|
|
|
reference book updates
Section IVMillard’s Opaque Glass1. (Opaque News – March 2004): Frontis Piece, Swan Tureen: This beautiful tureen can now be attributed to the O’Hara Glass Company of Pittsburgh, Pennsylvania. See Robert Friedrich’s article in the March 2004 Opaque News 2. (Opaque News - March 1997): Plate 1 and Belknap 17b Arch Border Plate: Belknap follows Millard in attributing this pattern to Challinor, Taylor, although neither of them cites a source. Belknap, however, takes exception to Millard's belittling the quality of the glass. The difference in their appreciation of the plates may be explained by the possibility that they were made by two different companies. Challinor produced a large cheese plate called "Arch Leaf" (see Lucas, Tarentum Pattern Glass, p. 102) but it bears no resemblance whatever to these two plates. Apart from the obvious difference in the thickness of the border open work, notice that in Belknap-17b, which we will call Version #1, there is but a single band at the top of the rounded arch, whereas in Millard-1 (Version #2) two bands are found instead. To further complicate these two near look-alikes, Frank Chiarenza reports having yet another variant of the Arch Border pattern, a Version #3. It appears to have escaped previous notice in the standard milk glass literature, and is shown here: If you compare these plates, you will see Version #3 differs from Belknap’s in that the single band at the center of the rounded arch continues on and through the smaller round arch below it, ending at the plate’s inner border. A similar alteration also results in creating a "Y" configuration inside the pointed arch of Version #3. Three different makers, perhaps? If anyone can solve this puzzle, we wait to hear from you. 3. (Unpublished): Plate 1 The Serenade & Belknap 9e (The Serenade): Look closely (as well as you can make out the Millard picture) and you’ll see that these two plates have two different borders. Notice how some of the flowers are inside the border? So the mold for the 6½" plate was a little different from 8¼" plate. 4. (Unpublished): Plate 2, Pansy & Chain Square Plate: Millard states this piece is found in white and blue. At the October 1998, Springfield, Ohio Antique Show, I found the 8 ½ version in deep black amethyst. So, we must add black to the colors. 5. (Unpublished): Plate 3 Peg Border Plate: In an Feb 24, 1898 China, Glass and Lamps, page 48 there is an advertisement and illustration by Dithridge for Salts, Peppers, Plates and Molasses Cans. The peg border plate is shown. So mark this plate as Dithridge until another maker comes along. 6. (Unpublished): Plate 5f, Belknap, Plate 7f, and Newbound, Plate 259: In an August 16, 1900 China, Glass and Lamps, page 40 there is an advertisement and illustration by Dithridge Stamp Plates that exactly these plates. So mark this plate as Dithridge until another maker comes along. 7. (Unpublished): Plate 6 Stanchion Border Plate: No big deal here, but Millard states it was made in white, blue, and possibly Nile green. Then in plate 40, he shows it in black. Just to avoid confusion we should correct the write-up for Millard, Plate 6 to include black as a known color. 8. (Unpublished): Plate 6, Plate 40, & Plate 41 Stanchion Border Plate: Unfortunately, Mr. Millard may have gotten this one wrong. Challinor, Taylor & Company probably did not make this. In an April 22, 1896 China, Glass and Lamps, page 9 there is an advertisement and illustration by Dithridge for "New designs in Rococo plates for stamp decorating. Made in Opal, Blue, and Black and in Opal Decorated." So correct two things here: Dithridge made these plates and there is no indication that they were made in Nile green. 9. (Unpublished): Plate 9 (Club, Shell & Loop Border) and Plate 41 (Battle Ship Maine, Blue): This is the exact same pattern (except for the color) with two different names. Plate 41 should be correctly titled Club, Shell & Loop Border decorated with the Battleship Maine. 