SOME VERY SCARCE BOWLS MADE BY FENTON GLASS CO.
For the benefit of those Beginners who possibly may see some of these bowls while attending a local auction, or perhaps locate one in an obscure mall/shop, we believe you will enjoy having information and pictures for identification purposes. These pieces are so seldom seen. Prices of all those pictured vary greatly. Not all are necessarily expensive, but the pleasure of having any of them should make the search worthwhile.
GODDESS OF HARVEST
In addition to the six ruffle shown, there are three and one edge and candy ribbon edge examples in colors of amethyst, blue and marigold. It is approx. 9?in size, and has a collar base.
This impressive 11?bowl with three curled feet ?only found in marigold color is quite difficult to locate. In addition to the ruffled type, an ice cream shape is known.
HEART & HORSESHOE or FENTON GOOD LUCK
Basically, this is the Heart & Vine pattern with the horseshoe superimposed in the center. One shape, one color, these eight ruffle bowls have survived in small number. Perhaps only 20-30 are known. Exterior is plain with a collar base.
If you enjoy intricacy of design, this one taken from nature itself is hard to beat! Blue and marigold ruffled and ice cream shapes are known. Artistry extends from the intricacy of the roses, to a finely ribbed band which leans from left to right. These bowls are nearly 3?deep and 9 ½?in diam. The famous Orange tree design is displayed on the exterior. All-in-all a most impressive piece!
Found in marigold, green, blue and amethyst, some examples of this 9?collar base bowl carry advertising within the marie. H. Maday, and Horlacher are the subjects used.
A wildflower of that name is used for the central design on this 9?collar base bowl. The 3/1 edge seems to be the prevalent shaping found. Marigold, green, blue and amethyst are the known colors.
This 9?bowl is difficult to locate in marigold, blue, or green. It has the collar base, as do the few marigold plates known in the pattern. The criss-cross design found in the pattern was also used in Little Fishes and Peter Rabbit patterns, which we will discuss next.
These bowls in marigold, green and blue are quite difficult to obtain, but to own one with a distinct mold strike, showing the little lop-eared bunnies at their finest, is real pleasure. There are 9?plates found in those same colors, and the collar base was used for these.
The 9?white bowl pictured here is said to be the only one known in that color. Mr. Fenton has examined it, and believes that the stretchy finish could be termed 揳cid-etched? very likely experimental. There is also an unusual ice green bowl known with the same stretch finish. Other colors to be found, are blue and marigold. This design uses the three curled feet, and a plain, or smooth exterior.
The ice cream shape in this fascinating pattern of all-over daisies is more difficult to locate than the ruffled version. This is a 10?size, and there are blue examples known. The exterior is plain, having collar base.
BIRDS and CHERRIES
An intriguing design found on 2-handled bon-bons and stemmed compotes, as well as these 9 ½?bowls. Ruffled and 3/1 edge examples are known in the collar base bowl shape. However, the strategically placed birds are best displayed on the ice cream shape.
The example of this very rare 9?footed bowl in blue is a mystery. It is owned by long-time collectors in Texas, and continues to be the only one known of its kind at this writing. It was first discovered in 1973, when Marion Hartung borrowed it from E.E. Allen of Hopewell, VA for the purposes of creating the drawing for insertion into Book 10 of her now famous SERIES. Mrs. Hartung concluded that the Fern bowl came from the Fenton factory because the three curled feet are the same as found on other known Fenton pieces. The interior design has not been found on any other shape. This is, without question, the rarest of the Fenton bowls discussed in this article.
A marigold bowl shaped like this blue one was found in Ohio in May 2010.
COLLECTORS OF LONG TERM STATUS eventually lean toward as many of these unusual pieces as is financially feasible. That decision tends to follow our first inclination to gather up as many 損ieces?as we can. Once the shelves are overflowing, and prices of 揳nother cabinet?seem totally unreasonable, based on the fact that we only want to display some 300 pieces, (smile), many of which have cost as much as a new display cabinet would cost, a point is reached when it seems better management to have 揻ewer pieces?of somewhat better quality. The time element for reaching that plateau, differs among collectors, so if you are still buying your glass by the 損ound?or the 揹ozen? take comfort in knowing that you are following the usual path to accumulation!
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