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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..09bb5f2 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #52184 (https://www.gutenberg.org/ebooks/52184) diff --git a/old/52184-0.txt b/old/52184-0.txt deleted file mode 100644 index bdbb25b..0000000 --- a/old/52184-0.txt +++ /dev/null @@ -1,2253 +0,0 @@ -The Project Gutenberg EBook of Sandwich Glass, by Lenore Wheeler Williams - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - - -Title: Sandwich Glass - A Technical Book for Collectors - -Author: Lenore Wheeler Williams - -Release Date: May 29, 2016 [EBook #52184] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK SANDWICH GLASS *** - - - - -Produced by Juliet Sutherland, ellinora and the Online -Distributed Proofreading Team at http://www.pgdp.net - - - - - - - Transcriber’s Note - - Obvious punctuation and spelling errors corrected. - Original variations in spelling retained, e.g. cup plates/cup-plates, - candle sticks/candlesticks, slip ware/slipware. - The Collector’s Data section that begins on page 97 in the original ran - for four full pages, presumably to give the readers space to make - their own notes. The amount of blank space has been reduced here, and - the repeating headers consolidated to a single one. - There is a “2” at the top of page 65 in the original which has been - retained, though it may be a misprint. Similar numbers may be found - on the Plates and it’s possible this 2 belongs on Plate XVII on page - 68. - Another copy of the original text in the Princeton Library includes a - typewritten correction on page 13. The author and date of the - correction is unclear, but reads ‘Page 12, paragraph 3. The words - “SOFT TIN” is a misprint and should be “IRON.”’ - Italic text in the original is represented by underscores surrounding - the _italic text_. - Small-cap text in the original is shown as ALL CAPS. - Descriptions of some illustrations added to text. - ------------------------------------------------------------------------- - - - - - SANDWICH GLASS - - _by_ - _Lenore Wheeler Williams_ - - [Decorative emblem with tall sailing ship] - - _A Technical Book - for Collectors_ - - - _Copyright, 1922_ - ------------------------------------------------------------------------- - - - - - _Published by_ - THE PARK CITY ENG. CO. - BRIDGEPORT, CONN. - _Publishers and Plate Makers_ - ------------------------------------------------------------------------- - - - - - _DEDICATION_ - - - To G. I., H. H., N. L., M. V. all born collectors whose - love for old things is greater than their - commercial value - - and to - - H. C. K. - - who gave the author the courage to write this book. - ------------------------------------------------------------------------- - - - - - _Contents_ - - [Small Decoration] - - - SANDWICH GLASS - - by - - LENORE WHEELER WILLIAMS, Collector of Early - American Antiques. - - - _A Collector’s Hand Book - illustrating 186 different specimens covering the entire - subject of_ - - 1.—Glass Cup Plates—historical and conventional. - 2.—Salts and Victorian Animals. - 3.—American Glass Candlesticks and Whale Oil Lamps. - 4.—Flat Ware of the early period. - 5.—Presentation and Commercial pieces. - -Types, colors, molds, historical data, and information regarding the -Sandwich Glass Company and its output gathered from specimens collected -by the author covering ninety-odd thousand miles by motor. - -On sale by the author at 522 Madison Ave., New York City; summers at -“Great Hearth,” Hopkinton, New Hampshire. - - Price $5.00 Edition limited. - ------------------------------------------------------------------------- - - - - - Preface - -It is not the purpose of the author in this volume to treat of the -myriads of pressed glass dating from the centennial to the present day -masquerading in shops as “Sandwich glass” and cluttering up the cabinets -of the unwary collector only to be discarded later by those who have -learned by comparison with the beautiful lacy specimens of early -Sandwich that they have been led to acquire pieces of little beauty and -less real value. It is of the period of Sandwich glass dating from the -opening of the factory in 1825 by a handful of men, blowers of great -physique, artists, and mold makers, some of whom started in the -struggling “Parent Tree” factory of 1817, down to the period of greatest -prosperity in 1853—that we are dealing with. These men put their best -efforts into designs of intricate beauty. There is no comparison between -their work and the later commercial pressed glass which took unto itself -all the worst features of Victorian decoration and which was never found -upon the tables of people of good taste, who turned from pressed glass -to English cut during this latter period, or preserved with reverence -and used on state occasions the pieces of a generation before. This late -glass covered with stars and rosettes in ugly amber and blue and white -became a tremendous advertising medium and was distributed as premiums -and sold in quantity at very cheap prices. The author sees no object in -collecting it to-day other than the