10. (Unpublished): Plate 11 - Columbus Plate (Belknap 5A) (Newbound - 270): In her article Canton: The Glass Company that Refused to Die, Part 1 (Glass Collector's Digest December/January 1999, Volume XII, Number 4), author Marg Iwen quotes from the 1902 National Glass Co. Export Catalog Number 2. One of the references is to a "Columbus" plate designed by David Barker for Canton Glass in 1892, made in clear and opal. 11. (Unpublished): Plate 14 & 84B, Square Peg Border Plates: In an Feb 23, 1898 China, Glass and Lamps, page 6 there is an advertisement and illustration by Dithridge for Salts, Peppers, Plates and Molasses Cans. The square peg plate is shown. So mark these two plates as Dithridge until another maker comes along. 12. (Opaque News - March 1997): Dithridge Attributions see Ferson 592: From the Dithridge advertisement shown in Ferson-592, we may attribute all of the following items to that company: F-30, B-3f, B-24d, M-18 (both plates), and M-24. 13. (Opaque News - March 1997): Plate 20 and Belknap 4b Gothic Border Plate: An instance of mistaken identities. Although both are named Gothic and have very similar designs, they are not the same plate. The one shown in Belknap, Plate 4b and attributed, perhaps correctly, to Canfield glass has very thick spokes on the inner edge and a linked series of heavily rimmed open circles on the outer edge. Millard, Plate 20, on the other hand, not only has much thinner spokes, but the outer edge is an open work lattice with sharp tips. Millard also alludes to this same plate embossed with the profile of Bryan. It is illustrated, together with the companion McKinley plate, in Ferson-548 and 549, and attributed to Canton glass. Until a suitable name can be found or invented for one of these near twins, Bart has suggested we refer to the former as Gothic-Thick and the latter as Gothic-Thin. 14. (Unpublished): Reference the various Scroll and Eye plates that appear similar. However, one version has a "spoke" or straight glass peg inserted while one version does not. Look at Ferson, 388B & Belknap, Plate 9a. The Challinor-Taylor catalog reprint shows the plate with the spoke in it. Belknap also attributes this particular plate to Challinor-Taylor. Now look at Millard, Plate 20. This plate does not have the spoke and Millard attributes it to Atterbury. I have also found this plate in Fenton Glass, The Second 25 Years by William Heacock, pages 58 & 78 (without the spoke). So we know that there are at least two makers (Challinor-Taylor and Fenton). Is there anyone who has an Atterbury catalog reprint on this plate to confirm the third manufacturer? 15. (Opaque News - December 1992): Plate 21 and Belknap Plates 12e & 271 Ancient Castle Plate: A few months ago I acquired a marvelous book, American Historical Glass, by Bessie M. Lindsey, c. Japan 1967, 1st printing; 4th printing 1980, Charles F. Tuttle Co., Inc., Rutland, VT and Tokyo, Japan. It contains 350 black and white photographs, many of them of milk glass items, throughout the thoroughly researched text. Plate 306, p. 312, shows Belknap's "Ancient Castle," also named in this fashion by Millard. On p. 303 Lindsey identifies the plate as the Garfield Monument, located in Lakeview Cemetery, Cleveland, Ohio. 16. (Opaque News – September 2005): Plate 22 and Belknap 21b: Chick and Egg Plate: Shown in a Gillinder & Son advertisement in Crockery & Glass Journal, January 1, 1903. 17. (Unpublished): Ferson, Plate 395 (Fort Necessity Plate) and Millard, Plate 28 (Lacy Edge Indian). Both these plates bear the inscription "Fort Necessity" so collectors should know there are at least two versions of plates commemorating the designation of Fort Necessity as a National Battlefield Shrine. 18. (Opaque News – September 2005): Plate 30 and Belknap 15b: Sunken Rabbit Plate: Shown in a Gillinder & Son advertisement in Crockery & Glass Journal, February 27, 1902.
