Fenton Line #100 Topaz Three Legged Bowl


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This little bowl has a very pretty colour.  I don’t know Fenton’s colour chart at all, but my understanding that this is their colour Topaz.  I have this great book – Colors & Patterns of Depression Era Glassware by Doris Yeske & Lyle Fokken – which refers to Fostoria’s ‘yellow’ glass being called ‘Topaz’.

In fact, Fenton is a company that is not well represented in my collections, or purchases.  Don’t know why.  I tend to lean toward Heisey, Cambridge or Fostoria glass lines and etches.

The brightness of the colour, and the opalescence around the rim caught my eye.  However the pattern is pretty too.  The photos may not show this well – but there are rings in the glass.  I don’t know if the pattern was named “Ring’ or ‘Rings’ or ‘Ringed’ by Fenton but I see online that it is often referred to by one of those names.

This piece does glow brightly under a blacklight.  These bright green pieces are often referred to as Vaseline glass.

The Encyclopedia of Glass by Mark Pickvet defines ‘Vaseline Glass’ as follows (p. 269):

“Glass made with a small amount of uranium oxide (usually 1-2%) that imparts a light greenish-yellow color……Vaseline glass was first made by the Romans; however it was not used in glass production in any quantity until the mid-nineteenth century.  The term ‘Vaseline’ was not used until about 1937.  Note that the English usually refer to Vaseline glass as ‘Lemonescent’ while it has also been called canary, yellow, uranium, topaz, magic, Canaria, Chameleon, Anna Yelloow, Annagrun, and Lenora Green.’

Update to……Cambridge 3-lite Candelabrum no. 638 with Apple Blossom etch


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Here’s another pair of Cambridge candlestick holders in Willow.  These are from line no. 627 – the Decagon line and are decorated with etch # 731 – the lovely Rosalie etch. The edge of the cup and the rim of the base were/are edged in gold

Such a pretty colour and etch.


October 6, 2019

I was scrolling back through the last few items that I have posted and was struck by the pretty colours.  This piece is no different.

It is a very pretty pastel blue.  The book Colors in Cambridge Glass II by the National Cambridge Collectors, Inc. provides some history on this shade – Willow Blue.

The authors state (pg. 50) that the colour was introduced in the summer of 1928.  They also comment that “…..may confuse Willow Blue with Moonlight since both are transparent light blues.  For the most part they can be distinguished by the blank as there is no overlapping of colors.  Pieces from Decagon, Round, 3400 and other 1920s and early to mid-1930s lines will be in Willow Blue, while Moonlight was used primarily with the Caprice and Gyro lines.  The one area of overlap was in the Everglade line where early pieces were in Willow Blue and some later production did utilize Moonlight.”

The authors further state that the name Willow Blue was discontinued in the summer of 1933 and then became known as Eleanor Blue.

I also learned that the blue shade called Moonlight is Moonlight NOT Moonlight Blue.

United States Glass Crucifix Candlestick Holder


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I have come across these crucifix candlestick holders in books, but never before in ‘real life’.  My children are Roman Catholics and I wondered if they would like to have this piece (they didn’t).  Oh well.

There is an appendix devoted to these crucifixes in volume three of The Glass Candlestick Book by Tom Felt and Elaine & Rich Stoer.  There are an astonishing number of variations on the theme.  Felt and the Stoers indicate,”Glass candleholders depicting the crucifixion of Christ originated with [the] earliest American pattern glass companies.  Boston and Sandwich, the New England Glass Company, McKee and many others from the New England, Pittsburgh, and Ohio areas produced them from the mid-1800s to the mid-1900s.”

If you have a chance to review this appendix, it is highly recommended.  These candleholders have been lavishly photographed and some are very beautiful.

This particular piece was likely produced in Factory C – Challinor, Taylor – circa 1891-1919.  It came in three sizes and this piece is considered no. 4 sue to its height of 8 1/2 inches.

Felt & the Stoers comment that the rock-like base, floral design around the cup and wood grain of the cross make this one of the more ornate crucifix designs.