commercializing of an unworthy -product. The glass sheltered by the Mansard roof does not fit in with -early Sandwich. - ------------------------------------------------------------------------- - - - - - _HISTORY_ - Forerunners of the Sandwich works—Evolution of the Industry - - -In 1787 a factory was established on Essex Street, Boston by Whalley, -Hunnewell and others for making crown window glass. This enterprise was -not a success until 1803 when a German by the name of Lint arrived. From -then on the factory became prosperous; the state paid a bounty and by -1822 the glass had become famous and was known as Boston Window glass. -This factory was given the exclusive right in their charter for a number -of years. - -In 1811 they erected a larger and improved factory in South Boston, and -sent to England for more blowers of window glass but could not get them -on account of the war so they turned to using flint glass blowers, -previously brought from Europe. This factory in South Boston was the -“parent tree” of the Sandwich works. It failed in the thirties and -started up again and failed many times but was running in 1854. - -Another Company was formed in 1811 called the Porcelain and Glass -Manufacturing Company at East Cambridge but it failed in the production -of both attempted products because of poor management. The plant was -sold at auction November, 1817, and bought by a new company which called -itself The New England Glass Company. This enterprise was successful -from the beginning—in 1817, thus we see that some specimens of N. E. G. -are of earlier date than Sandwich glass. - -Its capital of $40,000 in 1817 increased until in 1853 it was $500,000. -The start was a six pot furnace with 700 pounds to each pot. Forty hands -were employed and the yearly product was $40,000. In 1853 there were -five furnaces with ten pots of 2,000 pounds each and 500 hands, and -doing a business of $500,000. The author hopes that this may throw some -light upon the incredulous amateur collector’s query of “Where does all -the old glass come from?” - ------------------------------------------------------------------------- - - - - - _ESTABLISHMENT OF THE SANDWICH GLASS WORKS_ - - -In 1825 a flint glass manufactory was established at Sandwich, -Massachusetts. Building was started in April, and July 4th, 1825 they -commenced blowing. It was purchased in 1826 by a new company calling -itself The Boston and Sandwich Glass Company. The beginning was an 8 pot -furnace—each pot holding 800 pounds and a yearly product of $75,000. -There were at first 60 employees but by 1853 the capital was $400,000 -with weekly melts of 100,000 pounds—500 employees—four furnaces of 10 -pots producing yearly $600,000 worth of cup plates, lamps, dishes, salt -cellars, etcetra. - -Deming Jarves, one of the incorporators of the Boston and Sandwich Glass -Company, writes in 1854 as follows: - -“In 1825 a Flint Glass Manufactory was established by individual -enterprise in Sandwich, Massachusetts. Ground was broke in April, -dwellings for the workmen built and the manufactory completed; and on -July 4, 1825 they commenced blowing glass, three months after first -breaking ground.” - -In the early days of the factory the life of a glass blower was short -due to the overheated glass houses but for twenty years prior to 1854 no -employee of the Boston and Sandwich Company died or was seriously ill -from his employment. The invention of the mold machine saved many lives. -The pressing mold for glass was invented in 1827 by a workman named -Robinson at the New England Glass Company but was later adopted and -perfected by the Sandwich works. - ------------------------------------------------------------------------- - - - - - _PRESSED GLASS_ - - -Pressed glass was many times reheated to a point sufficient to melt a -thin surface layer—This was called “fire polishing.” It removed any -roughness due to the process of molding and left a smooth bright -surface. - -Flint glass—The name of flint glass was derived from the fact that in -England flints were calcined and pulverized to make silica which is the -main constituent of glass. The use of flint made the glass highly -refractive and brilliant and oxide of lead which was also added -increased it. - -As pressed glass was the main product of the Sandwich works the few -blown specimens of the factory will be taken up by the author in a -separate volume dealing with the blown pitchers, plates, flips, jars, -and balls blown at Willington, Westford, New London, Stoddard, -Lyndeboro, Keene, and Chelmsford. - ------------------------------------------------------------------------- - - - - - _MOLDS_ - - -The mold machine invented by the New England Glass Works revolutionized -the flint glass industry. By its use glass could be pressed into any -shape. - -Glass in melted form is not malleable but its ductility is next to gold -and by steady pressure can be forced into any shape. The mass blown -against and into moulds was subjected to the stamp and penetrated the -most delicate carvings. In places the early stippled specimens of -Sandwich glass are only a thirty-second of