Walter Dorwin Teague

Studio Yearbook of Decorative Art, 1935, p. 8
Richard Guy Wilson, Dianne H. Pilgrim, and Dickran Tashjian, The Machine Age in America 1918-1941, New York, 1986, p. 274 (for a smaller blown-glass model)
J. Stewart Johnson, American Modern 1925-1940: Design for a New Age, New York, 2000, p. 104
John Stuart Gordon, A Modern World:  American Design from the Yale University Art Gallery, 1920-1950, New Haven, 2011, p. 289 (for the model in the John C. Waddell Collection of the Yale University Art Gallery)

The circumference of the polished lip has multiple chips and nicks. As this is a mold-blown and not hand-blown example we believe that it will be easy work for a professional restorer to polish and fix these chips. Otherwise, the body has a few bubbles and pin-point marks, which are all inherent to the making to this piece. As this is only one of two known examples of the model and because it is well documented that there were different types of production techniques throughout this entire series, there is definitely a certain experimental quality to the production of this piece. The etched and frosted geometric design is in excellent shape, while the bottom of the piece shows abrasions from normal wear.
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.

Walter Dorwin Teague was hired as a design consultant to Corning Glass Works and the Steuben Division in 1932 following a period of declining sales and re-organization within the company.  Working from his New York City offices, Teague introduced a new line of tableware which imposed surface decoration that he designed onto Steuben forms already in production.  These pieces were executed using both free-blown and mold-blown techniques.  The present lot is an example of the latter, as indicated by its flat, uniform rim.  Teague also made suggestions for more effective marketing, pushing to present Steuben's product as a high-end luxury option, so as not to compete with the growing market for mass-produced and affordable wares.  The design for the present lot was part of these efforts, having likely been conceived and produced as a promotional tool for use in public displays and exhibitions.  An example of the model was exhibited in the Executive Lounge designed by Teague in the Ford Building at the 1933 Chicago Century of Progress International Exhibition.  Examples of Teague's work for Steuben are in the permanent collections of the Metropolitan Museum of Art and the Museum of Modern Art, among others.  Only one other example of this exact, impressively scaled model is known to exist, in the collection of the Yale University Art Gallery. 

Sotheby's would like to thank John C. Waddell and John Stuart Gordon for their assistance in cataloguing this lot.