A Personal Reflection into Fenton Past - April 2005
by Diane Fry
While attending the 2005 Woodsland Convention in Columbus, Ohio, we were encouraged by Carl and Eunice Booker among others, to relate our early attachment to the Fenton Art Glass Factory. We sincerely hope that our account will be of interest to readers of all generations of carnival glass collectors.
Dean was born in 1929, Diane in 1933. The east side of Parkersburg, WV where we were born and raised, lies about 10 miles south of the Fenton Factory in Williamstown, WV. At that time in history, some families did not even own one car, much less two! The mode of local transportation was by streetcar. The car line ride from downtown Parkersburg to Williamstown followed the Ohio River, offering occasional views of passing boats loaded with cargo. It was a very pleasant 30-40 minute ride, inclusive of stops to accommodate other passengers.
Dean's Mother had a close friend who lived near the factory, and many times while the women visited, Dean would spend some time searching the Fenton dump for salvageable pieces of glass. This was 1938.
Several times during the summer months of 1939, Mother and I would take an early afternoon ride to Williamstown, getting off at Elizabeth Street and walking the distance to the home of a cousin and an aunt. The ladies would visit on the front porch, and I would entertain myself in combing through the pile of glass at the Fenton dump. The reject glass was brought out to a huge concrete slab and dumped from wheelbarrow-like containers. Sometimes I could find a little slipper or a small vase without much damage, and be sufficiently excited over the 揻ind? as to take it to Mother for approval. She much preferred cut glass at that time, but for me, it was a 搕reasure?
Along in the 1980s after making a banquet presentation for HOACGA Convention, (aware that Frank M. was in the audience), I told my story about searching the dumpsite before 揟he War.?He grinned that nice smile of his, replying, ?That's exactly the reason we put up the fence; to keep you ornery kids out of there!?/FONT>
At that same time in history, the parking lot which now faces the Gift Shop entrance, was not so large as it is today. There was a small café or lunch room there, operated by Mother's cousin, Elizabeth King. She baked wonderfully tasty pies and served lunches to the Fenton Factory workers each day. She would also pack lunch pails for those who preferred to eat, perhaps during their break on the jobsite. The shop was open for early breakfasts and closed early afternoon each day.
Next door to Aunt Mae Anderson and Cousin Elizabeth, lived Frank Myers. He was a kindly man, having come to Fenton's for work in 1932, following the fire which demolished the Indiana, PA glass factory where he had begun work as a glass decorator in 1897. Mr. Myers was adept at flaring and crimping the tops of vases and 搄ugs? as pitchers were called in that day, along with attaching handles to cruets and pitchers. A skilled glass blower and finisher, he would also bring home some wonderfully artful items from his 揺nd of day?experimentation! At times, he would call to me from his front porch, asking whether I would like to come over and look at some of his 揾andiwork? (I wonder whether any of those delightful little shaped/blown images have survived the years and remain in the hands of some adoring family member??)
Mother and I usually waited until Dad arrived after work. We would all eat supper together, then we would return to Parkersburg - my mind and memory crammed with all the exciting elements of the day still vivid and stashed in my ?fulfillment file?
Is it any wonder that as the years unfolded and time permitted, Dean & I would make return trips to the Fenton Factory at every opportunity, to further investigate the greater possibilities coming from within? ( I also have a great love for and investment in Cranberry Opalescent Fenton from the 1940-1950s era!) After we married in 1952, one of our first purchases from the Gift Shop was a salt and pepper set in cranberry opal stripe.
Our first piece of carnival glass was purchased from a shop in Mineral Wells, WV. in 1968. I received word that the owner had placed for sale, several sets of the original cobalt blue Shirley Temple pieces: cereal bowl, creamer and mug. Shirley and I were born in the same year, so I thought it only fitting that I should own that set. Upon entering the shop, the sun was gleaming down on a vase across the room. It instantly captivated me, and never having seen any of the old carnival glass at that time in my life, I asked for details. It was a standard Tree Trunk amethyst vase having outstanding iridescence! You've guessed it! That vase went home with me, and the Shirley Temple pieces were not purchased until some years later.
