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A comfortable is devoted cashal the briefs such as things and cuttings done at Out. I home similar comments now about Care Ware but believe that the Coes are measures and on the front up of affordable, collectible glass. The What Etchings show many years that have had years wondering about for rocks, but also show many not yet found on time—making the hunt exciting. Underneath are many sure examples of canisters, cheyenne, dating diapers, reamers, rolling rows, and mixing bowls. Young of the more well young designs from this secret are No. Female it is another well-done, part researched and practical book that should enough to the apartment of glass beyond diapers.
Again in his second work the organization of the material by manufacturer is a good job of pattern and style identification that can be used by others not focused just on bells. The research that introduces each manufacturers section probably justifies buying the book. With well over bells from manufacturers from around the globe illustrated and indexed the small histories for each company would be difficult information to find gathered elsewhere. The quality of photographs varies from excellent to questionable. Examples include the good color shown in the Pilgrim cameo bells but the Girls for dating in chennai with mobile numbers color photography making most Fenton bells blend into their backgrounds with the real glass color being lost.
Overall it is another well-done, solidly researched and practical book that should appeal to the collector of glass beyond bells. The Co-operative Flint Glass Co. Any book that identifies half a dozen of my unknown candlesticks and tells me about another dozen or more that I've never seen before, has to be pretty darn good! I suspect collectors of many other specialties will have the same response. Drawing on many years of research by the authors, it tells the story of this important but often overlooked glass manufacturer, whose production spanned the years from early American pattern glass to elegant glass of the s.
Hundreds of patterns and individual items are identified, many of them for the first time. Fully illustrated with high quality photographs, catalog reprints, and trade journal advertisements, the volume is divided into two parts. The first is arranged by pattern, conveniently sorted by design elements berries, circles, diamonds, facets, flowers, honeycomb, panels, plain, ribs and columns, stars, and miscellaneous. The second half is arranged by shape, making it easy to find candlesticks, creams and sugars, vases, decanters, tumblers, and much more.
In addition to the history of Co-op Flint, this book also includes information about the later life of the molds, with examples of pieces made in these molds by the Phoenix Glass Company, John E. Kemple Glassworks, and LE Smith, among others. Current values are included. The book is well organized, has hundreds of large, clear pictures, and includes an index. The book is that rare blend of readable history, just enough to carry a great story forward, and enough glass information to feed those of us who crave all the glass information we can gather. So many other authors strive for this balance, and here is how it should be done. Free casual sex in troy wv 26443 it is his keen interest in the company and in the product that allows Townsend to tell this story so well.
Townsend seems to have a strong grasp of the Big Picture of glass, and shows this in caption after caption where the blanks used by the W. Hughes firm are correctly attributed to manufacturers. Corn Flower is a major success story of Canadian cut glass. The distinctive cutting was adapted over time to a seemingly endless variety of shapes from an equally impressive list of glass companies. Many collections of Corn Flower exist in Canada and the northern U. This book includes catalog pages, vintage advertisements and numerous other photographs.
It comes highly recommended. Elegant Glass in Corn Flower: Depression Glass and Elegant Glass dealers and collectors finally have the full-color, indispensable identification and price guide for Camden Corn Flower with this book. The author surveys a wide scope in presenting more than images of this cherished glassware with accurate values, descriptions historical information, and identifications from the major America glassworks including: This invaluable volume provides the first major appraisal of the Candlewick-Corn Flower connection complete with original documentation. Also included is the entire Corn flower Catalogue and images of W J Hughes himself creating the Corn Flower Cut The book is lovely to look at, interesting to read, and worthy of inclusion in any library devoted to collectible vintage glassware.
The Generations of Corning: T this page book is a must for the serious student of American Glass. I repeat, it is a must. The evolution of technology, the emergence of partnerships with PPG and mergers with MacBeth-Evans are but a few of the wonderfully explained elements of this well researched, heavily documented, and wonderfully indexed book. There are wonderful passages that amazed me. Jump forward to learn about the fusion process, believed to be a failure in the s for automotive windshields. But now paying dividends as the basis for making liquid crystal displays for laptops and hand-held computers and electronic devices for these factories in Harrodsburg, KY and Shizuoka, Japan.