19. (Unpublished): Plate 36 Cream Grape Plate: According to Victorian Colored Pattern Glass, Book 4, Custard Glass From A to Z by William Heacock this is product of Northwood Glass and the pattern was called Grape & Cable. See pages 21-23 of Mr. Heacock’s book for examples of this pattern. The plate pictured in Millard appears to be stained in the classic Northwood nutmeg brown which lends more credence to this supposition. 20. (Opaque News - March 1997): Plate 37 Scalloped Tray: Look at Ferson-597. Millard's tray shown in plate 37a is a product of the Eagle Glass and Manufacturing Company. The pattern is not named in the advertisement. but it is called an Ash Tray. Both the maker and the type of tray should be noted in the Millard entry. 21. (Opaque News - March 1993 and March 1997): Belknap, Plate 57 (Chrysanthemum Dresser Tray) & Millard, Plate 38b Dahlia Corner Tray This tray has been assigned two different names, neither of which Is correct, strictly speaking. In both design and quality of glass, it is outstanding, as Belknap has noted, distinguishing it from the many common dresser trays that we find so frequently. This tray is a McKee product, part of a group of dresser items in what was called "Venetian" pattern, and especially collectable in chocolate glass. Other items in the same pattern as this 8" X 10" "comb and brush tray" are two smaller trays; a round covered jar; a jewel and a glove box; and a cologne bottle with stopper. See James Measell, Greentown Glass (1974), p.85. Update: Opaque News March 1997 The "Chrysanthemum Tray" (Belknap, Plate 57; Millard, Plate 38 and Newbound, Plate 352) Is it McKee, Fostoria, or Fenton? After I thought it was a settled matter, Bart Gardner has reopened the question of who made the beautiful dresser tray illustrated in Belknap-57 and Millard-38. Based on information furnished by James Measell in his excellent book, (Greentown Glass (1979), p.85, I reported in an Opaque News "Update" (March 1993) that this tray was made by McKee and Brothers. Measell illustrates it in chocolate glass and stated that Ruth Herrick named it "Chrysanthemum," but the original name for the pattern was "Venetian." The tray together with a variety of other dresser pieces is shown in a McKee advertisement for "Opal Decorated Novelties," in the August 10, I899 issue of China, Glass and Lamps. Not content to leave well enough alone, and perhaps just to ruffle my otherwise placid existence, Bart wrote to say, "While browsing through William Heacock's Victorian Colored Pattern Glass, Bk 4 - Custard Glass, I saw this tray illustrated as item 463, which Heacock says was made in custard and chocolate by Fenton Art Glass Company. My questions to you are: Does Fenton still own the mold, and is our earlier attribution to McKee still correct?" These questions put me to the task of trying to untangle the two different names given to this pattern, and in the process I was led to reconsider whether the attribution to McKee might be incorrect. Both Measell and Heacock, in the references cited above, credit Ruth Herrick with naming the pattern "Chrysanthemum." Measell believes, and I agree, that Herrick probably got the name from Belknap who originated it for this pattern. Millard is alone in calling it "Dahlia Corner Tray (M-38b)." After carefully comparing a specimen in my collection with those illustrated in Belknap and Millard, I feel confident that they are identical. A close scrutiny of the Venetian pattern tray in chocolate glass shown by Measell, however, reveals that the two patterns, though very similar, are not identical. Therefore, I believe we may be dealing with a case of mistaken identity - it is not simply a matter of different names for the same pattern, but of two patterns which, while almost identical, are in fact different. The trays shown in Belknap and Millard (which we will continue to call "Chrysanthemum") are not the McKee "Venetian" pattern after all. I haven't been able to get Betty Newbound's confirmation that the milk white glass tray illustrated in her book (Fig. 352, bottom left) is in fact signed McKee, but it is my belief she may be mistaken. Judging