an inch in thickness. The -resulting sharpness of detail is wonderful. - -The reason that nothing remains of the early molds is accounted for by -the fact that iron was a costly commodity even as late as 1825. Thrift -was responsible for the success of our forefathers and the glass molds -which were made of soft tin were melted and re-run as they became dull -from usage. Original designs were destroyed as new patterns were -evolved. With the invention of the stamping machine iron ladles were -used to pour the glass into the mold. We are often puzzled to know why a -pontil should appear on early specimens of “pressed” glass. This is -because the earlier specimens were actually blown against and into the -molds before the invention of mechanical pressure. - -Soft Slip, a clay used in making the old Connecticut slip ware dishes -was run into a new mold. This proof showed any imperfections as well as -supplying the works with a pattern for a new mold when necessary. These -proofs were easily broken and of little use at the factory after a mold -was discontinued. - -A poor impression was caused by a worn out mold or as in the case of the -very early plates made by plungers before the stamp machine came into -use, by insufficient contact with the mold. The rarest type of Bunker -Hill cup plate illustrates this point. - -The carving of iron molds was called “Chipping” and mold chippers were -responsible for the art of the finished product. - -When the New England Glass Company moved to Ohio in the Eighties -thousands of iron molds were sold to junk dealers. - ------------------------------------------------------------------------- - - - - - _COMPOSITION_ - - -Sandwich glass was made of silex, ash, nitre, pig lead, and other -ingredients but the secret of the bright surface on old pressed glass, a -characteristic which differentiates it from the modern pressed glass, -was the use of barytes. This was introduced into the molten mass and -gave the beautiful silver tint that we find in early glass. The New -England Glass Company omitted this barytes from its glass with resulting -dullness. Its specimens are all crude and heavy in comparison with the -lacy examples of early Sandwich. - ------------------------------------------------------------------------- - - - - - _NOTES FOR COLLECTORS_ - - -1. A small pocket lens is invaluable in studying the designs on Sandwich -glass. - -2. The mounting of specimens on black satine brings out a higher -refractive quality of the glass than when mounted on velvet. - -3. Specimens that show signs of wear may be touched up and made -brilliant by a slight application of the banana oil lacquer. - -4. “Rust” a term for the scum that rose to the surface of the pot and -had to be thoroughly removed by skimming, often appears on specimens -making them less valuable for collection. A weak solution of acid will -improve the glass in such cases. - -Many interesting facts concerning Sandwich glass have been gained from -contact with owners of inherited specimens in the remote districts of -New England—in many cases the descendants of glass blowers whose -knowledge is real, not based upon hearsay in going from shop to shop. - -The popular term “Snake-skin” refers to the resemblance of the stippled -back ground in early Sandwich glass to the skin of a snake. I like the -term Lace glass better as it more clearly conveys the delicacy of -treatment. There was a later glass produced by the Sandwich works in -1875 in order to meet the popular demand at less expense. This might -well be called Snake-skin because the stippling is so merged that the -term applies to it much more than to the fine early specimen. This glass -was made in machine cut molds. There was more background than detail and -the pieces were sold in cheap sets. - -Throughout this work the author has in every instance purposely omitted -the question of values. The value of old things is not intrinsic. It is -governed by the demand and not by set prices. Inestimable harm has been -done unintentionally by popular magazine writers who have quoted prices -forgetting that those who go far afield may pay to-day a large price for -a piece that to-morrow they find for a song, thus evening up the -collecting average. The mere quotation of a price means nothing to the -real collector but it immediately plants in the minds of the uninitiated -who do not discriminate between their treasures the idea that they can -get the amount quoted and more next time and so the practice of -“hoarding” and “pyramiding” is established. It begins with the farmer’s -wife and does not stop with the dealer and collector until the modest -collector becomes discouraged and his interest dies. To the very few who -understand the joy of exchanging duplicate specimens regardless of value -and of taking a small profit over what they pay thus enabling them to -complete their collections in the spirit of olden days this book is -dedicated. - -As the reproduction of blown glass is easier than pressed there is a -certain joy in owning fine specimens of the latter. The field is too -broad and the designs too intricate to tempt the modern