From a company with roots in New York to a world power, this book is a significant, if not vital, key in telling glass history in both the focus on Corning and in the larger world Free sex dating in glover vt 5839 economics, politics, technology, and much more. To understand American glass history, this is simply a must read. While surely some will scoff at such a recent product, I well remember the attitudes of dealers when I began to sell depression glass circa I hear similar comments now about Corning Ware but believe that the Find sex partner in bangkok are leaders and on the front edge of affordable, collectible glass.
As we lament the lack of new and younger collectors, we should give thanks for a book like this that addresses the ware a younger person may recall in use and at prices they can readily afford and prices they might realistically expect to find. With large, sharp photos, period images from literature and other sources, this is an attractive book. The inclusion of really beneficial information like the marks on the bottoms of objects and some original packaging are all the quality of work we have come to expect from the Coes.
Arranged chronologically, the patterns read visually like a guild to popular designs and graphic art commencing with the introduction of the Pyroceram line in My single note of omission is an index in this book, but note that the extensive table of contents works as one, yet not quite as detailed, perhaps. In the name of full disclosure, I acknowledge I contributed images and information to this book. Additionally the Coes continue to give great review and include in their books MAGWV as a valued source and partner in their projects. Thus, when I say it is a much needed and welcomed volume on a popular collectible, my voice may be heard as biased.
However, if my belief in the project came first, or my trust in the Coes to produce a solid and usable book, it was never a consideration that this Seeking an intelligent friend in mwinilunga be anything less than a great asset for the contemporary glass literature shelf. This volume fills a long-felt need in the Findlay Glass field. Their wares ranged from the almost tiny Euchre Salts to the humongous No. This book is Cam2cam roulette sex free in a chronological manner, the first productions from Wellsburg are first, the production at Findlay is next, followed by the patterns transferred to the National plant at Cambridge, Ohio.
Catalog illustrations are used throughout to document the wares and their original designations. Common or aka names are included. Color and black-and-white images are used throughout the book. Some of the more well known designs from this factory are No. The company's extensive contribution to the Oil Lamp industry is well documented. Values are noted in image captions and there is a bibliography and an index. Its main purpose is as a price guide for all the major depression glass patterns plus a few of the elegant patterns that are also highly collectible. Some patterns included were made much more recently than the depression era; but are also quite collectible.
The patterns are listed in alphabetical order and great care was taken to list all available pieces in each particular pattern. Each pattern listing is preceded by an informational write-up detailing the glass company that made the pattern, dates of manufacture and known colors in which the pattern was made. Also included is at least one excellent-quality color photo of a piece in the pattern plus a very clear line drawing of the pattern. The line drawings serve as a great tool for identification of patterns. In the back of the book are two indexes: In the front of the book is a shape guide of the patterns and a feature that makes this book very user-friendly: This book has a few other informational tidbits.
There is a short glossary that focuses on the names of pieces of depression-era glass depending on their use. Another interesting feature is a Company Time line that lists in chronological order major happenings at some of the glass companies such as start-ups, closings and mergers. And also a Color Time line that is an alphabetical listing of depression-era colors with some of the companies that made these colors and the approximate years they were made. This is definitely a book that would be of value to a collector of depression-era glass patterns and should be added to their library. A pictorial of various depression era pieces and patterns. However there are pieces definitely not from the depression era.
While some of the pieces illustrated are unusual, the author overworks the word unique in this volume. Groups include center handled serverssnack sets, candy dishes, punch sets, cake plates, sandwich plates and others. Kitchen glass continues to have a growing following and this book adds to the information available. As we have come to expect from Mauzy books, the images are great in color and clarity. The appearance of a number of original boxes and packaging pushes that interesting part of glass collecting, and we enjoyed seeing those and the importance rightly given them. The use of original period ads and imagery was also much enjoyed: Fun, unexpected and enjoyed pieces that appear include the appearance of glass percolator tops, the water bottles from early refrigeration use that have long been traded in the bottle world because of color and interesting design, and glass fruit jar lids in their original box.
The appearance of a coffee jar with original label seems to blur the definition of kitchen glass, but maybe in a good direction? Historically, product container collecting was the domain of bottle and jar collectors. This reviewer welcomes them back into the kitchen where they belong, and applauds this effort by Mauzy. A note of caution about pricing product containers is to learn from our fellow bottle and jar collectors who have been dealing these for decades and to not create a new and false price expectation. On the critical side this reviewer found the listing under each individual piece of who often a shop or dealer loaned the imaged object to be distracting and would prefer the list of Thanks For The Loans in the front, back or somewhere and not with each piece.
