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(Editor's Note: The following is written by Diane Fry and is based
partially on the John vs. Frank debate that Diane and Brian Pitman had
at the 2005 wwwcga Convention in Columbus, Ohio. The information
within was written by Diane Fry with additional writing and
information by Brian Pitman and Glen Thistlewood. --Brian
Pitman)
A Personal Reflection into Fenton Past – April
2005
by: Diane Fry
While attending the 2005 Woodsland Convention in Columbus, Ohio, we
were encouraged by Carl and Eunice Booker among others, to relate our
early attachment to the Fenton Art Glass Factory. We sincerely hope
that our account will be of interest to readers of all generations of
carnival glass collectors.
Dean was born in 1929, Diane in 1933. The east side of Parkersburg, WV
where we were born and raised, lies about 10 miles south of the Fenton
Factory in Williamstown, WV. At that time in history, some families
did not even own one car, much less two! The mode of local
transportation was by streetcar. The car line ride from downtown
Parkersburg to Williamstown followed the Ohio River, offering
occasional views of passing boats loaded with cargo. It was a very
pleasant 30-40 minute ride, inclusive of stops to accommodate other
passengers.
Dean’s Mother had a close friend who lived near the factory, and many
times while the women visited, Dean would spend some time searching
the Fenton dump for salvageable pieces of glass. This was 1938.
Several times during the summer months of 1939, Mother and I would
take an early afternoon ride to Williamstown, getting off at Elizabeth
Street and walking the distance to the home of a cousin and an aunt.
The ladies would visit on the front porch, and I would entertain
myself in combing through the pile of glass at the Fenton dump. The
reject glass was brought out to a huge concrete slab and dumped from
wheelbarrow-like containers. Sometimes I could find a little slipper
or a small vase without much damage, and be sufficiently excited over
the “find”, as to take it to Mother for approval. She much preferred
cut glass at that time, but for me, it was a “treasure”!
Along in the 1980s after making a banquet presentation for HOACGA
Convention, (aware that Frank M. was in the audience), I told my story
about searching the dumpsite before “The War.” He grinned that nice
smile of his, replying, “ That’s exactly the reason we put up the
fence; to keep you ornery kids out of there!”
At that same time in history, the parking lot which now faces the Gift
Shop entrance, was not so large as it is today. There was a small café
or lunch room there, operated by Mother’s cousin, Elizabeth King. She
baked wonderfully tasty pies and served lunches to the Fenton Factory
workers each day. She would also pack lunch pails for those who
preferred to eat, perhaps during their break on the jobsite. The shop
was open for early breakfasts and closed early afternoon each day.
Next door to Aunt Mae Anderson and Cousin Elizabeth, lived Frank
Myers. He was a kindly man, having come to Fenton’s for work in 1932,
following the fire which demolished the Indiana, PA glass factory
where he had begun work as a glass decorator in 1897. Mr. Myers was
adept at flaring and crimping the tops of vases and “jugs”, as
pitchers were called in that day, along with attaching handles to
cruets and pitchers. A skilled glass blower and finisher, he would
also bring home some wonderfully artful items from his “end of day”
experimentation! At times, he would call to me from his front porch,
asking whether I would like to come over and look at some of his
“handiwork”. (I wonder whether any of those delightful little
shaped/blown images have survived the years and remain in the hands of
some adoring family member??)
Mother and I usually waited until Dad arrived after work. We would all
eat supper together, then we would return to Parkersburg - my mind and
memory crammed with all the exciting elements of the day still vivid
and stashed in my “ fulfillment file”.
Is it any wonder that as the years unfolded and time permitted, Dean &
I would make return trips to the Fenton Factory at every opportunity,
to further investigate the greater possibilities coming from within? (
I also have a great love for and investment in Cranberry Opalescent
Fenton from the 1940-1950s era!) After we married in 1952, one of our
first purchases from the Gift Shop was a salt and pepper set in
cranberry opal stripe.