mold maker. The -machine product is too obviously regular and lacks the silvery -brightness produced in old pressed glass by the use of barytes and the -artistic technique of the hand made mold. - ------------------------------------------------------------------------- - - - - - _CUP PLATES_ - - -In the days when our forefathers considered it quite correct to pour tea -from the cup into the saucer and drink it from the latter the problem -still remained of an unsightly ring upon the linen. Thus the cup plate -was evolved in the first place from a purely utilitarian standpoint. It -took the place of the modern coaster but later became a subject for -“table talk” in the form of political and social reform. The thought and -sentiment of the times were worked into the dainty molds and the -resulting cup-plates became works of art. - -The first plates were crude and heavy but as time went on less glass was -blown against the molds with greater force resulting in plates of -brilliant stippling and delicacy. New designs were carved until in 1840, -when the ship Constitution was about to be junked, to arouse public -opinion one of the most exquisite octagon plates appeared—representing -the highest art in Sandwich glass. - -The invention of the stamp machine increased the production and the -little plates came away from the molds with clearer and sharper edges -and brilliancy of detail. The first cup plates made were conventional or -geometrical patterns. The author owns one one-half inch thick with -pontil, a rare example of the first process. - -Previous to the period 1825-30 the dinner sets made in England for the -American market included cup plates of china. During this time the -conventional cup plates were first put out by the Sandwich Glass Works -and soon gained such great popularity, due both to their beauty and -their fitness with any china, that cup plates were generally omitted -from dinner sets thereafter. People who could not afford entire dinner -sets had previously gone without cup plates and the glass cup plate was -an innovation. - -Distribution of their products was a great problem at the Sandwich -works. Much glass found its way over the country by way of the tin -peddlers cart. The finding of a number of specimens in the same locality -to-day can often be traced back to a peddler who went out of business in -that particular town—his wares to be rediscovered by a later generation. - -The author has in her cup plate collection a slipware “proof” of the -ship Cadmus. This was the first run of a new mold and served as a -pattern from which to take orders. The iron molds were too much in use -to show to prospective buyers and the little glass plates themselves too -fragile and hence the proof of red glazed clay served the double purpose -of showing necessary corrections in a new mold and giving the company a -“sample” cup plate. These proofs are very rare as they seldom got out of -the hands of the factory and were destroyed as new patterns were created -to take the place of the old. - ------------------------------------------------------------------------- - -[Illustration: PLATE I] - ------------------------------------------------------------------------- - - - - - _THE EAGLE GROUP_ - - - 1. Fort Pitt—Eagle in flight grasping arrows and olive branch, 24 - stars scattered in background, ribbon from eagle’s beak with - words FORT PITT. Edge peacock feather design, wings half folded. - Issued to recall Washington’s capture of Fort Duquesne—renamed - Fort Pitt. - - A—Same serrated edge. - - Rare. - - 2. Rayed eagle—Deeply serrated, edge with bulls eye in each scallop, - 13 stars with rays on stippled field. - - A—Smaller and more numerous serrations. - - Uncommon. - - 3. Miniature rayed eagle—Same as No. 2 with outer border omitted. This - plate is the size of the bee-hive and is exceedingly rare. - - 4. Scroll bordered eagle—Fine stippling, shield on breast of eagle is - lacking and the edge is unserrated. - - 5. Large eagle with 13 stars, medallion border, no stippling in - background. - - Uncommon. - - 6. 1831 Eagle—Five stars signifying new states added, dated 1831, - eagle facing to left. - ------------------------------------------------------------------------- - -[Illustration: PLATE II] - ------------------------------------------------------------------------- - - 7. Grape eagle—A small eagle surrounded with circle of dots, and a - border of grapes and branches with leaves alternating. Outer - border has four large stars, edge scalloped and pointed with - stipple extending to edge of serrations. - - Rare. - - 8. Same with no stippling in scallops and points on clear ground. - - Rare. - - 9. Small eagle with inner circle of stippling fleur de lis and flowers - in alternate band in clear ground border consisting of three - leaf and scroll motifs and three clear flowers—the finest - stippling is used in this plate which is so delicate that it is - difficult to find perfect specimens. - - Uncommon. - - 10. Concentric circle eagle—As we go to press a small eagle has been - found with background of concentric circles extending to edge of - plate—Clear