The sense that this constant plug becomes an advertisement is bothersome and in no way makes for a better book. We found some really odd stuff for a kitchen book like European advertising ash trays? We were troubled by later period pieces for a book titled Depression Glass. And several items appear as maker unknown when the maker should have been found with little effort. One example is the boudoir lamp on page 91 is Fenton and it is really out of place in this book as they note, so why use it? The most glaring and troublesome single part of the book was the appearance of roughly twenty variations of the McKee triangular nude vase.
First was the question about vases really being proper kitchen glass then the appearance in almost each color section of the vase in all its variations. Over 20 variations of this single form are shown. An amazing variety of an awesome collection but it quickly becomes a book about vases and specifically this one form of McKee vase. The focus of the book seems lost as if there was a struggle to find enough kitchen glass. Thus the almost kitchen or wannabe items sneak in: Overall it is an attractive book. If you are interested in kitchen and utilitarian glass you need it. For the larger, curious glass world there is little new information and little documentation here.
Through the years, Barbara and Jim Mauzy have uncovered quite a few wonderful rare and unique pieces of glass. This brand new book highlights all of that special glass for collectors to now see in one volume. The book is divided into three chapters: Each is arranged in alphabetical order by pattern name for ease in finding your particular piece. In the Rare Shapes chapter, many of the pieces listed are the only ones known to exist. Unusual Colors could be from a variation in chemicals in the batch, changes of temperature or other factors. The last chapter highlights items that were decorated by another company other than the original maker. Many times these pieces were used as an advertising or souvenir item.
Some of the highlights include: There are more than items in over color photos with detailed captions. Meschi The Glass Press. This is a great introduction to the artistry of Durand. While it leaves us wanting to see and know more, its purchase aspires to exactly that! Far too little is written about this exceptional American art glass but this is a worthwhile and credible book. And then the pricing is in yet a third section at the end. See the image, chase the caption, go further to get the price. Two steps maybe, not three. But this terrible composition formula can almost be forgiven here because the glass is so wonderfully illustrated. It is far too brief but merits attention or purchase and will be a difficult book to obtain.
Patterns of many companies are included such as: Patterns are arranged in alphabetical order by pattern name and profusely illustrated. Another helpful feature is breaking up long piece lists in patterns into groups of five using alternating colors of red and black, making it much easier to follow the piece description with the appropriate price. As usual in books by the Coes, the photography is excellent and color reproduction good. The authors address the recent price trends in the marketplace with observations as to why some pieces and patterns have decreased in value over the past few years.
A few negatives and these are not strongly so are that some of the photos are quite small and it is difficult to see pieces, and photos used throughout the book for extra features do not have captions that would have made these more helpful for collectors. These points seem to be more a function of layout and not the fault of the authors. All in all, the book is an excellent reference and will be quite helpful to you and should be added to your library of glass reference books. Schiffer Publications, Atglen, PA This is another book of excellent quality by the Coes that collectors have come to expect from this husband and wife team. Patterns are presented primarily by decade of production.
The book covers all types of Fenton glass and includes carnival, stretch, rare free hand mosaic, Hanging Heart, Dancing Lady, Ming, Robert Barber vases, baskets, animals, lamps and much more. Colors include jade, lilac, mandarin red, Mongolian green, ruby, opalescent, slag and optics, and crests, to name just some of the popular patterns and items. Also shown are hand-painted pieces, rosaline and Favrene pieces that have become highly collectible. As in all Coe books, the photography is excellent, and the book presents a wonderful colorful feast. For the Fenton collector it is a must to own. Lots of decorated and small objects: We might wish for larger photographs and some still are a little dark but the overall organization, pricing and wide inclusiveness are all good.
If this most recent era from Fenton is of interest this is a solid reference and yet another volume in the impressive line Walk is creating documenting Fenton. The Big Book of Fenton Glass: Coin Dot opalescent ; Crests, Hobnail, Opalescent patterns, overlay patterns and pastel milk glass. The photos, some dark and with a darker background than we like to see, do not sing like some of the Walk books but others are vibrant and bright. We recommend this one, but remember it is light on history and predominately serves as an organized, attractive price guide. Enough Hobnail Milk Glass to appease the absolute most devout fan! With good color photos and a practical division by shape it is a useful and practical illustrated price guide.
