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This is a beautiful and comprehensive guide to glassware produced by the Fenton Art Glass Company from the 1940s to through the 1960s. The various colors, decorative treatments, and forms (from baskets and bowls to sandwich trays and vases) are vividly displayed in over 840 color photographs. A large selection of rare, unlisted, and experimental items- some never before pictured-are included. In the text, a brief history of the company is provided. Additional information provided includes listings of factory ware and mold numbers along with a chronicling of the various colors produced in the many product lines. Also included in the book are a bibliography and values for the glassware in its many eye-catching forms and brilliant colors. Book jacket.
The Fenton Art Glass Company has a long history of making glass for other companies to sell under that company's name. A perfect companion to Carrie and Gerald Domitz's first volume, Fenton Glass Made for Other Companies, Volume II, covers the glass Fenton made after 1970 and before 2005. It covers companies such as Tiara, Martha Stewart, Levay, Encore, Hallmark, Gracious Touch, and many others. The book contains more than 1,600 full-color photographs, listings, values, and archive materials of this later production. Many catalog reprints are included in order to give collectors all the information they need to learn about glass they may have been unaware was made. 2007 values.
"Illuminating the complex relationships between tribal informants and twentieth-century anthropologists such as Boas, Parker, and Fenton, who came to their communities to collect stories and artifacts"--Provided by publisher.
These two comprehensive books showcase thousands of pieces in full color with many original catalog reprints. Categories include early pattern and opalescent glassware, carnival glass, stretch glass, tableware and satin glass patterns of the 1930s, and novelty items. Volume II picks up where the first left off, concentrating on the popular years from 1939 to 1980.
Burmese glass, developed by the Mt. Washington glass company in 1885, was named by Queen Victoria because the shaded colors reminded her of a sunset in Burma. Fenton introduced Burmese in 1970 and continues to produce it. This beautiful book includes 719 color photographs of fine examples. Each caption has a ware number, size, year of production, and price. Background history and the people who produce Burmese are included.
Whether you're a novice or an expert Fenton collector, you will discover a wealth of pricing and identification details at your fingertips in this new edition of Warman's Fenton Glass. This book contains 1,000+ color photos - creating a visual feast for any Fenton collector, and at the same time delivers extensive details about company history, the latest in Fenton market trends and up-to-date secondary market pricing. Organized by era and pattern, this guide is second to none in details and ease of use.
Displayed in over 870 color images are the rarest tableware and giftware from the Fenton Art Glass Company's early production (early 1900s-1930s), including Carnival Glass, American Iridescent Stretch Glass, Freehand Hanging Hearts, Karnak Red and Mosaic, Art Deco Dancing Ladies vases and urns in unusual colors, Two-Tone stretch and opaque candlesticks, September Morn Nymphs, #1639 Elizabeth, Lincoln Inn, and Satin Etchings.
A profound meditation on accepting, and celebrating, one’s solitude. Whether seeking more time for solitude or suffering what seems a surfeit of it, readers will find the best of companions here. Fenton Johnson’s lyrical prose and searching sensibility explores what it means to choose to be solitary and celebrates the notion, common in his Roman Catholic childhood, that solitude is a legitimate and dignified calling. He delves into the lives and works of nearly a dozen iconic “solitaries” he considers his kindred spirits, from Thoreau at Walden Pond and Emily Dickinson in Amherst, to Bill Cunningham photographing the streets of New York; from Cézanne (married, but solitary nonetheless) painting Mont Sainte-Victoire over and over again, to the fiercely self-protective Zora Neale Hurston. Each character portrait is full of intense detail, the bright wakes they’ve left behind illuminating Fenton Johnson’s own journey from his childhood in the backwoods of Kentucky to his travels alone throughout the world and the people he has lost and found along the way. Combining memoir, social criticism, and devoted research, At the Center of All Beauty will resonate with solitaries and with anyone who might wish to carve out more space for solitude.