ground. - - Rare. - - 11. Plain bordered eagle—Bulls eye serrations—13 stars around eagle in - scattered field. - - Rare. - - A—Edge with plain serrations without bulls eyes. - - Rare. - ------------------------------------------------------------------------- - -[Illustration: PLATE III] - ------------------------------------------------------------------------- - - - - - _BUNKER HILL GROUP_ - - -This series of four distinct designs was gotten out to commemorate the -completion of the Bunker Hill monument. Three changes in the mold were -made before the works were satisfied with the plate. The earliest is -very rare. - - 12. Bunker Hill Monument on clear ground, three lines of inscription, - outer line set off by rope in tassels, bricks in monument. - - Corner stone laid by Lafayette, June 17, 1825 - - Bunker Hill battle fought June 17, 1776 - - From the Fair to the Brave - - Finished by the Ladies 1841 - - 13. Same as 12, with twelve stars in inner circle around monument. - - 14. Bunker Hill with rope border, two lines of inscription without - bricks in monument, twelve stars in circle around monument. - - 15. Bunker Hill Monument, one row of inscription only, twelve stars in - larger circle around monument with one star above with bricks, - rope border. - - Rare. - ------------------------------------------------------------------------- - - - - - _THE SHIP GROUP_ - - - 16. Cadmus—Small square rigged ship in circle of dots, border like - plate No. 7. This plate is called the small Constitution by many - as the ship is undoubtedly the same type of vessel but the plate - was gotten out to represent the Cadmus, the ship which brought - Lafayette to America in 1824, and shows the early cruder - workmanship—See Camehl page 197. - - 17. The Constitution—Large square rigged ship in center, inner border - type of No. 7, octagonal plate of exquisite workmanship. Note - cover design of this book. This cup plate represents the acme of - Sandwich glass designing. It was issued when feeling was running - high against the probable “junking” of the Constitution in hopes - that public opinion might change the fate of the old sailing - vessel. - - Very Rare. - - 18. Pennsylvania steam boat-octagonal. This is the companion piece to - the Constitution. The inner border varies in that it has four - shields and scrolls in a background of horizontal lines. In - popular magazine articles this boat has been called the Fulton - but any one familiar with the old wood cuts of Robert Fulton’s - steam boat will note that they do not bear the slight slightest - resemblance to the boat on the cup-plate whereas it is the - almost exact counter part of the side wheeler Pennsylvania that - plied the Ohio River. Further Fulton’s boats had one mast for - sailing in case of trouble. - -I refer my reader to the “Blue China Book,” by Camehl page 224, “City of -Pittsburgh, Pennsylvania Steam Boat,” by Clews, and to page 231, “Fulton -Steam Boat” and ask them to draw their own conclusion. The political -situation in regard to navigation on the Ohio River at this time has -further bearing on the subject. A further note that will substantiate -this claim is that in a careful check list of known specimens kept and -much research work done along the lines of glass found in a given -locality, the majority of these rare little octagonal cup plates and the -still rarer large plates with the same ship in the center have come out -of Pennsylvania, showing that the Pennsylvania Steam Boat would be -likely to find a readier sale there than elsewhere. It appealed to the -States pride as prior to the Civil War, States Rights were a much more -prominent issue than later on. - - Very rare. - ------------------------------------------------------------------------- - -[Illustration: PLATE IV] - ------------------------------------------------------------------------- - - 19. Chancellor Livingston—Auxiliary sailing vessel with paddle wheel, - full rigged with flying jibs, American flag at stern, dotted - waves, word “Chancellor” above and “Livingston” below ship on - clear ground. Border two shields, two hearts, and four large - stars on stippled ground. One of America’s first steamboats - named after Robert Livingston, chancellor of New York State, a - partner of Fulton in ship building. - - 20. Chancellor Livingston same as No. 19 but with stippled ropes. - - Uncommon. - - 21. Chancellor Livingston—With line waves and different arrangement of - spars, an earlier design than No. 19. - - 22. Benjamin Franklin—Full rigged ship covering entire center of - plate, flag inscribed B. F. at mast head. American flag at - stern, stippled rigging and elaborate equipment. Border with - spread eagle, four anchors, stars and scrolls. - - 23. The Maid of the Mist—Boat on rough water showing the Suspension - Bridge at Niagara, the falls and sun above bridge. This - cup-plate was issued in honor of the completion of the bridge - across the Niagara River. A later plate but exceedingly rare. N. - E. G. - - Very rare. - ------------------------------------------------------------------------- - -[Illustration: PLATE