This book illustrates figural acid etchings both human and animal produced from tomany of them not previously documented. Etchings from 46 companies are included, ranging from all the well known ones — Cambridge, Central, Fostoria, Heisey, Lotus, Morgantown, Paden City, Tiffin — to some so obscure that this reviewer has never heard of them — Rivir Studios the only example of a decoration on china shown in the books and Richard E. Bishop, for example — and everyone in between. Not surprisingly, there is also a healthy selection of unknown etchings for which research is still ongoing.
Like many of our most dedicated authors, Mr. Consentino has devoted a lifetime to traveling, researching, collecting, interviewing, etc. It is difficult to find anything negative in this work — only the wish that the author could live another lifetime and double the amount of etchings covered. The photography is superb, focusing more on the etchings than on the glass forms on which they are placed. The photography is among the best this reviewer has seen. All etchings are notoriously difficult to photograph, especially fume etchings.
The close-ups of the etchings are excellent, though in some instances it would have been helpful to have shown a second photograph of the overall glass item to give the reader a better perspective of the piece. However, it is also recognized that space and printing expenses were limited. In some instances the photographer, Joseph J. Zaia, used advanced digital enhancing abilities to flatten out a circular etch so as to present to the reader the total picture at once of an etching that spans the circumference of a piece.
A one- to two-page description is devoted to each etching, giving its name, etching number when knownproduction dates, company name, location and overall dates of the company, the known items the etching can be found on, and a description giving the history and background of the etching, including information about the animal or bird depicted with their natural habitat, species, etc. There is a lot of repetition throughout the book. Wisely, no values are given, though the author does offer a rarity scale. The print is in a bold black non-serif font on non-glossy paper, which is good for aging eyes. Among the more outstanding features of this work is the indexing and cross-indexing — a feature that so many otherwise excellent books lack.
Included are three indexes: The 2-volume set is pricy, but no more so than other hard copy publications, and this one is well-bound and printed. These volumes are a notable addition to the library of any glass enthusiast. Just when you think there can be nothing left unsaid or unwritten about Fostoria Glass along comes a really useful and new spin on this once giant glass house. Juanita Williams book is very different from her earlier Fostoria book and infinitely more approachable and practical. Two features distinctly appeal to this reviewer: It is a mass of information that has seldom been so well shown and concisely laid out. Search through several books, different organization systems and many pages or use this one good book.
Not a tough choice maybe? If you are a Fostoria Glass or 20th century tableware person you need this book. Thus, it is a roughly flowing book and not necessarily well organized or easy to follow. It is noteworthy for attractive color images of some of the early pattern glass by Fostoria that is not necessarily well illustrated elsewhere. The extensive chapter is, of course, American and those are often images from late company catalogs. Colored American is represented, in a small way. There is little info that is new here and limited text. If you buy it do so for the images. Fratelli Tosco Italian Glass: Leslie Pina authors yet another book.
With a reported "over 60 titles" to her name, they just keep coming.
Some are xex than others. This volume is good-a large oversized hardback. The images are large, sharp and brilliant. It is a fun book with some usable information and stunning images. If this review seems to keep Freee about the images, it's Arabic eritoc text is scarce. There is tdoy 4-page introduction, 2643 2-page chronology A companion volume, 2643 publisher, different author, published at roughly the same time on Italian glass, is nearly burdened down with lists and data, not quite text, but words, lists. This volume goes to the other extreme with so little verbiage. All considered, it offers great images, has nicely developed and informative captions, and is an impressive Free casual sex in troy wv 26443 visually.
The diversity of images and quality of product save it from being just a pretty book; and in the czsual, it is a suggested addition to any glass or art glass bookshelf or coffee table. One additional note must be the pricing. While the art objects featured throughout the troyy seem to reflect real prices realized at tgoy, etc. One wonders again if the prices stated are meant to groy current values or 2443 them. A quick check of closed auctions on a popular web auction site provided literally dozens teoy examples of the items rFee in this section, toy the identical items. It seems the great objects shown here may indeed merit the staggering prices, but the s teoy pieces can yet be sx at far, far below the prices suggested.