Setting the vase on the piano, where Dean could not miss seeing it as he came in from work, on his way down to the basement, as was his practice, I waited for his reaction. He called out to me in the kitchen, 揥hat is this??On hearing the explanation, he replied, 揥e'll have to get some more of this!?/FONT>
By the time we moved from Parkersburg to San Diego in 1970, in worthy pursuit of employment, we had become carnival glass collectors extraordinaire'. In June 1985, posting notices in grocery stores, landromats; and wherever else we were permitted to do so, the resultant organizational meeting brought 24 others, and after discussion and voting, preparing for a constitution, etc., the San Diego Carnival Glass Collectors Club was born. We grew in membership, with attendance at quarterly meetings of up to 79 in number, when Don Moore came from San Francisco area to introduce one of his books. 83 attended the meeting when Marie McGee presented a program on her Millersburg collection. I continued as Club President for the first six years, then Dean & I produced the Club newsletter for another six years, instigating the first use of actual color photographs of the Glass used for articles in each issue. Our interest in all that iridized vintage glass has to offer continues, as many of you know. Our devotion to building long-term allegiance to this wonderful Glass comes straight from the heart, dating back to early childhood and our exposure to the ever-exciting 揻inds?on the Fenton dump!
It follows that when Brian invited me to participate in the exchange of information surrounding the two Fenton brothers whose involvement with the glass industry continues to pervade the Ohio Valley 100 Years after their first endeavor, I felt an opportune moment had arrived in my 71 years of life to present facts in support of one of the most honorable businesses to have survived the industrial revolution in these United States! My opportunity to publicly cast well-deserved tribute upon Frank M. and Bill Fenton for their profound leadership unto future generations of Fenton's is served as well.
Numerous glass manufacturers have come and gone from all over the Ohio Valley region, but the early determination to succeed, portrayed by Frank L. Fenton and brother John, has carried over into the generations since. They are to be congratulated for their quality products and continuity!
FENTON FANTASIA: Theme for the Woodsland Convention held March 29-April 2, 2005 in Columbus, OH厖厖.and now for the banquet presentation:
John vs. Frank L. Fenton
Diane: The personalities of the two Fenton brothers has always been a fascinating point. The brothers are unique: both very good men with a firm desire to command, but since no ship can have two captains, the split was inevitable. Such a shame, in many ways, for without their joint efforts, the FIRST Fenton factory could not have been built!
Organization for it began in April 1905. In July 1905 Frank L. & John opened their own decorating shop, The Fenton Art Glass Co., in Martins Ferry, OH - buying glass from other makers.
For two differing accounts of just how they made the move to Williamstown, WV, please read pages 5-14 in Wm. Heacock's - Fenton Glass: The First Twenty-Five Years, published in 1978, under close scrutiny by Frank M. Fenton. The book is available in paperback from The Fenton Art Glass Company, 700 Elizabeth Street, Williamstown, WV 26187 @ $29.95.
The Williamstown factory opened its doors Jan. 1907 with a 12 pot furnace creating 9,600 pieces per day.
The Millersburg factory opened in May 1909 with a 14 pot furnace, creating 11,200 pieces per day, clearly dictating determination on John's part to go his brother 搒ome better?from the start.
All in all, the output from each company, translates into millions of pieces produced. No wonder we have availability of so much glass in today's market!
John was the flamboyant promoter. It was said he could 揟alk your pockets inside out!?His charm, personality plus, and motivational enthusiasm could get any project off the ground. Problem as: he could not control his flamboyancy! His head was always in the clouds, looking to the future by building more furnaces, ordering more molds, in anticipation of that 搉ext big order!?/FONT>
Frank, on the other hand, was quiet, conservative and level headed. He had both feet firmly planted on the ground and dealt with day to day reality. He was logical, sensible and held to the approach: 揑f operations are moving along smoothly, our needs are adequate---a new furnace is not necessary厖卆nd we have enough molds for now.
Frank's steady attitude nixed John's BIG ideas for their Fenton factory. You just cannot contain a 搕ortoise and a hare?under the same roof for very long.
Every large family has a Frank & John. The flamboyant ones with their visions of grandeur, and the steady, more conservative ones with a high tolerance level.
Frank would likely have continued indefinitely vetoing his brother's BIG plans, probably thinking to himself, 揂ll that creative energy and talent could be put to better use!?Frank was likely not too surprised that Millersburg was short lived!
As for OLD Fenton Carnival: It offers the most variety of shapes, patterns and colors in today's collector market, along with being the most affordable. Everyone loves blue glass, and certainly they made a great amount of it to choose from.
Their edge treatments are distinctively Fenton, and the quality is by far more consistent than Northwood, with less random application of color spray.