V] - ------------------------------------------------------------------------- - - - - - _THE HENRY CLAY GROUP_ - - - 24. Henry Clay with one star under small head in center facing left. - Words “Henry Clay” in stippled circle around head. Thistle and - medallion border. - - 25. Henry Clay with five stars,—a rare plate and one that easily - escapes the notice of the collector who mistakes it for No. 25. - Two of the stars are placed over the head and two outside the - center circle, not in border. - - Rare. - - 26. Henry Clay with no name—A smaller head, than any of the others - without inscription—uncommon but not rare, probably a mold - superceded by No. 25. - - 27. Henry Clay facing right—A large head facing to the right, in inner - circle of clear glass. Two laurel branches crossed and tied with - ribbon to form a half wreath under portrait. Words HENRY CLAY in - large letters above head, border of fine stippling with ten - large fleurs de lis serrated edge. The author considers this the - rarest cup plate in spite of the recent furor over the - Washington, seven of the latter having turned up in Pennsylvania - alone while it is a fortunate collector indeed who can boast of - a perfect large head of Henry Clay facing right. - - 28. George Washington large head—octagonal, on background of rays, - very rare. Laurel wreath at edge of border with tiny stars and - scrolls at extreme edge. Much confusion has been occasioned by a - six inch plate with small head of Washington in center. - Inscription George Washington spelled backward. This is of - course not the Washington cup plate although it is a rare - specimen of Sandwich glass. - - 29. Major Ringgold—Large crude portrait, bust on clear ground, twelve - sided serration. Inscriptions Ringgold left side of head—Palo - Alto to right. Major Ringgold fell in battle at Palo Alto and - was very popular at the time. This cup plate is very rare,—it - pictures the hero of the Mexican war and is one of the crudest - plates ever made. Specimens are seldom found in good condition. - N. E. G. A.—Larger lettering and not twelve sided edge. - ------------------------------------------------------------------------- - -[Illustration: PLATE VI] - ------------------------------------------------------------------------- - - - - - _THE HARRISON GROUP_ - - -These plates as well as the Clay group were gotten out during the time -that Harrison and Clay were running for president in 1840. His -nomination was also responsible for the log cabin group which follows. -Harrison was an old frontier woodsman and the log cabin was supposed to -be typical of his rugged nature. Horace Greely edited a Whig newspaper -at this time called “The Log Cabin.” - - 30. Head of Harrison on clear ground—Inscription “Maj. Gen. W. H. - Harrison, Born Feb. 9, 1773” in circle around head, outer circle - of 26 stars, rope border with blank labels above and below. - - Uncommon. - - 31. Head of Harrison with labels with word “President” above and date - 1841 below. - ------------------------------------------------------------------------- - - - - - _THE LOG CABIN GROUP_ - - - 32. Log cabin with words “Fort Meigs” above on clear ground, border - with vine and acorns and inscription “Tippecanoe” above and “Wm. - H. Harrison” below. This cup plate belongs equally in the - Harrison group as it was a souvenir in the Harrison Campaign. - All the log cabins were gotten out with this in view. - - Uncommon. - - 33. Log cabin with flag—Flower border, cider barrel, and tree. The - cider barrel typified Harrison’s hospitality; no chimney on - cabin. - - 34. Log cabin with flag—No barrel—Cabin fills entire center of - plate—two windows—Top only of log chimney showing. Smaller flag - than No. 33, plain border. - - Rare. - - 35. Log cabin, cider barrel; plain border; large tree in full foliage; - one window. Liberty cap on top of flag pole with waving flag. - Bench at base of tree. - - Very rare. - - 36. Log cabin with a large chimney at end, cider barrel under one - window, clear background, the earliest plate issued in this - series. N. E. G. - - Rare. - - 37. Log cabin with acorn border type of No. 33. - - Not shown. - ------------------------------------------------------------------------- - -[Illustration: PLATE VII] - ------------------------------------------------------------------------- - - - - - _MISCELLANEOUS_ - - - 38. Bee hive medallion border—Laurel wreath border hive and nine bees. - - 39. Bee hive medallion border small plate with 11 honey bees above - hive, fine stipple, one of the rarer plates. - - A—Same with variation in border. - - 40. The Lyre—Large Lyre, four strings and two palms filling center of - plate, border groups of rays and pointed, stippling deeply - indented, bulls eye edge. - - 41. The Hound—Reclining gray hound with branches left and right, oak - leaf border, broken by six circles, clear ground. - - 42. Harp with laurel wreath and seven pointed star above—a very - beautiful plate. Shamrock border. - - A—A four inch plate is found with small harp in center. This is - of course not a true cup plate. - - 43. The Anchor—Similar plate with large anchor stippled ground stars - and stippled triangles alternating in border. - ------------------------------------------------------------------------- - -[Illustration: PLATE VIII] - ------------------------------------------------------------------------- - - 44. The Butterfly—A butterfly on stippled center ground, border of - eight forget-me-nots on clear ground. - - 45. The Unhappy Marriage or double face—Two heads with inscription - above “The Wedding Day”—invert the plate and the same heads are - seen with distorted visage and the words above “Three Weeks - After.” Border of very handsome flowers, clear ground. - ------------------------------------------------------------------------- - - - - - _THE FLORAL GROUP_ - - - 46. The rose and pansy on stippled ground, size of bee hive, border of - pointed leaves on clear grounds. - - 47. The daisy—Size of bee-hive, large daisy with ten petals filling - entire center of plate, 13 large five pointed stars in border on - fine stippling. A most delicate and beautiful design. - - 48. The open rose—Size of bee hive, wild rose in center with two rows - of petals. - - 49. The thistle—A large thistle in center of plate, fine lacy - stippling. - ------------------------------------------------------------------------- - -[Illustration: PLATE IX] - ------------------------------------------------------------------------- - - - - - _CONVENTIONAL CUP PLATES_ - - -It is impossible to describe fully the vast number of conventional cup -plates but there are two in the author’s collection that do not fit into -any group. One “A” has 26 large stars on a clear field. N. E. G. It is a -very early plate and I like to call it “the States.” The other “C” is a -later plate of which I do not know of a duplicate. The center is a -feathered nine pointed star in octagon medallion and the border is a -mother goose design with four children, four trees, a pig, and other -nursery rhyme scenery. We illustrate these together with a rare slipware -proof of the ship Cadmus “B”. - ------------------------------------------------------------------------- - - - - - _THE HEART SERIES_ - - - H1. Single large heart in center background of concentric circles. - Fourteen clear glass hearts in border. - - H2. The Valentine. Two hearts in center pierced with arrows, small - flowers on stippled background, lyres in border. - - H3. Four interlaced hearts in center, nine hearts in border with sheaf - of wheat between. - ------------------------------------------------------------------------- - -[Illustration: PLATE X] - ------------------------------------------------------------------------- - - H4. Same as No. 3 with variation in wheat and three stipples above. - - H5. Ten sided edge serrated, thirteen stippled hearts in border, - geometrical center with stipple background. - - H6. Twelve sided edge, thirteen stippled hearts in border, center like - No. 5, no serrations. - - H7. Thirteen stippled hearts in border, center like No. 5. - - H8. Same as No. 7 with twelve stippled hearts in border, two lobes of - center design also stippled. - - H9. Same as No. 8 with two stars between each heart, center like No. - 6. - ------------------------------------------------------------------------- - -[Illustration: PLATE XI] - ------------------------------------------------------------------------- - - H10. Same as No. 7 larger size cup plate. - - H11. Larger plate type of No. 8 with four lobes of center design - clear. - - Not illustrated. - - H12. Small plate (size of bee hive) six hearts forming center with - wheel of dew drops between, edge has bull’s eye in each - serration. Hearts are very heavily stippled in waffle design. - - H13. Fourteen stippled heart border with fourteen five pointed stars - in diamonds super imposed on hearts in border, center peacock - feather design with star in each bull’s eye. - - H14. Twelve sided flower border serrated edge, small stipple triangle - in center, three small hearts in feathered scrolls. - - H15. Thirteen stippled hearts in border slightly larger cup plate than - No. 7, background of center clear. - - H16. Fourteen rope stippled hearts in border, eight pointed - conventional star in center within a pointed larger star. - - New England’s Glass Works Type. - ------------------------------------------------------------------------- - -[Illustration: PLATE XII] - ------------------------------------------------------------------------- - - H17. Four clear heart center forming clover leaf design, stippled - background, border twelve hearts reversed stippling. - - H18. Same center, as No. 17, no stipple in center but plain border - made up of stippling. - - H19. Same center as No. 17, no stippling in either hearts or - background, no hearts in border. - - H20. Twelve sided serrated edge, twelve stippled hearts in border with - drop ornaments between them. Center design of four motives, - rosettes and stippling. - - H21. Six hearts “Waffle Design,” in outer circle of center with - rosettes between them; large six pointed star with rosette in - center, clear ground, vine and wheat border New England Glass - Works type. A companion plate to No. 16. - - H22. Eight