only from her photograph, at least, it does not appear to be the same pattern as the chocolate tray shown and identified correctly in Measell (Plate 189) as McKee's "Venetian." Who, then, was the maker of the Chrysanthemum pattern tray? We have documented proof that it is a product of the Fostoria Glass Company of Moundsville, West Virginia. Line drawings of the tray, together with other matching dresser pieces, appear in a Fostoria catalog of pressed glass dated 1900. The pattern is illustrated and discussed in an article by Albert Christian Revi (Spinning Wheel, 1971), which we reprinted in the March 1996 issue of Opaque News. The close similarity between the patterns of these Fostoria and McKee dresser items explains why the same name was given to both patterns, thereby obscuring the fact that they are not identical and were actually made by two different companies. We may definitely disregard Heacock's attribution of this tray to Fenton. Replying to my inquiry, Mr. Frank Fenton in a letter dated November 22,1996, explained the probable reason for the error, stating: "Bill Heacock had a tendency to attribute the manufacturer based on color and characteristics, and that's what he did in this case. That tray was not made by Fenton" Unfortunately, the photocopy of the McKee advertisement is less than optimal. But if you compare the catalog and advertisement sketches illustrated below, you may be able to see the subtle differences between the McKee Venetian and the Fostoria Chrysanthemum patterns. It will take some doing and the use of a magnifying glass perhaps, for the differences to become apparent. 22. (Opaque News – December 2005): Plate 43 and Belknap 21a: Little Red Hen Plate: Shown in a Gillinder & Son advertisement in Crockery & Glass Journal, January 1, 1903. 23. (Opaque News – September 2005): Plate 44 and Belknap 20d: He’s All Right Plate: Shown in a Gillinder & Son advertisement in Crockery & Glass Journal, January 1, 1903. 24. (Opaque News - March 1997): Plate 62 Scoop Tray & Versailles Pickle Dish (Belknap Plate 64a): The Dithridge advertisement shown in Ferson Plate 592 confirms this is a Dithridge product. Belknap should be annotated as to the maker, and Millard should be annotated as to the proper name, as well as the maker. 25. (Unpublished): Plate 70 Scroll Handled Tray: Ferson, Plate 591 is an advertisement for Dithridge & Co. In the upper left hand corner is the #194 Versailles Olive which is an exact duplicate of Millard, Plate 70, which should be corrected as to the name and maker. 26. (Opaque News - March 1993 - Did Westmoreland Make Opaque Glass in the 19th Century). . . "Let's consider some of Westmoreland's tableware. The Elite line was introduced in January 1896; the Waverley in January 1897; and the Westmoreland in January 1898. While these were very popular lines at the time, with more than 50 items in each pattern, none of them, I believe, can be found today in opal. But two early 20th-century lines can be; namely Star and Daisy (January 1902). These two are pictured in opal in Belknap, Plate 131 and Ferson Plates 289, 290, and 291). Incidentally, the stars are pressed - not cut, as Millard apparently mistakenly believed (Opaque Glass, Plate #87)." Annotate Belknap, Ferson, and Millard to show Westmoreland as the maker. 27. (Unpublished): Plate 90 Grape Tureen: Reference Victorian Colored Pattern Glass, Book 4, Custard Glass From A to Z by William Heacock. This item appears to be the Northwood Grape & Cable Centerpiece Bowl. See, page 22, item number 33 for an exact picture. 28. (Unpublished): Plate 95 Beaded Medallion Footed Nappy: Reference Victorian Colored Pattern Glass, Book 4, Custard Glass From A to Z by William Heacock, this item is a Northwood Inverted Fan & Feather pattern jelly compote. See, page 20, item number 4 for an exact picture. 29. (Unpublished): Plate 103 Crimped Edge Bowl: Reference William Heacock’s Encyclopedia of Victorian Colored Pattern Glass, Book 4, Custard Glass from A to Z: Item 199 on page 35 is an exact duplicate and is called Beaded Cable. Recommend we update Millard as to maker and pattern. 