Collectable Glass

Having researched carnival glass for 30 plus years, it is easy to forget there are collectors just beginning, who haven’t learned the fine points of this remarkable glass; so for them, here are some basic thoughts. First comes color. To tell the true color of a piece of carnival glass, hold the piece to a strong light; the base color you see is the color of the piece. The colors given off by the iridescence have little or nothing to do with the true color of the glass. Many have asked me to provide a color chart to aid beginners, but capturing glass colors on paper is nearly impossible. The best advice we can offer on color is to handle as much of this glass as you can, holding it to the light and observing; soon, colors will come naturally, at least the basic colors.

Next, perhaps we should discuss shapes. Bowls and plates are easy to understand as are pitchers, tumblers, and vases; but even those have variations: bowls can be ruffled, unruffled (shallow unruffled bowls are called ice cream shape), deep, or shallow. Pitchers can be standard, smaller (milk pitcher), taller (tankard), or squat. Tumblers can be standard size, tall (lemonade), or small (juice), even as small as shot glasses. Vases can range from tiny 4″ bud vases to monster 22″ sizes called funeral vases. Vases may be straight topped, flared, or JIP (jack-in-the-pulpit) shaped with one side down and one side up. In addition there are table sets, consisting of a creamer, a sugar, a covered butter dish, and a spooner (this piece has no lid). There are decanters and stemmed goblets of several sizes; there are rose bowls, evident by the lips being pulled in equally around the top of the piece; candy dishes that have the rims flared out; and nut bowls that have the rim standing straight up. There are banana bowls that are pulled up on two sides, baskets that have handles, bonbons that have handles on opposite sides, and nappies with only one handle. In addition we have berry sets (small and large bowls that are deep and usually come with one large bowl and six small ones), orange bowls (large footed bowls that held fruit), handled mugs, and plates (these are shallow without any bowl effect, coming straight out from the base and no higher from base to rim than 2″). Specialized shapes include candlesticks, hatpins, hatpin holders (footed pieces with the rim turned in to hold hatpins), epergnes (pieces that hold flower lilies), card trays (flattened bonbons or nappies), toothpick holders, cracker and cookie jars with lids, stemmed compotes (or comports as they were originally called), hair receivers, powder jars with lids, as well as many novelties that include paperweights, animal novelties, and wall pocket vases. Finally we have punch sets which consist of a punch bowl, standard or base, and matching cups. These are all the general shapes of carnival glass. In addition we have many specialty shapes that include light shades, beads, beaded purses, odd whimsey shapes of all sorts that have been fashioned from standard pieces, pintrays, dresser trays, pickle casters in metal frames, and bride’s baskets likewise. The list of shapes is almost endless and the beginner should study these and ask other collectors about odd pieces they can’t identifY.

Now, let’s talk briefly about the iridescence itself. By far the major portion of carnival glass items will be found with a satiny finish that has many colored highlights across the surface, like oil on water; but another very popular finish was developed by the Millersburg Company and used by all other makers in limited amounts. This is called “radium” finish and can be recognized by its shiny, mirror-like lustre on the surface. Often, with radium finish, the exterior of the piece has no iridization and the piece has a light, watery shine. Beyond that, some colors, especially pastels such as white, ice blue, and ice green have a frosty look. This treatment is always satin, never radium. Finally, there is the addition of the milky edge on treatments that are called opalescent. Added to the marigold finish, this is called “peach opalescent” and with the ice blue, it becomes “aqua opalescent.” Other opalescent treatments with carnival glass are blue opalescent, amethyst opalescent, lime green opalescent, ice green opalescent, vaseline opalescent, and red opalescent.

Finally, there are many new color labels that have come about over the last few years. These are mostly shadings of primary or secondary colors; they are often hard to understand and harder to describe. Here are a few: moonstone (opaque glass, not as dense as milk glass); clambroth (pale ginger ale color); black amethyst (nearly black glass iridized); horehound (a shade darker than amber); Persian blue (opaque, like moonstone but blue); smoke (grayish, with blue and gold highlights); teal (a mixture of blue and green); vaseline (a mixture of green and yellow); lavender (a pale amethyst); and lime (green with a yellow mix). Lastly, there are a handful of colors, now in vogue, that nobody seems to agree on a definition: things like Renniger blue, a tealish, sapphirey blue, according to some! Have we carried all this too far? Of course, but it isn’t in our hands to stop this proliferation of colors. We can only hope the above information proves helpful in some way. Remember, we are all learning and knowledge comes in time and with patience. The trip is worth the effort.