Our first piece of carnival glass was purchased from a shop in Mineral
Wells, WV. in 1968. I received word that the owner had placed for
sale, several sets of the original cobalt blue Shirley Temple pieces:
cereal bowl, creamer and mug. Shirley and I were born in the same
year, so I thought it only fitting that I should own that set. Upon
entering the shop, the sun was gleaming down on a vase across the
room. It instantly captivated me, and never having seen any of the old
carnival glass at that time in my life, I asked for details. It was a
standard Tree Trunk amethyst vase having outstanding iridescence!
You’ve guessed it! That vase went home with me, and the Shirley Temple
pieces were not purchased until some years later.
Setting the vase on the piano, where Dean could not miss seeing it as
he came in from work, on his way down to the basement, as was his
practice, I waited for his reaction. He called out to me in the
kitchen, “What is this?” On hearing the explanation, he replied,
“We’ll have to get some more of this!”
By the time we moved from Parkersburg to San Diego in 1970, in worthy
pursuit of employment, we had become carnival glass collectors
extraordinaire’. In June 1985, posting notices in grocery stores,
Laundromats; and wherever else we were permitted to do so, the
resultant organizational meeting brought 24 others, and after
discussion and voting, preparing for a constitution, etc., the San
Diego Carnival Glass Collectors Club was born. We grew in membership,
with attendance at quarterly meetings of up to 79 in number, when Don
Moore came from San Francisco area to introduce one of his books. 83
attended the meeting when Marie McGee presented a program on her
Millersburg collection. I continued as Club President for the first
six years, then Dean & I produced the Club newsletter for another six
years, instigating the first use of actual color photographs of the
Glass used for articles in each issue. Our interest in all that
iridized vintage glass has to offer continues, as many of you know.
Our devotion to building long-term allegiance to this wonderful Glass
comes straight from the heart, dating back to early childhood and our
exposure to the ever-exciting “finds” on the Fenton dump!
It follows that when Brian invited me to participate in the exchange
of information surrounding the two Fenton brothers whose involvement
with the glass industry continues to pervade the Ohio Valley 100 Years
after their first endeavor, I felt an opportune moment had arrived in
my 71 years of life to present facts in support of one of the most
honorable businesses to have survived the industrial revolution in
these United States! My opportunity to publicly cast well-deserved
tribute upon Frank M. and Bill Fenton for their profound leadership
unto future generations of Fenton’s is served as well.
Numerous glass manufacturers have come and gone from all over the Ohio
Valley region, but the early determination to succeed, portrayed by
Frank L. Fenton and brother John, has carried over into the
generations since. They are to be congratulated for their quality
products and continuity!
FENTON FANTASIA: Theme for the Woodsland Convention held March
29-April 2, 2005 in Columbus, OH………….and now for the banquet
presentation:
John vs. Frank L. Fenton
Diane: The personalities of the two Fenton
brothers has always been a fascinating point. The brothers are unique:
both very good men with a firm desire to command, but since no ship
can have two captains, the split was inevitable. Such a shame, in many
ways, for without their joint efforts, the FIRST Fenton factory could
not have been built!
Organization for it began in April 1905. In July 1905 Frank L. & John
opened their own decorating shop, The Fenton Art Glass Co., in Martins
Ferry, OH – buying glass from other makers.
For two differing accounts of just how they made the move to
Williamstown, WV, please read pages 5-14 in Wm. Heacock’s – Fenton
Glass: The First Twenty-Five Years, published in 1978, under close
scrutiny by Frank M. Fenton. The book is available in paperback from
The Fenton Art Glass Company, 700 Elizabeth Street, Williamstown, WV
26187 @ $29.95.
The Williamstown factory opened its doors Jan. 1907 with a 12 pot
furnace creating 9,600 pieces per day.
The Millersburg factory opened in May 1909 with a 14 pot furnace,
creating 11,200 pieces per day, clearly dictating determination on
John’s part to go his brother “some better” from the start.