Honesty, integrity, respect for tradition, and the general buying public, along with the ability and foresight to change with the times厖?the traits which have always kept Fenton going strong!
A company is only as enduring as its foundation厖?.Frank built a strong foundation for future generations of Fenton's to build upon!
Brian: The story of John W. Fenton, born in 1869 in Indiana, PA, is a sometimes tumultuous one, filled with so much hope and glory and art, and also failure. John has been compared so many times to his younger brother Frank L. Fenton that many obvious contrasts have evolved, not only between their character and personalities, but also between their companies. The best way to look at John is to think of him as George Bailey in the film It's a Wonderful Life.
When The Fenton Art Glass Factory opened its doors in 1907, the president of the company was John Fenton. Research shows that John was the instrumental person in finding and earning the money to locate and build the plant in Williamstown, and John was the main force behind making the Fenton factory a reality. If there were no John, there would simply be no Fenton. Frank would have possibly continued on as a talented worker for Harry Northwood in Wheeling, West Virginia.
You see, John was 搃mpetuous?and larger than life. He could handle nearly any situation. He was a marketer and a promoter. He could probably sell ice to Eskimos. The fatal flaw in John's character was that he was not the sound business-minded man that Frank was. As the initial president of Fenton, John was the 揵ig idea?man. He was the one that would come up with the big ideas and get them started. He was not, however, a details man, or a finisher. Maybe, just maybe, iridizing the glass to make it more grand and romantic was John's idea. John liked to think outside the box, and he liked to spend outside the box. He could look at a piece and say 揗eh, not pretty enough. Make it better.?If there were no John, very likely carnival glass might have started later and not taken hold, banished to the great failures of history.
But John was bored. He loved challenges, and he liked to be in the middle of constant motion. As President of Fenton, he was able to go into the office, do some promotional activities, but little else. Whether it was because John recognized his shortcomings, or because he wanted Frank to take care of the 揹etails? Frank was really 搕he man?at the Fenton factory. And John knew it.
In 1908, while still president of Fenton, John went looking for a challenge. What he found was a place that probably aroused the romantic side of him: beautiful scenery in a location that was NOT on the Ohio River, a small Amish community with old world values and people that were friendly and willing to work, and a place to get away from it all. John found Millersburg.
Then John went to work. He convinced the locals that building a glass factory would stop the migration of locals to larger cities. He convinced the locals that building a glass factory would put the town of Millersburg on the map. And he convinced the locals that building a glass factory would bring in a lot of money for everyone to share.
Well, two out of three ain't so bad, is it?
Diane: More than 130 patterns were utilized in the manufacture of Fenton Carnival Glass!
There seems to be no middle ground. Fenton carnival bowls are either in the 搑eadily found?category or the 搒eldom seen?classification. Just why this should be is open to speculation. It occurs to me that many of the more common patterns were produced during the early years (1907-1915) of the carnival era. Popularity was the greatest and production the highest during this period. Early catalogs would tend to support this theory, as many of these well-known patterns were made prior to 1915; Orange Tree-1911, Butterfly and Berry-1911, Carnival Holly-1912, Persian Medallion-1911, Stag and Holly-1912, Carnival Thistle-1911, Peacock and Grape-1915, etc.
Not many production dates are known for the 搑are or seldom seen?patterns. This might mean they were made during the latter part of the carnival heydays (1915-1925) when demand had eased and production as well as advertising was more limited. Based on this theory, fewer of these pieces were made and thus fewer could have survived.
In any event, the dichotomy of the 揷ommon?versus the 搑are?does exist, even if the reason is a bit cloudy. Of course, there are 揷ommon?and 搑are?bowls among the patterns made by the other companies, but the division is less obvious or not as clearly defined as the case with Fenton carnival bowls.
Let's take a look now at a list of twenty specific examples of Fenton bowls that are in the 損lentiful and easily found?category. Please remember we are talking about bowls of standard shape and normal color. Some of these patterns do occasionally turn up in rare shapes and colors, but that is another story for another day.
ORANGE TREE - DRAGON & LOTUS - HEART & VINE - RIBBON TIE - ACORN - PEACOCK & GRAPE - TWO FLOWERS - CARNIVAL THISTLE - COIN DOT - HOLLY - PEACOCK & URN - STAG & HOLLY - CHERRY CHAIN - VINTAGE - LEAF CHAIN - AUTUMN ACORN - PERSIAN MEDALLION - CAPTIVE ROSE - BUTTERFLY & BERRY - STIPPLED RAYS
Frank L. was a student of Oriental Art, and according to his son, Frank M., is responsible for instilling Dragons into two top favorite designs! Dragon and Lotus, and Dragon and Strawberry. Dragons have long been known to be the protectors of treasure!
