(4) Signed American Studio Art Glass Vases.
One is a pitcher plant style vase in gradient iridescent tones, signed and dated 2012 on the underside by John Lotton. The other is more traditionally shaped but with a more abstract pattern of lines, spackles, and iridescent blobs, signed and dated 10.77 on the bottom edge by K. William LeQuier, indicating it is one of his earlier works. A faded paper label on the underside of the LeQuier piece suggests it was a gift to someone. Size: (largest) 12 x 5 x 5 in.
The taller piece is iridescent with greenish-blue streaks vertically and horizontally, signed and dated '88 by Stephen Fellerman. The smaller piece is an iridescent jack-in-the-pulpit vase, signed on the underside by Carl Radke along with a paper label from Phoenix Studios. Size: (largest) 17 1/2 x 4 3/4 x 3 in.
Born in Illinois in 1964, John Lotton began his glassblowing career at a young age. Starting as his father Charles Lotton’s apprentice, he helped work the kiln the patriarch built in their backyard, and would polish his father’s pieces by day and then create his own work at night. Lotton honed his craft with small paperweights and pendants, which sold quickly in his father’s shop and gave Lotton the confidence to begin working on a grander scale. Lotton has devoted his life to perfecting his skills, and became one of the primary artists at Lotton Art Glass Gallery & Studios in the early 2000s. He continues to hand-blow and meticulously color each of his glass pieces, which gives each piece an outstanding uniqueness, and his work is highly sought-after and can be found in galleries and private collections across North America, Europe, and Asia.
K. William LeQuier (known as “Bill”) was born in Stamford, Connecticut in 1953, and received his Bachelor of Science in Art Education from Southern Connecticut State College in 1975, subsequently becoming an instructor there before accepting a position at the Penland School in North Carolina in 1989. His early involvement in traditional glassblowing led him to establish Bittersweet Glassworks in Branford in 1976 along with his wife Mary Angus and two other glass artists, before he and his wife moved their part of the studio permanently to Readsboro, Vermont in 1983. While in North Carolina he began to experiment with sandblasted surface designs, using them to carve the glass into a myriad of textures and simulating natural erosion, and by the late 90s this evolved from geometric patterned vessels into organic sculptures carved in relief that suggest dynamic fluidity like water, fire, or wind. His works can be found in public, private, and corporate collections around the country, including at the Corning Museum in New York, the High Museum in Atlanta, and the American Glass Museum in Millville, New Jersey.
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