Thomas Stearns

Thomas Stearns, Venice/Philadelphia, 1962
Private Collection, United States
Sold by Thomas Stearns on behalf of the above to Muriel Karasik, New York, July 18, 1988 
Muriel Karasik Gallery, New York
Acquired from the above by the present owner, June 10, 1994

XXXIa Biennale, Venice, 1962 (model first shown)
The Venetians, Modern Glass 1919-1990, Muriel Karasik Gallery, New York, October 27-December 2, 1989 (present lot exhibited) 
Gli Artisti di Venini, Per Una Storia del Vetro d'Arte Veneziano, Fondazione Giorgio Cini, Venice, April 24, 1996-June 7, 1996 (present lot exhibited) 
Viva Vetro! Glass Alive! Venice and America, Carnegie Museum of Art, Pittsburgh, May 12, 2007-September 16, 2007 (present lot exhibited)
Philadelphia Museum of Art, Philadelphia, 2014-2016 (present lot exhibited)

Thomas Stearns, Works of Thomas Stearns 1960-1962, Venini S.R.L., Venice, 1987, unpaginated (versione II of the model illustrated) 
Muriel Karasik, The Venetians, Modern Glass 1919-1990, New York, 1989, p. 56 (present lot illustrated) 
Marino Barovier, Rosa Barovier Mentasti and Attilia Dorigato, Il Vetro di Murano alle Biennali 1895-1972, Milan, 1995, p. 97 (model variant illustrated)
Alessandro Bettagno, Gli Artisti di Venini, Per Una Storia del Vetro d'Arte Veneziano, Milan, 1996, p. 152 (present lot illustrated)
Anna Venini Diaz de Santillana, Venini: Catalogue Raisonne 1921-1986, Milan, 2000, p. 222 (present lot illustrated)
Thomas Stearns, Works of Thomas Stearns 1960-1962, Venini S.R.L., Venice, 1987 (series illustrated) 

Overall condition very good condition, with no damage or restoration detected in either work. Large example with orange cane vertical stripe: The translucent interior has tiny scattered flecks of oxidation/residue – many of these flecks are visible in the catalogue photograph to the immediate left of the vertical orange cane stripe. The base rim has a series of tiny very minor pin head flake loss nibbles to one edge – the edge that faces the blue/grey side. It is possible that these occurred during the process of polishing the underside of the base/pontil – due to the fact that the side of the base rim flares out slightly to a pronounced edge in this area. The other edges of the base rim curve inward. In our opinion this does not adversely affect the overall attractive appearance of the work. Please note that the catalogue/online photograph does not wholly represent the color and surface iridescence of the work. In reality the colors and surface iridescence is far more subtle, nuanced and complexed. The lower portion of the vase toward the base has areas of a pewtery metallic, and highly reflective surface, whereas the mid and upper section has a more matt iridescence that becomes more textured as it extends toward the top. This iridescence articulates a multitude of different colors with changing light. The iridescence in the main body is only partially captured in the photograph. Further images of the work can be provided on request. The reverse of the vase, the blue/gray side, has two narrow surface residue lines that appear to be graphite or pencil. One is approximately 1 inch long, the other ¾ inch long. In addition to the engraved marks that are detailed in the catalogue description, this example has the remnants of a white paper label to the underside which has been produced on a typewriter. The remaining legible typed words are: "F. VENE.....C. SAL...AV.." The narrower example does not appear to have oxidation flecks visible to the translucent interior, however there are minor areas of liquid residue/stains evident. As with the larger example, the lower portion of the work has a highly reflective iridescence, whereas the mid and upper section has a more textured matt surfaced iridescence which reflects a multitude of colors. Overall this represents an exceptionally rare opportunity to acquire one of the most important and scarcest works of 20th century Murano glass in existence.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.