There is a Dragon and Lotus spatula footed mold which produced one five-toed Dragon in the pattern. We once owned an amethyst example. That five-toed Dragon became the logo for the San Diego Carnival Collectors Club!
* 8 of 10 rarest 9?plate patterns are from Fenton production, but not especially rare in a bowl form!
Vintage: blue, amethyst, green, marigold
Dragon & Lotus: blue, marigold, amethyst and one in lime green, a green plate sold for $10,000 in 2003厖厖.4 peach opal spatula footed plates are known.
Peacock and Grape: blue, marigold, amethyst, green (collar base and spatula ftd.)
Autumn Acorn: green and marigold
Thistle: amethyst, green, 2 in marigold, one of which brought $6700 in 1994.
Lotus & Grape: amethyst, blue, green
Concord: green, amethyst, marigold
Holly: 1 red, perhaps 2 ice green, few in celeste blue, 1 aqua opal.
Brian: In September 1908, the factory started to be built, and in May 1909, glass was being produced. All the while, John W. Fenton remained the president of Fenton. Some research indicates that perhaps the first Millersburg samples were run at Fenton. Some news reports at the time suggest that some Millersburg orders were filled at Fenton. No one can deny, however, that for a time, John Fenton was the president of both Millersburg and Fenton. He was on top of the world, the king of his game. A big man with big ideas, and a man loved by the masses.
The Holmes County Farmer even ran his picture in the paper on May 27, 1909, with the following description:
揑t is with considerable gratification that we are enabled to present to our readers this week the excellent picture of John W. Fenton, the man who engineered, constructed and is now operating the big factory of the Millersburg Glass Company. Mr. Fenton came to Millersburg a few short months ago a perfect stranger. Today he has the good will and esteem of everybody. We know Mr. Fenton, and therefore take the privilege of writing about him as we believe we know him. He is a plain speaking, blunt fellow with a cheerful countenance, who can say yes or no in such a pleasant manner that you know he means it. He is the best example of an energetic, progressive, far seeing man, the kind we read about but rarely see, that ever struck Millersburg, and fortune certainly smiled on us when he decided to locate his factory here. He has more than made good on every promise and is entitled to the gratitude of every citizen in Holmes County.?/FONT>
John was an excellent promoter who quickly gained favor from those who met him, as you just heard. He became THE showman and master promoter of carnival glass. Without John, carnival glass very well may have fallen, unnoticed, into mediocrity.
In 1910, Millersburg began making carnival glass. On the evening of January 4, 1910, John's four year quest to produce the best quality iridescence possible struck a breakthrough. And John, ever the clever one, knew the power of branding a product. 揜adium?was born. And it ignited everything. The reviews
of the glass (probably written in part with John's master promoting hand) were through the roof. Carnival Glass took off, and Millersburg started to boom.
John's excellent eye and genius understanding of art was evident in his glass. John was a man that truly did not know the meaning of 搒hear mark? His own daily life converted into his pattern design. Here are several examples.
Trout and Fly
John used to go fishing locally in Millersburg, something it is said he very much enjoyed. No doubt this love and daily activity transferred into the need and details of these two very good and very much loved patterns.
Peacocks of all sorts
John brought a flock of peacocks with him to Millersburg, and he let them roam around freely in the vicinity of the glass plant. While these are not pleasant creatures (screeching and hollering constantly), they epitomized John's love of things natural and beautiful. Millersburg did so many things with Peacocks and this is all so very much a reflection of him.
The very building still stands - a Carnival pattern in front of your very eyes on the Main Street in Millersburg. John made a tribute to the people of his adopted home by placing their famous landmark on the face of some of his most famous glass. In fact, it should be noted that John didn't name his factory after himself; he named it after the town as an honor to them (and to perhaps help him sell the idea to them better).
Much debate occurs over whether the 揌olland Vase?is of the Dutch, or perhaps the local Amish. Personally, I believe the People's Vase is a tribute to the local Amish that John loved and saw on a daily basis. As a perpetually busy man (something to which I can relate), John had to be drawn to a simple life with few difficulties and lots of honest hard work. He epitomized that desire in himself by making his piece, possibly one of the worst business decisions he could make.