All in all, the output from each company, translates into millions of
pieces produced. No wonder we have availability of so much glass in
today’s market!
John was the flamboyant promoter. It was said he could “Talk your
pockets inside out!” His charm, personality plus, and motivational
enthusiasm could get any project off the ground. Problem as: he could
not control his flamboyancy! His head was always in the clouds,
looking to the future by building more furnaces, ordering more molds,
in anticipation of that “next big order!”
Frank, on the other hand, was quiet, conservative and level headed. He
had both feet firmly planted on the ground and dealt with day to day
reality. He was logical, sensible and held to the approach: “If
operations are moving along smoothly, our needs are adequate---a new
furnace is not necessary………and we have enough molds for now.
Frank’s steady attitude nixed John’s BIG ideas for their Fenton
factory. You just cannot contain a “tortoise and a hare” under the
same roof for very long.
Every large family has a Frank & John. The flamboyant ones with their
visions of grandeur, and the steady, more conservative ones with a
high tolerance level.
Frank would likely have continued indefinitely vetoing his brother’s
BIG plans, probably thinking to himself, “All that creative energy and
talent could be put to better use!” Frank was likely not too surprised
that Millersburg was short lived!
As for OLD Fenton Carnival: It offers the most variety of shapes,
patterns and colors in today’s collector market, along with being the
most affordable. Everyone loves blue glass, and certainly they made a
great amount of it to choose from.
Their edge treatments are distinctively Fenton, and the quality is by
far more consistent than Northwood, with less random application of
color spray.
Honesty, integrity, respect for tradition, and the general buying
public, along with the ability and foresight to change with the
times……….the traits which have always kept Fenton going strong!
A company is only as enduring as its foundation………Frank built a strong
foundation for future generations of Fenton’s to build upon!
Brian: The story of John W. Fenton, born in 1869 in Indiana,
PA, is a sometimes tumultuous one, filled with so much hope and glory
and art, and also failure. John has been compared so many times to his
younger brother Frank L. Fenton that many obvious contrasts have
evolved, not only between their character and personalities, but also
between their companies. The best way to look at John is to think of
him as George Bailey in the film It’s a Wonderful Life.
When The Fenton Art Glass Factory opened its doors in 1907, the
president of the company was John Fenton. Research shows that John was
the instrumental person in finding and earning the money to locate and
build the plant in Williamstown, and John was the main force behind
making the Fenton factory a reality. If there were no John, there
would simply be no Fenton. Frank would have possibly continued on as a
talented worker for Harry Northwood in Wheeling, West Virginia.
You see, John was “impetuous” and larger than life. He could handle
nearly any situation. He was a marketer and a promoter. He could
probably sell ice to Eskimos. The fatal flaw in John’s character was
that he was not the sound business-minded man that Frank was. As the
initial president of Fenton, John was the “big idea” man. He was the
one that would come up with the big ideas and get them started. He was
not, however, a details man, or a finisher. Maybe, just maybe,
iridizing the glass to make it more grand and romantic was John’s
idea. John liked to think outside the box, and he liked to spend
outside the box. He could look at a piece and say “Meh, not pretty
enough. Make it better.” If there were no John, very likely carnival
glass might have started later and not taken hold, banished to the
great failures of history.
But John was bored. He loved challenges, and he liked to be in the
middle of constant motion. As President of Fenton, he was able to go
into the office, do some promotional activities, but little else.
Whether it was because John recognized his shortcomings, or because he
wanted Frank to take care of the “details”, Frank was really “the man”
at the Fenton factory. And John knew it.
In 1908, while still president of Fenton, John went looking for a
challenge. What he found was a place that probably aroused the
romantic side of him: beautiful scenery in a location that was NOT on
the Ohio River, a small Amish community with old world values and
people that were friendly and willing to work, and a place to get away
from it all. John found Millersburg.
Then John went to work. He convinced the locals that building a glass
factory would stop the migration of locals to larger cities. He
convinced the locals that building a glass factory would put the town
of Millersburg on the map. And he convinced the locals that building a
glass factory would bring in a lot of money for everyone to share.
