Alan

Sorry to hear of this. Just a general observation: A collector wouldn't steal a torch and hoses.

Reminds me of the Atomic Marbles sold ~20 years ago. I haven't seen one in a long time. They came singly in a small paper envelope with the story on the outside.

It is not consistent with any of the clear/Oxblood Akros I have seen. I have seen this seam/clear/oxblood pattern in a photo before - but cannot immediately place where. Can you check to see if it flouresces?

Looks like Leona Helmsley.

I'd venture that it is contemporary - and wouldn't surprise me if it was later found to not be glass.

I fent.

I was referring to the patch in the OP.

Its not a chocolate oxblood.

In my considered opinion - grading can only be learned by in-hand experience from a person that is knowledgeable. This is why attending shows and spending time with other collectors is valuable. Tying to learn accurate grading from a one dimensional photo with high variable lighting, varying degree of focus and none of the advantages of in-handing examination is like trying to learn swimming from watching it on TV. The ability to rotate a marble in your hand, vary the lighting, feel the surface and then take all of the factors of wear, sub-surface issues, blow-outs, cold rolls, etc etc and combine them to an overall grade take time and experience. Experience that comes from a wide range of marbles over time. The same is somewhat similar for accurate marble identification. The use of web or book-only grading and identification has led to an unfortunate growth of overly optimistic (and inaccurate) grading and misidentification of marble types. There is only so much one can learn from photos. Shows and the broad expertise there is a valuable source for learning.

They are real. Really new.

Finding 9, one inch micas in that color and minty condition will take much longer than most folks probably imagine. Assuming cost-containment is a factor since you would re-sell them - much tougher still.

I wish I had seen it when you had the PPP up. Is it mint? I've been looking for some.

It was loading a plain blank page (white) for me earlier - no errors displayed. It went back to normal 15 minutes after that.

Bruce: Thanks for that list. It looks like you have a great group.

Do you have a list of artists that will be there?

How about a (somewhat) backlit photo showing the transparency. Right now I'm leaning more towards European.

Full-size Salesman's Sample Case.

Nice pieces. I have collected cullet for years and enjoy the story it tells about glass used by the individual manufacturers.

I would put in a clear glass of water to be able to see the construction better. Fill the water just over the top of the marble.

That is just an odd light reflection in the smooth concave shape.

I have seen Mark's tool for air traps - but don't know what he considers a trade secret. I think the fine nuances of the tool(s) he uses ARE unique to Mark. I had a one-hour conversation with him n just this subject and how he fine-tuned the tool and technique to achieve the level of perfection that Mark expects. He goes through quite a refinement process to get a piece that he is willing to put his name on. Some of his designs like the Comedy and Tragedy theater mask air traps are very problematic to create. Geoff Beetem makes some quite different air traps that are very nice as well.

RSC is correct. In machine-mades - bubbled glass is over-heated glass. Glass heats and cools much slower than air. That does not mean that the glass will have unhealed stress in it. Some contemporary makers create pieces with large air inclusions in them:

Bert Cohen has several on his website.