Thank you to our friends at Standard Encyclopedia of Carnival Glass.

While the Imperial Glass Company of Bellaire, Ohio, was first organized in 1901 by a group of area investors, it wasn’t until January 13, 1904, that the first glass was made; and not until nearly five years later the beautiful iridized glass we’ve come to call carnival glass was produced.

In the years between these dates, the mass market was sought with a steady production of pressed glass water sets, single tumblers, jelly jars, lamp shades, chimneys, and a full assortment of table items such as salt dips, pickle trays, condiment bottles, and oil cruets.

All of this was a prelude, of course, to the art glass field which swept the country, and in 1909, Imperial introduced their iridescent line of blown lead lustre articles as well as the Nuruby, Sapphire, and Peacock colors of carnival glass.

Quite evident then, as now, this proved to be the hallmark of their production. Huge quantities of the iridized glass were designed, manufactured, and sold to the mass marketplace across America and Europe for the next decade in strong competition with the other art glass factories. Especially sought was the market in England early in 1911.

In quality Imperial must be ranked second only to the fine glass produced by the Millersburg Company and certainly in design, is on an equal with the great Northwood Company. Only the Fenton Company produced more recognized patterns and has outlasted them in longevity (the Imperial Glass Company became a subsidiary of the Lenox Company in 1973).

Along the way came the fabulous art glass line in 1916. This was an iridescent product often in freehand worked with a stretch effect. This is so popular today, many glass collectors have large collections of this alone.

In 1929 Imperial entered the machine glass era and produced its share of what has come to be called Depression glass and in the early 1960s, the company revived their old moulds and reproduced many of the old iridized patterns as well as creating a few new ones for the market that was once again invaded by “carnival glass fever.” While many collectors purchased these items, purists in carnival glass collecting have remained loyal to the original and without question, the early years of carnival glass production at the Imperial Company will always be their golden years.

Standard Encyclopedia of Carnival Glass

In 1907, the Ohio Flint Glass Company advertised two types of pattern glass called “Gloria” and “Kenneth.” Today, collectors, especially carnival glass ones, know these patterns as “Honeycomb and Hobstar” and “Venetian.”

A year later, Jefferson bought the “Krys-toi” line from Ohio Flint, and when a reorganization through new management happened at the Jefferson Company, these moulds, along with another from Ohio Flint called their “Colonial” (Mlllersburg’s Wide Panel or Flute with clover-leaf base) were sold to John Fenton when he opened the Millerburg plant in 1909. Millersburg continued to use these moulds in crystal production (many with the “Krys-toi” or “Cryst-al” mark still evident) and put a few into their iridized glass line. These included the giant vase or rose bowl shape in Venetian as well as a few pieces of the table set. The Honeycomb and Hobstar in a vase. The Flute compotes were merged with new interior plungers to become the Acorn, Wildflower, and Peacock and Urn patterns.

When the Millersburg plant (then known as Radium Glass Company) closed its doors In 1913, the factory was purchased by Jefferson Glass. The Venetian giant glass vase mould was sold to the Cambridge Glass Company and other moulds that included the Flute, Ohio Star, and Hobstar aud Feather were then transferred to the Jefferson Glass Company Limited, of Toronto, Canada, and appeared In Canadian glass ads in 1915— 1916.

The point of this small clip of glass history is to show the reader just how hard it is to place patterns with a particular factory. Indeed, glass moulds were bought and sold regularly, factories were sold or merged, and combines of companies were formed. It is only with many hours of research and long persistence can we begin to peel away the mysteries and myths of glass making. It is also the joy of our lives to discover another link in the chain of knowledge and share it with the reader. I’ve spent more than two decades researching the above paragraphs and their conclusions, but I’ve never really minded the task.

Thank you to Bill Edwards.

Much has been written about Augustus H. Heisey and his remarkable achievements in the handmade pattern glass industry.Much more has been said about the A.H. Heisey & Company of Newark, Ohio, producers of “The Finest in Collectible Glassware - Made in America by Hand”. However one cannot publish a book about this fine company without giving a brief history of the man and his factory.

