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.
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.
Originally given as a premium for purchasing certain products during the Depression years, this popular colored table glassware of green, yellow, pink, blue, and other hues is now avidly collected. Pattern names from Adam to Windsor are identified, with a price guide and 360 color photos. This is an important part of glass history and modern culture.
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.
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.
For the first time, beautiful glass from 100 years of Fenton production are shared in one book. Diversity is highlighted, showing over 3000 items in more than 575 color photos. Detailed captions include descriptions with up-to-date values. Chocolate, Opalescent, Carnival, Stretch, Art Glass, Hobnail, Burmese, Rosalene, Animals, and Holiday related items are featured in old and new styles. It has something for everyone. A brief history of the company is given along with information on the Fenton family, decorators and glass workers. A detailed collector list, bibliography, and index make this a useful reference.
A wide variety of Southwest Indian-made jewelry with many different types and colors of turquoise, presented according to origin and dating from one hundred years ago up to the present with innovative designs. Men's and women's jewelry is included in belts, bracelets, bolo ties, necklaces, and many other beautiful pieces.
For four hundred years--from the first Spanish assaults against the Arawak people of Hispaniola in the 1490s to the U.S. Army's massacre of Sioux Indians at Wounded Knee in the 1890s--the indigenous inhabitants of North and South America endured an unending firestorm of violence. During that time the native population of the Western Hemisphere declined by as many as 100 million people. Indeed, as historian David E. Stannard argues in this stunning new book, the European and white American destruction of the native peoples of the Americas was the most massive act of genocide in the history of the world. Stannard begins with a portrait of the enormous richness and diversity of life in the Americas prior to Columbus's fateful voyage in 1492. He then follows the path of genocide from the Indies to Mexico and Central and South America, then north to Florida, Virginia, and New England, and finally out across the Great Plains and Southwest to California and the North Pacific Coast. Stannard reveals that wherever Europeans or white Americans went, the native people were caught between imported plagues and barbarous atrocities, typically resulting in the annihilation of 95 percent of their populations. What kind of people, he asks, do such horrendous things to others? His highly provocative answer: Christians. Digging deeply into ancient European and Christian attitudes toward sex, race, and war, he finds the cultural ground well prepared by the end of the Middle Ages for the centuries-long genocide campaign that Europeans and their descendants launched--and in places continue to wage--against the New World's original inhabitants. Advancing a thesis that is sure to create much controversy, Stannard contends that the perpetrators of the American Holocaust drew on the same ideological wellspring as did the later architects of the Nazi Holocaust. It is an ideology that remains dangerously alive today, he adds, and one that in recent years has surfaced in American justifications for large-scale military intervention in Southeast Asia and the Middle East. At once sweeping in scope and meticulously detailed, American Holocaust is a work of impassioned scholarship that is certain to ignite intense historical and moral debate.
Charleton line hand-painted decoration was prolific during the 1940s and 1950s on blanks from American and European glass and porcelain manufacturers. Over 600 stunning images, a company history, extensive bibliography, and current values are provided. A useful reference decorated glass and porcelain.
Although Fenton Art Glass was founded in 1905, well after the Victorian era, this family-owned business took much of its artistic inspiration from Victorian forms. Fenton often experimented, throughout its history, with more modernistic forms it thought would appeal to consumer tastes, but it is Fenton's Victorian shapes to which buyers have turned again and again, right up to the 21st century. This book explores one of those forms: the diminutive fairy lamp, used to light dark hallways in big houses before the advent of gaslight and electricity. The book's chapters contain many color photos with full caption descriptions as well as a production table at the end of the book. Readers will learn about the origin and history of the fairy lamp form in Victorian times; Fenton's late 20th century entry into fairy light production; and the many shapes, glass treatments, and glass decorations Fenton used to produce these popular and graceful candle lamps that it called "fairy lights."