30. (Unpublished): Plate 112 Square Footed Candle Holder, Plate 173 Pyramid Candle Holder, and Belknap, Plate 35c Small Scroll Candlesticks: All three of these items appear identical. Since we do not know the proper name for this item, this update is merely to show the relationship between these three candlesticks. 31. (Unpublished): Plate 121 Basketweave Compote, Belknap, Plate 111; Ferson, Plate 343; and Newbound, Plate 100: All the compotes except for Newbound plate are missing the lid shown in the 1881 Atterbury Catalog (Ferson 337A). 32. (Unpublished): Plate 122 Paneled Flower Compote: Reference Victorian Colored Pattern Glass, Book 4, Custard Glass From A to Z by William Heacock. This item is a Northwood Intaglio Pattern Berry Sauce. See, page 24, item number 57 for an exact picture. 33. (Unpublished): Plate 126 Square Leaf Syrup: According to Mollie Helen McCain’s The Collector’s Encyclopedia of Pattern Glass, Plate 198, 4th row, this item is also a Nettled Oak Syrup. Correct Millard to reflect the maker as Northwood and pattern name. 34. (Unpublished): Ferson, Plate 155C, Belknap, Plate 77, and Millard, plate 130 (Bellflower Syrup): Reference American Pressed Glass and Figure Bottles by Albert Christian Revi. Mr. Revi attributes this pattern to Bryce, McKee, and Company circa 1865. It was originally called "R.L." pattern. The pattern was later produced by McKee & Brothers. Two McKee & Brothers advertising illustrations on page 236 seem to bear this out. However, in Jenks & Luna’s Early American Pattern Glass 1850-1910, they also attribute this pattern to the Boston & Sandwich Glass Company in the 1840’s. Readers might want to annotate their reference books with these companies as possible makers (Boston & Sandwich; Bryce, McKee, and Company; & McKee & Brothers). 35. (Unpublished): Plates 148 Covered Urn and 150 Open Urn: Look at Ruth Ann Grizel’s Westmoreland, Our Children’s Heirlooms, page 73, and Loraine Kovar’s Westmoreland Glass 1950-1984, Volume II, page 65. There seems little doubt that these two items are Westmoreland Specialty Company products. 36. (Unpublished): Plate 151 Knotted Cord Creamer: Reference Ruth Ann Grizel’s Westmoreland, Our Children’s Heirlooms, page 64, lower left panel. The Millard item is identical to the Westmoreland Diapered Flower creamer (sans lid). Millard should be corrected to reflect the correct name and identify the maker. 37. (Unpublished): Plate 152 Scalloped Top Creamer: This creamer appears to be a Westmoreland Specialty Company product. See Charles West Wilson’s new book, Westmoreland Glass, page 216 (Square Shaped Mustard Sugar & Cream). Millard should be corrected to show maker. 38. (Unpublished): Plates 162 Square Scroll Salt, Plate 169 Spider Web Salt, and Plate 197 Creased Bale Salt are all Dithridge and Company products. Reference Ferson, Plate 589 which is a reprint of a Dithridge & Company advertisement. As an added note the name Millard gives to Plate 139 (Spider Web) is incorrect. Dithridge named this pattern Alba (See Ferson, Plate 139). 39. (Opaque News – March 2003): Plate 179 & Newbound, plate 57 &, Fainting Couch Covered Dish: Believe it or not, this rare beauty was originally a condiment container! It was made by Westmoreland Specialty Company. In her new book, Westmoreland Glass Volume 3, 1888-1940, Lorraine Kovar shows a line drawing of the fainting couch in the mustard container section and identifies it as MJ-39, Fainting Couch Container. She speculates it was not a mustard container, but held some other condiment. In the section on mustard containers (page 57), Lorraine answers one of my longstanding unspoken questions: "Collectors often wonder why so many of these mustard jars were produced. Around the turn of the century when these items were being shown on the market as new items, prepared mustard was unheard of. Only the powdered mustard was available. The housewife of the time had to mix this into the spread as we know it today. Another reason for the vast numbers of these mustard jars is that it was a great marketing ploy. The housewife felt that she was getting something for nothing when she purchased the mustard. After all, she