Augustus H. Heisey was born in Hanover, Germany, on August 25,1842 and emigrated to America with his family in 1843. They settled in Merrittown, Pennsylvania, where he attended school. His father died while he was still young and his mother returned to Germany leaving him with a sister. After his graduation from the Merrittown Academy, he worked for a short time in the printing business. In 1861 he began his lifelong career in the collectible glass industry by taking a job as a clerk with the King Glass Company of Pittsburgh. On August 21, 1862, he enlisted in the 155th Pennsylvania Infantry and fought with the Union Army during the Civil War. At the war’s end, he had been promoted to Captain of Company C.

After his discharge in June, 1865 he returned to his position with the King Company but a short time later joined the Ripley Glass Company as a salesman. It was here that he earned his reputation of “the best glass salesman on the road”.

George Duncan had already become a part owner of the Ripley Company and by 1873, was the sole owner. In the meantime Heisey had met Duncan’s daughter, Susan, whom he married in 1870. On April 14, 1874, Duncan deeded a one-fourth interest in the company to each of his children, his son James and Susan Heisey. Terms of the sale were “one dollar ,and natural love and affection”. The name of the company was changed to George Duncan & Sons at that time.

George Duncan died in 1877 and on May 6, 1879, Heisey and James Duncan completed the purchase of his one-half interest and thus became sole owners of the company. The Duncan firm made fine handmade glass which is quite collectible today. Augustus Heisey applied for and obtained several design patents during this time.

In 1891 most glass companies were having great financial difficulties and the United States Glass combine was formed to save them. George Duncan & Sons became a part of U.S. Glass and Heisey became the commercial manager.

In 1893, after a short time out west in the mining industry, Heisey began to formulate plans for his own glass company. He chose Newark, Ohio, because the Newark Board of Trade was actively seeking industry, there was an abundance of natural gas nearby and plenty of low cost labor was available. Construction of the factory at 301 Oakwood Ave. began in 1895 and it opened in April of 1896 with one sixteen-pot furnace. The factory subsequently had three furnaces and employed nearly seven hundred people. There was a great demand for the fine glass and Heisey sold it allover the world.

The production in the early years was confined to pressed ware, much of it of such fine quality and sharpness of design that it appeared to be cut. Much bar and hotel ware was also made. In the late 1890’s, Heisey revived the colonial patterns with flutes, scallops and panels which had been so popular earlier in the century. These were so well accepted that from that time on, at least one colonial line was made continuously until the factory closed.

In late 1900, the trademark was designed by a son, George Duncan Heisey, and the famous “H within a diamond” was registered in late 1901. The registration papers noted that the mark had been in use since November, 1900. Heisey was proud of it and insisted that all of the glass be marked. In the late years, less of the glass was marked than formerly, but today’s collectors are fortunate that so much of it bears the Diamond H.

The Heisey Company was the pioneer in advertising glassware in magazines nationally and did so as early as 1910.

In 1914 they began to make blown ware which they called “Heisey’s American Crystal”. Not content with traditional pulled stemware, they became the first glass company to make fancy pressed stems. This idea met with approval and most hand-wrought stemware today is made in this manner.

A. H. Heisey died in 1922 and after his death, his son, E. Wilson, became president. He was responsible for most of the colored Heisey glass which is so popular among today’s collectors. Some colored glass had been made earlier but first pastel colors, and later deeper ones such as tangerine and cobalt, were in their heyday during the twenties and early thirties. When Wilson Heisey died in 1942, colored glass had all but disappeared from the market .

After his death another son of A.H. Heisey, T. Clarence Heisey, became the president. The war Years curtailed the glass industry considerably. During the forties and fifties, the famous Heisey figurines were made. There was some resurrection of colored glass in the last few years. By this time foreign competition was taking its toll and many glass companies were once more in trouble. Increasing costs and other problems led to the company’s demise and when Heisey closed the doors for Christmas vacation in 1957, they never opened again except to sell out the existing stock.

The old factory still stands today but the proud smokestacks with their Diamond H’s are gone and little is left to remind one of those glorious years when the “Finest in Glassware” was being made in Newark.

The Imperial Glass Corporation of Bellaire, Ohio, bought the existing molds in 1958. They have used only a small portion of them, mostly patterns being made when Heisey closed. Prior to January 1, 1968, part of this glass was still being made with the Heisey mark, but at that time Imperial announced that they would no longer us~oday’s glass is either marked with Imperial’s LG. or not all all. Imperial Glass went out of business in 1984 and all of its assets were sold by a liquidator in 1985. The HCA was fortunate in being able to purchase most of the existing Heisey molds formerly in the possession of Imperial.