Well, two out of three ain’t so bad, is it?
Diane: More than 130 patterns were utilized in the manufacture
of Fenton Carnival Glass!
There seems to be no middle ground. Fenton carnival bowls are either
in the “readily found” category or the “seldom seen” classification.
Just why this should be is open to speculation. It occurs to me that
many of the more common patterns were produced during the early years
(1907-1915) of the carnival era. Popularity was the greatest and
production the highest during this period. Early catalogs would tend
to support this theory, as many of these well-known patterns were made
prior to 1915; Orange Tree-1911, Butterfly and Berry-1911, Carnival
Holly-1912, Persian Medallion-1911, Stag and Holly-1912, Carnival
Thistle-1911, Peacock and Grape-1915, etc.
Not many production dates are known for the “rare or seldom seen”
patterns. This might mean they were made during the latter part of the
carnival heydays (1915-1925) when demand had eased and production as
well as advertising was more limited. Based on this theory, fewer of
these pieces were made and thus fewer could have survived.
In any event, the dichotomy of the “common” versus the “rare” does
exist, even if the reason is a bit cloudy. Of course, there are
“common” and “rare” bowls among the patterns made by the other
companies, but the division is less obvious or not as clearly defined
as the case with Fenton carnival bowls.
Let’s take a look now at a list of twenty specific examples of Fenton
bowls that are in the “plentiful and easily found” category. Please
remember we are talking about bowls of standard shape and normal
color. Some of these patterns do occasionally turn up in rare shapes
and colors, but that is another story for another day.
ORANGE TREE - DRAGON & LOTUS - HEART & VINE - RIBBON TIE - ACORN -
PEACOCK & GRAPE - TWO FLOWERS - CARNIVAL THISTLE – COIN DOT – HOLLY –
PEACOCK & URN – STAG & HOLLY – CHERRY CHAIN – VINTAGE – LEAF CHAIN –
AUTUMN ACORN – PERSIAN MEDALLION – CAPTIVE ROSE – BUTTERFLY & BERRY –
STIPPLED RAYS
Frank L. was a student of Oriental Art, and according to his son,
Frank M., is responsible for instilling Dragons into two top favorite
designs! Dragon and Lotus, and Dragon and Strawberry. Dragons have
long been known to be the protectors of treasure!
There is a Dragon and Lotus spatula footed mold which produced one
five-toed Dragon in the pattern. We once owned an amethyst example.
That five-toed Dragon became the logo for the San Diego Carnival
Collectors Club!
* 8 of 10 rarest 9” plate patterns are from Fenton production, but not
especially rare in a bowl form!
Vintage: blue, amethyst, green, marigold
Dragon & Lotus: blue, marigold, amethyst and one in lime green, a
green plate sold for $10,000 in 2003………….4 peach opal spatula footed
plates are known.
Peacock and Grape: blue, marigold, amethyst, green (collar base and
spatula ftd.)
Autumn Acorn: green and marigold
Thistle: amethyst, green, 2 in marigold, one of which brought $6700 in
1994.
Lotus & Grape: amethyst, blue, green
Concord: green, amethyst, marigold
Holly: 1 red, perhaps 2 ice green, few in celeste blue, 1 aqua opal.
Brian: In September 1908, the factory started to be built, and
in May 1909, glass was being produced. All the while, John W. Fenton
remained the president of Fenton. Some research indicates that perhaps
the first Millersburg samples were run at Fenton. Some news reports at
the time suggest that some Millersburg orders were filled at Fenton.
No one can deny, however, that for a time, John Fenton was the
president of both Millersburg and Fenton. He was on top of the world,
the king of his game. A big man with big ideas, and a man loved by the
masses.