could use the cream and sugar for many years to come. I suspect after a while, when just about every household had about ten sets of these mustard jars, the novelty wore off." 40. (Unpublished): Plate 183 Handled Basket Sauce: Ferson 574A is a reprint of an Atterbury Catalog Advertisement which names the piece a "2 Handle Salt." Millard, Plate 183 should be corrected as to what the piece is and who the maker was. 41. (Opaque News - September 1992): Here is an obvious and simple example of printer's error: If you have a copy of the 3rd edition (1953) of Millard's Opaque Glass, you may have noted that Plate 204 mislabels the "Herringbone Butter" and the "Covered Strawberry Dish." Curiously, they are properly captioned in the first edition (1941), and it appears the photographic plate was unwittingly reversed in the later edition. 42. (Opaque News - March 2001): Pate 184b and C/S Plate 154 Ram Covered Dish Widderdose): The description we gave this piece in The Milk Glass Book (item 154) turns out to be right on the mark -- "This charming miniature dish may be a child’s piece or, perhaps, a covered salt." In fact, the Ram covered dish ("Widderdose") appears on a catalog page together with about 25 other items, all under the heading: "Spielzeugartikel und Salzfasser" -- that is, "Toy Articles and Salt Cellars." Collectors of salts will be delighted to know the company did intend it for such use. And we are now able to explain those "cryptic registration numbers" embossed in both the base and the cover. The enigmatic letters "MS" no doubt are an abbreviation of "Musterschultz" (i.e., "design patent") and "2509" inside the lid is the catalog number. The base bears a different number (2184) because it could be used with other lids having different patterns but of the same size. Again, I remind you that this piece, like all the others, was made in clear as well as opaque white or blue, either plain or decorated. 43. (Opaque News - September 1996): Plate 205-B Sawtooth and Lions' Heads C/D: From time to time, I glance through the pages of Millard and Warman, where very few pieces are attributed to their makers and am able to spot a couple that have been identified elsewhere. One such item is a very handsome "Oblong Sawtooth Covered Dish" shown in Millard (plate 205-B). Having recently come upon one of these, in clear crystal, I searched the literature and find it shown in Ruth Webb Lee's Early American Pattern Glass, plate 41 (top row). Lee discusses the many different varieties of sawtooth pattern glass, going back to the 1860s, both in the Massachusetts and the Pittsburgh areas. The sawtooth pattern items shown in Millard (plates 211 and 212), for example, are unmistakably Sandwich. Lee describes the piece in question as an "oblong dish with knobs and handles formed of Lion's heads," adding that they were made by Bryce Bros. of Pittsburgh and date from the 1880s. The finial, incidentally, is quite novel, as it is designed as two Lions heads facing in opposite directions and joined together by their manes, thereby creating a loop handle for the cover. The handles on the ends of the base are each formed as a Lion's head, with open mouth from which gushes a stream as if of water to create a looped handle. The underside of the base has a rosette in the center, formed by diamond points to complement the dominant sawtooth pattern of the dish. I imagine this piece is harder to find in milk white than in clear or transparent colored glass. 44. (Unpublished): Plate 206 Crown Top Sugar: This should be a product of Westmoreland Specialty Company. Reference Charles West Wilson’s Westmoreland Glass Identification & Value Guide, page 261, line 200 and Lorraine Kovar’s Westmoreland Glass, Volume II, page 65. 45. (Unpublished): Plate 207 Twin Horn Sugar: According to the Newbound, Plate 311; Charles West Wilson’s Westmoreland Glass, page 217; and Ruth Ann Grizel’s Westmoreland Glass - Our Children’s Heirlooms, page 66, this item is a mustard container and is a product of Westmoreland Specialty Company. If Newbound, Wilson and Grizel are correct, then Millard, Plate 207 needs updating to identify correct name as Cornucopia and maker as Westmoreland. 