Culture. This is the name given to a number of very rich grave goods under round barrows in southern Britain. The grave goods include well made stone battle axes, metal daggers with elaborately decorated hilts, and precious ornaments of gold and amber - these are some of the loveliest prehistoric objects ever to be found in Britain. Among the golden cups found in the graves, some were found that were so like those of the Mycenae that they are used as examples to prove the existence of trade between Wessex and Greece.


Notes

1 Acknowledgements: I sincerely thank Natacha Massar, curator of Greek antiquities at the Royal Museums of Art and History in Brussels, for providing documents, photographs and advice with regard to the Brussels goblet (inv. nr. A.2249). Photographs are by Raoul Pessemier of the Brussels Museum or by the author. I also thank Mr. Grégory Hardy, draughtsperson at the Region wallonne, for the original new drawings of the goblet and for interesting discussions on the technical aspects of the goblet. Thanks are also due to C. Bonnet, L. Costaki, F. de Callataÿ, S. Dederix, M. Devolder, C. Doyen, E. Druart, C. Evers, A. Farnoux, C. Flament, F. Gaignerot, Y. Galanakis, P. Gentle, P. Iossif, S. Jusseret, R. Laffineur, K. Lapatin, M. Lemon, Q. Letesson, I. Papageorgiou, P. Sotirakopoulou and F. Van Haeperen, for useful information. Special thanks go to N. Thomas and N. Massar for discussion and editing. None of these are, evidently, responsible for the opinions expressed here nor for the errors that remain.

2 See, e.g. Laffineur 1976, 1977 and 1996, as well as the many papers on gold and silver wares by Laffineur mentioned in the contribution of Richard Veymiers to this volume.

3 The goblet is shown by Bossert (1937: 18,43, plate 69) but is absent, for example, from Davis’ (1977) detailed study on Mycenaean gold and silver ware nor is it mentioned by Åström (1972 1977) in his detailed analysis of some of the Dendra gold vessels.

5 In one of the letters (n° 8, see below), Mayence tries to explain this oddity using an analysis by Wolfers (see below) Davis 1977: 8.

6 The Benaki goblet, for example, is almost pure gold, which may be an argument against its genuineness (Kotzamani et alii 2008: 47 also for other analyses).

7 I thank N. Thomas for drawing my attention to this parallel.

8 Correspondence on June 7, 1919 (CP6301) between Cumont and Capart in the Cumont archives at the Academia Belgica and other documents in the Brussels Museum refer to this marble ‘Greek statuette’ which was apparently bought by Cumont in 1917 for Paul Hymans, minister of state, and kept for a while at the Brussels Museum.

9 Feuardent frères (formerly Feuardent & Rollin) was a dealer in antiquities in Paris founded in the 19 th c., specialising in ancient coins and antiquities. In the 1920s, it was run by three brothers Antoine, Georges and Robert. They also edited the Revue Numismatique until 1937. The firm existed till 1953. Their judgment may not always have been reliable, however. George Feuardent was also involved in the sale of two alleged Minoan ivories to the Baltimore collector Henry Walters (Lapatin 2002: 92) as well as other antiquities.

10 Edmond Pottier (1855-1934) was a French archaeologist, member of the French School at Athens and conservator of the Louvre of which he published the first Corpus vasorum antiquorum of Greek vases.

11 Etienne Michon (1865-1939) was a member of the French School at Rome and conservator of the Louvre.

12 I am not entirely sure which Babeion is meant here: Ernest Babeion (1854-1924) or Jean Babeion (1889-1978) since both where active numismatists in the 1920s and conservators of the Cabinet des médailles of the Bibliothèque Nationale but I guess the last one.

13 Charles Clermond-Ganneau (1846-1923) was a French archaeologist who travelled extensively. Through his offices the Louvre acquired part of the Parthenon frieze as well as several Minoan antiquities. He was also known as someone who unravelled several archaeological frauds.

14 Although this could either indicate Salomon Reinach (1858-1932) or Theodore Reinach (1860-1930) since both were well-known archaeologists, Theodore had by then turned to politics whereas Salomon, member of the French School at Athens, became director of the Museum of National Antiquities at Saint-Germain-en-Laye. He repeatedly argued for the genuineness of several antiquities that later were shown to be frauds, including the tiara mentioned in note 15.

15 Pushed by Reinach and Pottier, the tiara of Saïtapharnes had been bought at great cost by the Louvre and was later proven to be a forgery (cf. Duchene 2005).

16 Franz Philippson (1851-1929), director of the homonymous bank, known benefactor of museums and academia in Belgium. The Friends of the Museum were established in 1906.

17 Eugène van Overloop (1847-1926), apart from being a known prehistorian, was chief conservator of the Royal Museums of Art and History during the first quarter of the 20 th c. (see especially Montens 2008).

18 Alfred Baron de Loë (1858-1947) was conservator at the Royal Museums and founded the Belgian archaeological service in 1903 of which he was the first director.

19 It is very likely that reference is made here to the statuette of Hagesareta but I was unable to find a piece corresponding to this label.

20 No doubt his brother Fernand, with whom he shared the apartment at 3, Boulevard de Courcelles in Paris from where the letters were written. Fernand was an engineer. On their relation, see e.g. Bonnet 2008.

21 Probably referring to the Maison Wolfers in Brussels, famous for its gold jewellery since 1812 and with close connections to the Royal Museums.