John brought two pairs of magnificent white swans home which later escaped, but he immortalized them forever on glass in the Nesting Swan pattern.
John had a fondness for sweet blackheart cherries, and there were several trees near the glass factory. This love made its way into the glass.
Not satisfied with just one amazing pattern, Millersburg often gave you the most incredible, complex, fantastic EXTERIORS.
Geometric Magnificence - jewel-like and scintillating. Two beauties for the price of one.
RAYS AND RIBBONS and CACTUS
FLEUR DE LIS and COUNTRY KITCHEN
NESTING SWAN and DIAMOND AND FAN
PRIMROSE and FINE CUT HEARTS
WHIRLING LEAVES and FINE CUT OVALS
VINTAGE and HOBNAIL
Some HANGING CHERRIES have HOBNAIL
Some HOLLY WHIRLS have NEAR CUT WREATH
GRAPE LEAVES and MAYFLOWER
POPPY Compote and POTPOURRI
BERNHEIMER bowl and the MANY STARS have TREFOIL FINE CUT
Diane: Most collectors will have examples of many of the plentiful-type bowls in their collection. If they do not have an example, they will at least relate to the pattern and recognize it when seen. Such is not the case, however, with this second list of twenty 搑are?or seldom seen bowls. Only advanced collectors or pattern buffs will relate to more than a few of these patterns.
It should also be pointed out that certain of these patterns may be seen quite often on a compote or bonbon, but rarely on a bowl! This is true, for example, with the Birds and Cherries.
TWENTY of the rarest bowls known ----- and many of them are not found in plate form:
MIRRORED LOTUS: white, ice green, ice blue --- 1 ice blue plate and at least 1 in white are known.
ROSE TREE: blue, marigold sell in excess of $3000.
DRAGON'S TONGUES: only known in marigold. One sold early April 2005 for $2000.
GODDESS OF HARVEST: marigold, amethyst, blue -all should sell in excess o $10,000.
BIRDS & CHERRIES: blue, amethyst, marigold. Chop plates in amethyst, blue, marigold, with one of those selling for $16,000 in 2000.
CORAL: marigold, blue, green-plates known only in marigold.
CONCORD: green, amethyst, marigold, blue---plates known in green, amethyst and marigold
WILD BLACKBERRY: marigold, green, blue---(H.Maday & Sons) 9?Advertising bowls found in amethyst and green. One amethyst chop plate size having a ruffled effect is known in Wild Blackberry.
RAGGED ROBIN: amethyst, blue, marigold, green, with only a dozen or so selling in any given year!...for nominal prices!
Fenton GOOD LUCK or HEART & HORSESHOE: in marigold only, and extremely rare!
PLAID: red, green, blue, marigold, amethyst-said to be a few plates, but the ones we have seen are not true FLAT plates!
THISTLE & LOTUS: extremely scarce 7?bowl in marigold, with only one blue example known.
PEACOCK and DAHLIA: is another very scarce pattern in a variety of known colors/shades, with 7 ½?plates only found in marigold.
NORTHERN STAR: marigold only.
PETER RABBIT: blue, marigold, green-------plates in the same colors, with marigold the more prevalent color.
LITTLE DAISIES: marigold and blue - ruffled or IC shape - latest price in 2005 was $4100.
HEARTS & TREES: marigold ball-ftd. bowls--------Not even one per year surfaces at auction!
DRAGON & STRAWBERRY: blue, marigold, green collar base and footed. An amethyst example will sell in the $2000 range------1 marigold 9?/FONT> ABSENTEE DRAGON AND BERRY plate is known.
FANTAIL: marigold and blue--------2 known chop plates in marigold and 2 in blue-sell in the $5500 range.
LITTLE FISHES: marigold and blue------with only 1 known in white, 1 in ice green which sold for $7500 in 1995.
Very few of these can properly be labeled as rare. The Goddess of Harvest and Peter Rabbit bowls would clearly fall into that category. Having said that, I would quickly add that I have seen these two patterns more often than the Rose Tree, Little Daisies, Hearts and Trees, Heart & Horseshoe or Dragon's
Tongue. What makes one piece 搑are?and another 搒carce?or seldom seen is not easily or logically explained. It has much to do with the publicity certain patterns receive This in turn affects the price collectors are willing to pay for them.