Heisey owed its beauty to an excellent glass formula, high quality raw materials, and to the way it was finished fire polishing, and grinding and polishing the bottoms of most pieces. Glass made today is heavier, duller and not ordinarily as well finished on the bottom and is inclined to have sags in it. A careful study should enable any collector to tell the difference

….Excerpts from an article written by the Heisey Company in the early 1930’s to be sent to Heisey’s retail dealers.

Fostoria Glassware
1887 - 1992

95 Years of Glassmaking

Assembling a Fostoria collection is an adventure with many facets. Not only can we own beautiful glass to use and enjoy, but interest and desire are generated to learn more about all glassware manufactured in America. Our family’s quest for Fostoria actually began at a Texas estate sale in 1969. We left that sale the proud owners of several pieces of honey-colored stemware. We did not know at the time that this was the pattern Vesper or that Fostoria was the maker. After looking through very limited available material showing Cambridge and Heisey glass, we thought perhaps our pattern might be a Fostoria product. It took a trip in 1970 to the Fostoria plant in Moundsville, West Virginia, to establish the correct identify. We were delighted when Hugh Buzzard Sr., the general sales manager, said those magic words, “Yes, that’s ours, we made that a long time ago.”

There is little doubt Fostoria was the most versatile of all the American glass manufacturers. Because of extensive advertising, Fostoria became a household word. When the company first opened its doors, the manufacturing of oil burning lamps was a major part of their business. Some of the more glamorous lamps were the opal decorated pieces sold as parlor lamps. Other interesting items that were also made in opal were miniature lamps, vases, and vanity items. Much of the early tableware was pressed glass with geometric designs. Some of these pressed patterns were made in colors of canary, emerald green, and opal, and various decorations such as gilding, ruby, and purple blushes. The early Fostoria years yielded carloads of jelly glasses plus bar and hotel wares. The jug and tankard lines were extensive, made by both the blown and pressed processes.

After 1900, blown stemware became very popular with the American housewife, and Fostoria became a leader in this field. This firm was a large producer of candlesticks, candelabra, and lustres, and by the 1920s, these items were illustrated in a separate catalog. In the mid-1920s, Fostoria began to concentrate on the bridal market and brought out colored stems. By 1927, these stems were more elaborate in design and made in three parts: bowl, stem, and foot.

The wonderful burgundy, regal blue, and ruby colors were marketed extensively starting around 1933, a trend away from the pink, amber, green, and azure of former years. The crystal etchings Navarre and Meadow Rose were introduced in 1936 and became instant successes. Several of the dinnerware patterns were greatly expanded in 1939 and 1940, but this period of expansion was cut short by the advent of World War II. Color was also severely limited during this period. In the 1950s, Fostoria turned to manufacturing milk glass, and this was a highly successful move. Animals, novelties, and dresser items were produced in milk-white in addition to pastel colors. Several new pressed patterns were introduced in color in the 1960s. In addition, the patterns American and Colony were still being made but were limited in size.

The 1970s brought renewed interest in the acid etched patterns Navarre and Meadow Rose, and these were made in two new pastel shades. By the late 1970s, Fostoria Glass Company realized that manufacturing methods would have to change; they were faced with rising production costs plus competition from imported glass.

In May of 1982, Fostoria announced that their production of hand-made glass would cease. They pledged to continue the production of lead crystal glassware. At the time this decision was reached, Fostoria was America’s oldest producer of hand-made glass. In 1983 the Fostoria Glass Company was sold to the Lancaster Colony Corporation, and in 1986 the Moundsville, West Virrginia plant was closed.

Knowledge is the key to both collecting success and a general appreciation of the subject for several obvious reasons. By far the most important is that it gives those who possess it the ability to differentiate one piece from another: the excellent from the good, the good from the average, and the average from the poor.

A guide to the scale of the historic glass industry is provided by Carolus Hartmann’s Glas-Markenlexikon, 1660-1945, whose 1,006 pages are crammed with 18,000 unique marks and signatures. It is important to note that the practice of maker-marking increased dramatically during the 20th century, so a follow-up volume covering 1945-2000 would probably rival, if not surpass, the original in size.