The Holmes County Farmer even ran his picture in the paper on May 27,
1909, with the following description:
“It is with considerable gratification that
we are enabled to present to our readers this week the
excellent picture of John W. Fenton, the man who engineered,
constructed and is now operating the big factory of the
Millersburg Glass Company. Mr. Fenton came to Millersburg a
few short months ago a perfect stranger. Today he has the good
will and esteem of everybody. We know Mr. Fenton, and
therefore take the privilege of writing about him as we
believe we know him. He is a plain speaking, blunt fellow with
a cheerful countenance, who can say yes or no in such a
pleasant manner that you know he means it. He is the best
example of an energetic, progressive, far seeing man, the kind
we read about but rarely see, that ever struck Millersburg,
and fortune certainly smiled on us when he decided to locate
his factory here. He has more than made good on every promise
and is entitled to the gratitude of every citizen in Holmes
County.”
John was an excellent promoter who quickly gained favor from those who
met him, as you just heard. He became THE showman and master promoter
of carnival glass. Without John, carnival glass very well may have
fallen, unnoticed, into mediocrity.
In 1910, Millersburg began making carnival glass. On the evening of
January 4, 1910, John’s four year quest to produce the best quality
iridescence possible struck a breakthrough. And John, ever the clever
one, knew the power of branding a product. “Radium” was born. And it
ignited everything. The reviews of the glass (probably written in part
with John’s master promoting hand) were through the roof. Carnival
Glass took off, and Millersburg started to boom.
John’s excellent eye and genius understanding of art was evident in
his glass. John was a man that truly did not know the meaning of
“shear mark”. His own daily life converted into his pattern design.
Here are several examples.
Trout and Fly
Big Fish
John used to go fishing locally in Millersburg, something it is said
he very much enjoyed. No doubt this love and daily activity
transferred into the need and details of these two very good and very
much loved patterns.
Peacocks of all sorts
John brought a flock of peacocks with him to Millersburg, and he let
them roam around freely in the vicinity of the glass plant. While
these are not pleasant creatures (screeching and hollering
constantly), they epitomized John’s love of things natural and
beautiful. Millersburg did so many things with Peacocks and this is
all so very much a reflection of him.
Courthouse
The very building still stands – a Carnival pattern in front of your
very eyes on the Main Street in Millersburg. John made a tribute to
the people of his adopted home by placing their famous landmark on the
face of some of his most famous glass. In fact, it should be noted
that John didn’t name his factory after himself; he named it after the
town as an honor to them (and to perhaps help him sell the idea to
them better).
Peoples Vase
Much debate occurs over whether the “Holland Vase” is of the Dutch, or
perhaps the local Amish. Personally, I believe the People’s Vase is a
tribute to the local Amish that John loved and saw on a daily basis.
As a perpetually busy man (something to which I can relate), John had
to be drawn to a simple life with few difficulties and lots of honest
hard work. He epitomized that desire in himself by making his piece,
possibly one of the worst business decisions he could make.
Nesting Swan
John brought two pairs of magnificent white swans home which later
escaped, but he immortalized them forever on glass in the Nesting Swan
pattern.
Cherries
John had a fondness for sweet blackheart cherries, and there were
several trees near the glass factory. This love made its way into the
glass.
Exteriors
Not satisfied with just one amazing pattern, Millersburg often gave
you the most incredible, complex, fantastic EXTERIORS.
Geometric Magnificence – jewel-like and scintillating. Two beauties
for the price of one.
RAYS AND RIBBONS and CACTUS
FLEUR DE LIS and COUNTRY KITCHEN
NESTING SWAN and DIAMOND AND FAN
PRIMROSE and FINE CUT HEARTS
WHIRLING LEAVES and FINE CUT OVALS
VINTAGE and HOBNAIL
Some HANGING CHERRIES have HOBNAIL
Some HOLLY WHIRLS have NEAR CUT WREATH
GRAPE LEAVES and MAYFLOWER
POPPY Compote and POTPOURRI
BERNHEIMER bowl and the MANY STARS have TREFOIL FINE CUT
Diane: Most collectors will have examples of many of the
plentiful-type bowls in their collection. If they do not have an
example, they will at least relate to the pattern and recognize it
when seen. Such is not the case, however, with this second list of
twenty “rare” or seldom seen bowls. Only advanced collectors or
pattern buffs will relate to more than a few of these patterns.