But this entire matter of rarity is quite a different topic and will require greater detail at another time. It is sufficient to say that the bowls on this second list are all difficult to find. Just why there are so many of these Fenton bowls in this category and an equal number in the opposite category is the point that is so intriguing, yet baffling!
Brian: John was also a master of color. He knew what looked good and he stuck with it. He didn't compromise on excellence. No playing around with experimental colors and watery pastels that might weaken the beauty of the iridescence. When he made Vaseline he didn't fudge it with marigold iridescence on top like Fenton did. He smacked fantastic radium iridescence on it instead. He made less of certain colors, like blue, because perhaps his brother did so much blue and he didn't want to be compared, or perhaps he just thought (like even many Millersburg lovers today) that it wasn't that darned pretty.
And of course, John owned iridescence. Radium was THE revolution in iridescence. A complete triumph in its own right, it changed, literally, the face of carnival glass. John made other carnival glass companies better with this creation, as they all had to raise their own game to compete. In the press, Radium was described as 揳rt glass for the masses? And there are even some who believe that the unique mixture of chemicals in the radium iridescence gives those pieces something more important than any other piece of glass: a longer life. You see, iridescence will eventually wear out, and so will the glass. Some scientists even think that within 200 years, the glass will be gone. Radium iridescence, some believe, has a small radioactive isotope in it that will seal the iridescence onto the glass for years to come. In other words, the last piece standing.
If there were no John Fenton, then perhaps iridescence would never have been 搒tretched?to new levels, and not ignited the love and fanaticism of today.
John was also a master at shapes. Think about the shapes he did outside the realm of the ordinary and unexpected.
What innovative shapes did Fenton make to compete with these Millersburg beauties?
Of course, in 1911 it all began to fall apart. Several lawsuits from creditors started to hit, and Millersburg even failed to pay its taxes. John, the big picture, big idea guy, started to lose out to the real world, in which bills needed to be paid, promises needed to be kept, and the paperwork at the end of the day needed to be done. He wasn't the one to do those, or pay much mind to them. The biggest
accomplishment and biggest failure of Millersburg was the one and same thing: John Fenton, his own worst enemy.
In September 1911, after a bankruptcy, the company was sold and became the Radium Glass Company with John as the Vice-President. Innovation continued, but so did the problems. It died in May 1912. John and his family stayed in Millersburg, his adopted home and place of both turmoil and tranquility. The town itself was his muse, and he wouldn't leave her.
In 1918, his daughter died of influenza. In 1921, his wife died in a car accident. In 1934, John died of heart disease, his grave in the Millersburg cemetery. His shining successes were all overshadowed by his resounding defeats. Today, Fenton glass lives on, but for a short, almost 2 year period, John Fenton was the best. He was the best of Fenton glass, and he was the best of Millersburg glass. He put his entire heart and soul into his work, which many of you own today. When you own a piece of carnival glass, you own a piece of John W. Fenton, the flamboyant, over the top, excessive art genius of carnival.
Indeed, it was a wonderful life, marked with promise and genius, tragedy and mistakes. John's benefits live on today, in the glass we collect. Without him, nearly none of it might have happened?/FONT>
Diane: *Fenton made more - 6?Advertising pieces than any other company - (10 in all), along with the few known, very rare Grape and Cable bowls with Compliments of Pacific Coast Mail Order House-Los Angeles lettering inside - found in marigold and blue.
* Fenton produced 10 Commemorative lettered pieces, including the Elks Bells.
* Millersburg made only a couple of 揺xperimental?Ohio Star vases in Aqua - no red and no celeste
* Starflower pitcher in marigold or blue is as rare as any pitcher from Millersburg!
* There is an Apple Tree Vase (no handles), only one known.
* A Panelled Dandelion Vase is a one of a kind.
Fenton created more flat plates in all sizes. Fenton made very little in the way of iridized opal-edge glass, but the patterns found in that treatment are quite tastefully endowed with opal edges which do not interfere with the overall carnival glass appearance. Their peach opal is very tastefully applied, as well. Moonstone base glass is another of their delightful accomplishments. When found in connection with the Holly pattern, attention reaches into the heights!!
And now for the surprise: ( I took a cherry red, gleamingly gorgeous squat PLUME PANELS Vase from a box, held it up for banquet attendees to drool over, exclaiming that it would match ANY PEOPLE'S Vase for sheer beauty!) ----- There were cheers of agreement from the audience!
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