Given these facts, how does even the most experienced dealer, let alone a novice, trace a path through the maze of pitfalls, blind alleys, and minefields that constitute 20th-century glass collecting? The answer is: with care. Anybody who claims to know it all is either a fool or a liar. The field is simply too vast and furnished with too little reliable literature for anyone to be an expert in all areas. The answer for those not prepared to devote their entire lives to the subject is to make their choice and specialize.

A diligent individual could learn virtually all there is to know about the work of Rene Lalique, for instance, by absorbing the contents of all 1,063 pages 0f Felix Marcilhac’s definitive study, Rene Lalique, 1860-1945, Maitre-Verrier (1989), and that of the other 20-plus volumes dedicated to the subject, and, equally importantly, by handling innumerable examples. Then, after studying market trends in in Lalique glass, he or she would be adequately prepared to spend the large sums of money required to acquire good examples.

However, Lalique is exceptional in having such a huge body of research devoted to him. Excellent books have studied other areas of 20th-century glass - the writers/academics Jan Mergl, Waltraud Neuwirth, Michael Kovacek, Helmut Ricke, Ada Polak, and Lesley Jackson have proved as consistently reliable as it is possible to be. However, their works glow as beacons in a sea infested with poorly written, ill-researched literature that does a disservice to its subject. Though mostly well intended, once published, the mistakes stick. It is another appalling fact that many, if not most, of the written descriptions applied to glassware by dealers, particularly generalists, are false. When challenged, some dealers can even produce a book containing the source of their fiction! That is not to suggest that all dealers are ignorant, as some, like Kovacek, are the leading authorities on their particular specialties. However, it is a fact that a majority are wealthy when it comes to glass, largely for the reasons previously outlined.

Thank you to Miller’s 20th Century Glass

While the techniques used for carnival glass and stretch glass are very similar, the results have a very different appearance. Both are molded or pressed. Both are sprayed with a metallic salt solution to achieve the surface iridescence. Both were generally made at the same factories.

The main differences that set stretch glass apart from its carnival cousin is the lack of pattern, the obvious onion-skin look, and the time frame of production (stretch glass began about a decade after carnival glass and continued a few years after production of carnival glass ended). In addition, stretch glass was usually sprayed with the salts or “dope” and then shaped, while carnival glass was usually shaped before iridizing.

But despite all we’ve said above, certain carnival patterns are known with a stretch appearance and many pieces of plain or patternless glass are found with no stretching whatsoever. It is for this reason we make only a token effort to separate patterns into either stretch or carnival absolutes in this book. In point of fact, it would be impossible since carnival collectors have been claiming stretch pieces as their own for decades and we have no intention of beginning a collectors’ war with this book.

For those who are purists, we recommend they read American Iridescent Stretch Glass by John Madeley and Dave Shetlar. It is, by far, the best reference on stretch glass. Personally, we like both types of glass and have no qualms mixing them together on our shelves.

Thank you to our friends at Standard Encyclopedia of Carnival Glass

Inexpensive depression glass was manufactured in massive quantities during the 1920s and ‘30s by dozens of American factories. The depression glass was inexpensive because it was manufactured by a new, automated tank-molded method that made it possible to quickly create thin glassware in many different patterns and colors. Overall lacy patterns helped hide any flaws in the glass. Several glass patterns were molded on the outside of plates and bowls so the surface that held food was smooth. A twenty-piece set sold for only about $2. The glass, sold in dime stores and department stores, was dubbed “Depression glass” by collectors in the late 1960s. Gradually, the meaning of the term Depression glass broadened to include inexpensive glass made after the Depression, including glass that was pressed to resemble earlier cut glass, glass with enameled or silk-screened decorations, and glass made of dark green, cobalt blue, or other deep colors.

In addition, manufacturers added more shapes to their Depression glass lines as times and attitudes changed. The end of Prohibition in 1933 led to a demand for cocktail shakers, ice buckets, and other liquor-related ware. Small glass statues and figurines, as well as ashtrays and glass bowls with three-dimensional figural handles, were popular from the 1930s to the ‘50s. By the ‘40s, many types of icebox dishes, reamers, canister sets, and other kitchen wares were made. Reproductions began appearing by the ‘70s.

There are clues that can help date glass dishes. Each style was made to sell in its own era, and as the styles of expensive, handmade glassware (called “Elegant glass” by collectors) changed, the styles and colors of Depression glass changed, too.