It should also be pointed out that certain of these patterns may be
seen quite often on a compote or bonbon, but rarely on a bowl! This is
true, for example, with the Birds and Cherries.
TWENTY of the rarest bowls known ----- and many of them are not found
in plate form:
MIRRORED LOTUS: white, ice green, ice blue --- 1 ice blue plate and at
least 1 in white are known.
ROSE TREE: blue, marigold sell in excess of $3000.
DRAGON’S TONGUES: only known in marigold. One sold early April 2005
for $2000.
GODDESS OF HARVEST: marigold, amethyst, blue –all should sell in
excess of $10,000.
BIRDS & CHERRIES: blue, amethyst, marigold. Chop plates in amethyst,
blue, marigold, with one of those selling for $16,000 in 2000.
CORAL: marigold, blue, green—plates known only in marigold.
CONCORD: green, amethyst, marigold, blue---plates known in green,
amethyst and marigold
WILD BLACKBERRY: marigold, green, blue---(H. Maday & Sons) 9”
Advertising bowls found in amethyst and green. One amethyst chop plate
size having a ruffled effect is known in Wild Blackberry.
RAGGED ROBIN: amethyst, blue, marigold, green, with only a dozen or so
selling in any given year!...for nominal prices!
Fenton GOOD LUCK or HEART & HORSESHOE: in marigold only, and extremely
rare!
PLAID: red, blue, marigold, green, amethyst—said to be a few plates, but the
ones we have seen are not true FLAT plates!
THISTLE & LOTUS: extremely scarce 7” bowl in marigold, with only one
blue example known.
PEACOCK and DAHLIA: is another very scarce pattern in a variety of
known colors/shades, with 7 1/2” plates only found in marigold.
NORTHERN STAR: marigold only.
PETER RABBIT: blue, marigold, green-------plates in the same colors,
with marigold the more prevalent color.
LITTLE DAISIES: marigold and blue – ruffled or IC shape – latest price
in 2005 was $4100.
HEARTS & TREES: marigold ball-ftd. bowls--------Not even one per year
surfaces at auction!
DRAGON & STRAWBERRY: blue, marigold, green collar base and footed. An
amethyst example will sell in the $2000 range------1 marigold 9”
ABSENTEE DRAGON AND BERRY plate is known.
FANTAIL: marigold and blue--------2 known chop plates in marigold and
2 in blue—sell in the $5500 range.
LITTLE FISHES: marigold and blue------with only 1 known in white, 1 in
ice green which sold for $7500 in 1995.
Very few of these can properly be labeled as rare. The Goddess of
Harvest and Peter Rabbit bowls would clearly fall into that category.
Having said that, I would quickly add that I have seen these two
patterns more often than the Rose Tree, Little Daisies, Hearts and
Trees, Heart & Horseshoe or Dragon’s Tongue. What makes one piece
“rare” and another “scarce” or seldom seen is not easily or logically
explained. It has much to do with the publicity certain patterns
receive This in turn affects the price collectors are willing to pay
for them.
But this entire matter of rarity is quite a different topic and will
require greater detail at another time. It is sufficient to say that
the bowls on this second list are all difficult to find. Just why
there are so many of these Fenton bowls in this category and an equal
number in the opposite category is the point that is so intriguing,
yet baffling!
Brian: John was also a master of color. He knew what looked
good and he stuck with it. He didn’t compromise on excellence. No
playing around with experimental colors and watery pastels that might
weaken the beauty of the iridescence. When he made Vaseline he didn’t
fudge it with marigold iridescence on top like Fenton did. He smacked
fantastic radium iridescence on it instead. He made less of certain
colors, like blue, because perhaps his brother did so much blue and he
didn’t want to be compared, or perhaps he just thought (like even many
Millersburg lovers today) that it wasn’t that darned pretty.