46. (Unpublished): Plate 209 Grape, Ruffled Top Nappy: According to William Heacock in his Victorian Colored Pattern Glass, Book 4, Custard Glass from A to Z, this piece is called Grape Arbor and was produced by Northwood. See item number 200 on page 35 for a colored, detailed picture. 47. (Unpublished): Plate 225 Marble Square Set: Ferson, Plates 242-245 shows this pattern and correctly identifies the maker (Challinor-Taylor) and pattern name (Oval Medallion or Oval Sett). Millard, Plate 225 should be annotated to show correct and the maker. 48. (Unpublished): Plate 234 Marble Heavy Footed Bowl: This item is a product of Westite Corporation of Weston, West Virginia. In 1936, the Westite Plant burned down and Akro Agate acquired many of the Westite molds, including this one. However, telling the difference is relatively easy. Akro Agate modified this mold to add a series of graduated darts to the outside of this planter - something that won’t appear on any Westite product. To compare the two manufactures, pictures of the Akro Agate piece can be seen in Roger & Claudia Hardy’s book, The Complete Line of Akro Agate Co., page 77. 49. (Unpublished): Plate 244 Northwood Custard Set, Unmarked: According to Victorian Colored Pattern Glass, Book 4, Custard Glass From A to Z by William Heacock this is product of A. H. Heisey Glass, not Northwood and the pattern was called Ring Band. See page 40 of Mr. Heacock’s book for clear, colored photographs of this pattern. 50. (Unpublished): Plates 245 (Northwood Custard Set, Marked) and 246 (Far right, Northwood Sauce, Scalloped Top). According to Victorian Colored Pattern Glass, Book 4, Custard Glass From A to Z by William Heacock this pattern is named Chrysanthemum Sprig. See page 26 of Mr. Heacock’s book for clear, colored photographs of this pattern. 51. (Unpublished): Plate 246 Northwood Footed Sauce, Blue: According to Victorian Colored Pattern Glass, Book 4, Custard Glass From A to Z by William Heacock this pattern is named Louis XV. See page 30 of Mr. Heacock’s book for clear, colored photographs of this pattern. 52. (Unpublished): Plate 247 Northwood Shell Items: According to Victorian Colored Pattern Glass, Book 4, Custard Glass From A to Z by William Heacock this pattern is named Argonaut Shell. See page 27 of Mr. Heacock’s book for clear, colored photographs of this pattern. 53. (Opaque News - June 1999): Plate 257b Square Candle Holder: As seen in the ad accompanying Tom Felt’s article, this may now be confidently attributed to Jefferson Glass Company, listed as its "No. 6 Chippendale Candlestick," dating to circa 1910. 54. (Opaque News – December 2004): Plate 271 Grass Based Duck: This item can now be reasonably attributed to Atterbury Glass Company. See Robert Friedrich’s article, More Atterbury Opal Ware. 55. (Unpublished): Plate 279 Tomato Dish: Ferson 588 is an advertisement for Challinor, Taylor and clearly shows it as a tomato butter. The write-up accompanying Ferson, plate 163 also states that Adams & Company advertised this item. Millard, Plate 279 should be updated to show it as a butter dish and the maker as either Challinor, Taylor or Adams & Co. 56. (Opaque News – December 2004): Plate 286 and N-286 Moses in Bull Rushes: This version can be attributed to Atterbury Glass Company. Don’t forget there are two versions of this covered dish. See F-421 for a discussion of the differences between the two similar dishes. See Robert Friedrich’s article, More Atterbury Opal Ware. 57. (Unpublished): Millard, Plate 290 Ring Handled Mug: If you look at Newbound, Plates 207 & 303 Covered 6" Sugar you see Millard’s Ring Handled Mug appears to be the base of the Newbound Sugar. Why would a mug have two handles (except for a child’s piece and this is a little delicate for that)? Correct Millard to identify the piece as a sugar bowl base. 58. (Unpublished): Plate 294 and Belknap, Plate 204a Indian Head Match: Ferson, Plate 587 is a catalog reprint that shows this piece was made by Challinor-Taylor as a Match Safe. Correct both Millard and Belknap as to the maker. Back to Top |
| |||||||||||||||||
|
|