During the Depression and afterwards, ceramic dinnerware was made in colors and patterns that complemented popular furniture, glassware, silverware, and table-linen designs. Favorite colors were primarily pastels, cream, and white during the 1920s and early ‘30s, a period when pottery dishes were made with floral borders that resembled the decorations on expensive porcelain sets. In the 1940s, deep red, blue, and green were favored colors, and dinnerware like Blue Ridge, with hand-painted colorful designs, became popular. By the late ‘40s, new and modern shapes like Iroquois Casual, designed by Russel Wright, were favored by young families. Plastic dishes in dark or pastel colors were stylish in the 1950s, and avocado green and harvest gold were favored in the ‘60s for everything from dishes and rugs to refrigerators.

By the mid 1970s, Depression-era glass and dinnerware were out of fashion. Instead, modern shapes, abstract designs, and informal tablewares were popular. But collectors remembered the beautiful table settings at Grandma’s house, so they started collecting older pieces. Manufacturers realized that reproductions would sell and were soon copying many of the older designs. Today, both old and new versions of Depression-era dishes can be found-and often the original pieces sell for less than new ones.

1920s
The Depression glass era began in the 1920s. Glass dishes were simple and classic in shape, usually pastel with lacy designs. The companion ceramic dinnerwares were simple shapes with traditional floral borders.

1930s
During the 1930s, design went in two different directions. Lacy pastel glass continued to be popular, but deep colors and an Art Deco influence made for an opposing, daring look. Ceramic dinnerwares were made for both markets. Buyers could find simple plates with floral borders, as well as brightly colored pottery dishes.

1940s
During and just after World War II, many people wanted to return to old and familiar dinnerware designs. Colonial scenes, fruit, and flowers were popular decorations on many pottery dishes. But by the late 1940s, a few totally new pottery dinnerware shapes added excitement to the table. Glassware remained light in color, and copies of Victorian milk glass patterns came into fashion.

1950s
This decade marked the introduction of designs known as Mid-Century Modern. Streamlined kitchenware enticed new buyers, and ceramic dinnerware was produced in abstract designs. Plastic dishes were considered new and modern. Inexpensive, attractive, and almost unbreakable sets of Melmac and other types of plastic dinnerware were fast sellers, even though the surface scratched and stained with use. Turquoise, yellow, and brown were favored for appliances and textiles. Still, the buyer with more traditional taste found that old, established designs were also available.

1960s
Color-coordinated dishes were part of the fashion movement in the 1960s. New houses featured avocado or gold kitchens and living rooms. Earth tones that blended with these colors and designs inspired by nature were popular for dinnerware. Plates were often rimless and many had overall center designs instead of border decorations. Textured glassware was popular.

Thank you to our friends at Kovels’ Depression Glass & Dinnerware

First organized in April 1905, the Fenton Art Glass company didn’t really materialize until the following July. At that time the glass decorating shop was opened in Martins Ferry, Ohio, in an abandoned factory rented by Frank L. Fenton and his brother, John (who was later to found the famous Millersburg Glass Company).

The next few months were occupied in obtaining financial backers and glassworkers, buying land to be plotted into lots as a money-raising venture, and constructing their own plant in Williamstown, West Virginia. At times, everything seemed to go wrong, and it wasn’t until 1907 that the company was “on its way.”

From the first, the design abilities of Frank Fenton were obvious, and each pattern seemed to bear his own special flair. He (along with Jacob Rosenthal who had come to the Fenton factory after fire had destroyed the renowned Indiana Tumbler and Goblet Company in Greentown, Indiana) was greatly responsible for sensing what the public admired in glass ornamentation.

In 1908 friction arose between the two brothers, and John exited to pursue his dreams in Millersburg, Ohio. By this time, the Fenton process of iridization has taken the mass-scale art glass field by storm and carnival glass was on its way.

For the next 15 years, the Fenton company would produce the largest number of patterns ever in this beautiful product, and huge amounts of iridized glass would be sent to the four corners of the world to brighten homes. While the company made other decorative wares in custard, chocolate glass, mosaic inlaid glass, opalescent glass, and stretch glass, nothing surpassed the quality and quantity of their iridized glass. Almost 150 patterns are credited to the company in carnival glass alone, and many mOre probably credited to others may be of Fenton origin.

Thank you to our friends at Standard Encyclopedia of Carnival Glass