And of course, John owned iridescence. Radium was THE revolution in
iridescence. A complete triumph in its own right, it changed,
literally, the face of carnival glass. John made other carnival glass
companies better with this creation, as they all had to raise their
own game to compete. In the press, Radium was described as “art glass
for the masses”. And there are even some who believe that the unique
mixture of chemicals in the radium iridescence gives those pieces
something more important than any other piece of glass: a longer life.
You see, iridescence will eventually wear out, and so will the glass.
Some scientists even think that within 200 years, the glass will be
gone. Radium iridescence, some believe, has a small radioactive
isotope in it that will seal the iridescence onto the glass for years
to come. In other words, the last piece standing.
If there were no John Fenton, then perhaps iridescence would never
have been “stretched” to new levels, and not ignited the love and
fanaticism of today.
John was also a master at shapes. Think about the shapes he did
outside the realm of the ordinary and unexpected.
Pipe Humidor
Peoples Vase
Cleveland Ashtray
Hobnail Cuspidor
Seacoast Pintray
What innovative shapes did Fenton make to compete with these
Millersburg beauties?
Of course, in 1911 it all began to fall apart. Several lawsuits from
creditors started to hit, and Millersburg even failed to pay its
taxes. John, the big picture, big idea guy, started to lose out to the
real world, in which bills needed to be paid, promises needed to be
kept, and the paperwork at the end of the day needed to be done. He
wasn’t the one to do those, or pay much mind to them. The biggest
accomplishment and biggest failure of Millersburg was the one and same
thing: John Fenton, his own worst enemy.
In September 1911, after a bankruptcy, the company was sold and became
the Radium Glass Company with John as the Vice-President. Innovation
continued, but so did the problems. It died in May 1912. John and his
family stayed in Millersburg, his adopted home and place of both
turmoil and tranquility. The town itself was his muse, and he wouldn’t
leave her.
In 1918, his daughter died of influenza. In 1921, his wife died in a
car accident. In 1934, John died of heart disease, his grave in the
Millersburg cemetery. His shining successes were all overshadowed by
his resounding defeats. Today, Fenton glass lives on, but for a short,
almost 2 year period, John Fenton was the best. He was the best of
Fenton glass, and he was the best of Millersburg glass. He put his
entire heart and soul into his work, which many of you own today. When
you own a piece of carnival glass, you own a piece of John W. Fenton,
the flamboyant, over the top, excessive, failure, art genius of
carnival.
Indeed, it was a wonderful life, marked with promise and genius,
tragedy and mistakes. John’s benefits live on today, in the glass we
collect. Without him, nearly none of it might have happened…
Diane: *Fenton made more – 6” Advertising pieces than any other
company – (10 in all), along with the few known, very rare Grape and
Cable bowls with Compliments of Pacific Coast Mail Order House-Los
Angeles lettering inside – found in marigold and blue.
*Fenton produced 10 Commemorative lettered pieces, including the Elks
Bells.
*Millersburg made only a couple of “experimental” Ohio Star vases in
Aqua – no red and no celeste blue!
*Starflower pitcher in marigold or blue is as rare as any pitcher from
Millersburg!
*There is an Apple Tree Vase (no handles), only one known.
 *A
Panelled Dandelion Vase is a one of a kind.
Fenton created more flat plates in all sizes. Fenton made very little
in the way of iridized opal-edge glass, but the patterns found in that
treatment are quite tastefully endowed with opal edges which do not
interfere with the overall carnival glass appearance. Their peach opal
is very tastefully applied, as well. Moonstone base glass is another
of their delightful accomplishments. When found in connection with the
Holly pattern, attention reaches into the heights!!
And now for the surprise: ( I took a cherry red, gleamingly gorgeous
squat PLUME PANELS Vase from a box, held it up for banquet attendees
to drool over, exclaiming that it would match ANY PEOPLE’S Vase for
sheer beauty!) ----- There were cheers of agreement from the audience!
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