22 Sir Arthur J. Evans (1851-1941), known for his excavations at Knossos and father of Minoan archaeology. He did, however, consider quite a few things genuine that later were considered to be forgeries (cf. Lapatin 2002 Marinatos 2015).

23 Sir John L. Myres (1869-1954), famous British archaeologist who worked on Crete and Cyprus.

24 Gabriel Chesneau (1859-1937), professor of chemistry and director of the École des Mines in Paris (1918-1929).

25 This is Xavier Neujean (known as ‘le jeune’) (1865-1940), minister of public works between 1920 and 1925.

26 This refers to the Greek-Turkish War of 1919-1922.

27 In fact, the Museum (now also known as Le Cinquantenaire or Jubelparkmuseum) only acquired this name officially in 1929, being known previously as the Musée d’Armes anciennes, d’Armures, d’Objets d’Art et de Numismatique, then as the Musée royal d Armures, d’Antiquités et d’Ethnologie, the Musées royaux des Arts décoratifs et industriels and, at the time of our story, as the Musées royaux du Cinquantenaire (cf. Montens 2008, with details on the history of the collection of antiquities).

28 This is the wife of his brother Eugène: Comtesse Laure du Monceau de Bergendal.

29 Citing Joan Evans, Lapatin (2002: 215) mention show Evans apparently flew over to Paris in the autumn of 1921, perhaps to acquire antiquities. The Brussels visit may have been connected to this.

30 Letter from the Minister E. Hubert to Van Overloop dated March 22, 1922. The socle cost 380 francs and was bought from the Maison Mathieu in the Rue de la Loi.

31 At least not in Hope Simpson 1965 (where Merbaka is indicated as Berbaka (sic) on figure 1) nor in Hope Simpson & Dickinson 1979.

32 At least one tholos has been excavated at Tiryns as well as a chamber tomb cemetery at Profitis Ilias, 20 minutes’ walk east of Tiryns (cf. Rudolph 1973). This cemetery was also in use from LH I onwards but mostly dates to LH IIIA-B but very few graves comprised wealthy objects, however. Moreover, the site of Tiryns (in contrast to Dendra) was already well-known through the work of Schliemann and Dörpfeld. If the goblet had been found near Tiryns surely the name of this site would have been given by the farmer.

33 Franz Cumont, who reviewed this volume briefly in L’Antiquité Classique 13 (1944), 208-209, did not make any comment on its potential link with the Brussels goblet, however.

34 Davis 1977: 326. The MMA catalogue numbers for the first two objects – a gold kantharos (07.286.126) and a silver kantharos with electrum handles (07.286.128.a.b) – are so different from that of the gold cup (61.71) found in 1920 that there is probably no connection. The online catalogue mentions 1961 as the date the gold cup entered the museum, however, whereas the gold and silver kantharoi seem to have been acquired already in 1907 (Rogers Fund).

35 Unfortunately the parish archives of the village of Platanitis were destroyed in the 1930s (P. Iossif, pers. com.).

36 Lapatin 2002 also mentions the names of a certain Floros, one Michalis Ritsos in Salonika and one D. Simiriotti in Paris as well-known antiquities’ dealers. Whether the latter was related to Alexandros Simiriotti, a well-known photographer of antiquities in Athens at the time, I don’t know. Marinatos 2015 also mentions a series of Cretans potentially implicated in the local antiquities’ market.

37 He travelled by boat. Lapatin 2002: 23, 27 mentions how one story surrounding the arrival of the Boston chryselephantine goddess was that she arrived by boat in the luggage of a Greek emigrant.

38 I thank P. Sotirakopoulou for this reference.

39 See http://www.britishmuseum.org/research/collection online/search.aspx for ‘Segredakis’ (8 hits), including a Minoan axe and a bronze statuette of Athena, acquired in 1922. Some letters by Segredakis in the Spyridon Marinatos’ archives at the Gennadeion Library Archives in Athens dating to the 1930s also refer to the antiquities’ market and his wish to set up shop in Athens. Marinatos was not forthcoming. I thank Leda Costaki for this information.

40 Getz-Gentle 2008: 301 mentions Cycladic objects sold by Herbert Cahn in Basel, John (K. J.) Hewett in London, and C. Dikran Kelekian, J.J. Klejman, and Matthias Komor in New York.

41 Here of course father (1850-1924) and son (1885-1939) Gilliéron may have potentially played a role. For the Gillierons contribution see especially Stürmer 1995 and S. Hemingway http://www.metmuseum.org/about-the-museum/now-at-the-met/features/2011/ historic-images-of-the-greek-bronze-age.

42 Lapatin 2002: 169-171: the end of 1923 see also G. Karo’s account ibidem and Butcher & Gill 1993 for a detailed account of some other forgeries dating to the early 1920s. On Aegean falsifications see also Buchholz 1970.

43 Bossert 1937: 4-5, who included the goblet in his re-edited ‘The Art of Ancient Crete’, remarks: “I hope that this edition distinguishes itself in one respect from the two preceding ones: I took special care to omit doubtful objects and fakes. It was a difficult and responsible task to decide which to include as genuine. It is less dangerous to omit genuine objects than to let fakes slip in which would have blurred the characteristic style of the whole epoch”. His book does not include any of the chryselephantine statuettes nor the Benaki goblet. Bossert refers to Georg Karo’s expert knowledge and Karo – and with him Spyridon Marinatos – were ferocious fighters against fakes and trade in antiquities. See especially Marinatos 2015on this.



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