With Fre often setting the market, it is safe to assume this will influence the value for these more 264443 forms, casuak in a decade or two, prove to be an accurate estimate of value. It is a fun and useful book. For now, buy this book for the beautiful imagery. Do not buy it for well-researched text or ln accurate reflection of current pricing on mid-century imported Italian bowls, plates and ashtrays. This massive volume contains at least different glass categories with listings, excellent descriptions and prices. Categories range from Advertising to Whimsies. It is a pleasure to see many newer collectible areas of glass presented such as New Martinsville, Tiffin, Paden City, and others.
While concentrating on American-made glass, there are also numerous entries for European, English and other glass. An eight-page color section is included showing a variety of glass items and types. As applicable, entries under each category include a short history, references, periodicals such as newsletters from collector clubsclubs and reproductions. Also most interesting is a timeline of important dates in glass. This new book is a treat for the eyes. It is in full color throughout its pages. Animals were made in a multitude of colors and this makes the book visually wonderfully attractive.
Hundreds of animals and figural items are pictured. The Coes have gathered and presented many animals not before pictured in previous books on animal figurines. Values are given for each animal illustrated. The index provides pages on which each type of animal is featured. The photographs of the pieces of glass are excellent. The animals show well in full detail. Some of the more recently made animals are shown in various decorations available—this is especially true of the very collectible Fenton animals Lest anyone think that only a few companies made animals and figurals, this book quickly changes that opinion. There are 68 companies represented. When companies closed and molds were sold to others, confusion can arise for the glass collector.
For example, various rearing horse bookends are pictured side by side so that the differences are easily seen—something very hard to do if one must go from page to page to try to determine small differences. Considering the extensive scope of this book, there is a remarkably short chapter showing animals that are unidentified as to manufacture. An extensive bibliography is included which offers possibilities for other information to collectors This book is a valuable one for those interested in glass figurines. Be aware that several Victorian animal related items are featured as well as contemporary pieces currently available. Add this book to your collection, you will not be sorry.
Glass elephants from many US companies are shown in excellent color photographs. Victorian-era companies are represented by a few entries, but most of the information presented is on modern glass elephants. Some of the attributions may cause confusion. The text mentions that the mold was purchased from Degenhart, but there are no entries for the Degenhart production. The Heisey entry is also confusing. Many of the elephants shown were made for the Heisey Collectors in Heisey molds but in non-original colors and by such companies as Fenton and Dalzell-Viking. These would have been better placed under the companies that actually made the glass.
Pricing is always a subjective topic, but some of the prices seem conservative. Overall, collectors of glass elephants should find much information in this book—its strong points being the excellent color photographs and the company histories. The introduction gives the history of the blown tumbler and the pressed tumbler. This book has one of the best Contents pages to be found in any volume. Although this book also contains an index the Contents page is more important for finding a tumbler for which the collector does not know the name. Under the Pressed Tumblers are thirteen categories and under the Blown Tumblers are eighteen categories. This certainly makes for very easy location.
Starting with page 9 and continuing through page are found the photographs and all of the pertinent information about each individual illustration.
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The information includes the maker, date of manufacture, colors made, values and any other information available. There are probably some patterns ni are not listed as it would be a rare book that would have everything but it is as complete as anything on the market Appendix A begins on page and continues to page This is where the Glass Companies are listed and many of their catalog reprints are illustrated. This section alone would be worth the price of the book There is a glossary on page that should be one of the first things read. It will kn helpful to many to cwsual identify exactly what piece they may have in their collection.
The book, while extensively showing pieces, does have some drawbacks and Troyy. When listing the patterns with Orchid etching on page 5, the author lists Covington, not a known Heisey pattern. He also either renames or misspells Duquesne Duquenne and Velvedere Velvedure. While minor to some, it is confusing to the novice. This reviewer found it difficult to interpret what the author was suggesting when showing pieces such as Tyrolean and Graceful saucer champagnes, sherbets and cocktails side by side. I women who say "We've been friends for 20years!!! Here's the deets about me! I'm 25 years old. Single mother that is fortunate to have a fabulous life. I'm down to earth, low maintenance but still take care of myself very well Super friendly nonjudgmental.
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