hearts in center, four with leaves and four stippled, - wreath border. - -Previously not much attention has been paid to the Heart Series by -collectors. These are of rare beauty when gathered in sequence. They -were among the most popular plates of the time. They were called the -Sentiment or Valentine cup plates and were more often given as tokens of -regard than any other designs. - ------------------------------------------------------------------------- - -[Illustration: - - CONVENTIONAL - PLATE XIII -] - ------------------------------------------------------------------------- - -Colored cup plates were issued in smaller numbers but were not found -practical because of the expense connected with their manufacture. Many -people considered them not in good taste for table use but the -opalescent conventional plates were more popular. These have necessarily -become rare and the collector who goes in for colored plates to any -extent has a hard undertaking to make his series complete. A -conventional plate popularly called “The Wheel of Fortune” seems to have -been made in lovely shades of lavender, green, amber, mauve, and blue. - -Tints or “off-shades” are much sought after by collectors in cup plates. -These color variations were produced by the chemical reaction of an -over-dose of one of the ingredients in the mixture—a “mistake” in -composition. - -Of the hundreds of conventional designs we have tried to illustrate only -a few of the unusual and particularly lacy ones. - -The author illustrates 78 different cup plates, trusting that the reader -will appreciate the effort made. - ------------------------------------------------------------------------- - - - - - _PRESSED GLASS SALTS_ - - -Many of the little salts used on our grandmothers’ tables reflected the -political feeling of the times as did the cup plates, and in noting the -following from the Sandwich works I am including a number of specimens -which the New England Glass factory made in imitation of the Sandwich at -the time. These will be marked N. E. G. in the text. These are heavier, -less transparent, and are from molds crudely carved. The period is 1840. - -One salt has come to light marked Robinson & Son, Pittsburgh, Pa. It is -a boat salt similar to the Lafayette boat made at Sandwich but shorter -and broader. It is of clear glass of a later type. Blown glass salts -will be taken up in a subsequent book by the author. The beautiful -conventional designs produced by artists of the Sandwich Glass Company -are so numerous and delicate in workmanship that we illustrate as many -varieties as possible hoping that collectors of these charming little -pieces will understand our purpose and forgive omissions of specimens -that they hold dear. All salts shown are from the author’s collection -and most of them are in pairs, but we show one only for reference. New -varieties are being found daily adding to the fascination of collecting. -The following types are worthy of note: - -All salts illustrated are in numerical sequence except those marked in -the text “Not shown.” - ------------------------------------------------------------------------- - -[Illustration: PLATE XIV] - ------------------------------------------------------------------------- - - 1. American eagle, nine stars, colonial column at corners, vine at - top, ends with tree in full bloom. N. E. G. - - 2. Side-basket of fruit, ends—wild rose, bottom—marked New England - Glass Company, Boston. - - 3. Diamond waffle design, colonial column at ends, scallop above, star - bottom. N. E. G. - - 4. Diamond waffle design, irregular wavy sides, vine above, hob nail - in diamond on bottom. N. E. G. - - 5. Large diamond waffle star on coarse stipple background, flaring - sides. N. E. G. - - 6. Grill work with large heart on side in diamond design, column at - ends. N. E. G. - - 7. Portrait of Lafayette on side of salt, Washington on other—very - rare. N. E. G. - - Not shown. - - 8. Boat shaped salt, side wheel marked Lafayette with star, stern - marked B & S Glass Company. - - 9. Same in blue glass with opalescent tinge marked Sandwich on bottom. - A fine specimen piece to own. - - Not shown. - - 10. The Chariot race, clear white glass, very rare, ends reptile in - medallion, bottom—scroll with six five pointed stars, very rare. - - A—Same in opaque light blue glass, exceedingly rare. - - 11. Eight sided flaring salt, earliest period, fine stippled - background with rose, fleur de lis and beautifully designed - American eagle on bottom. The eagle is in flight with olive - branch in one claw three arrows in the other and a shield on its - breast. The author considers this one of the rarest Sandwich - salts ever found. It is like a bit of old lace. - - 12. Round with three alternate Cadmus ships and eagles—rare. - - 13. Four large eagles with feet on balls forming sides and base of - salt, two curled surface from beaks of eagles forming top of - salt, large shield on each side below—very rare. - - 14. Presentation salt, unusually large, early type, on ornamental base - with scroll bracket feet, shielded ends with two eagles’ heads, - marked Providence on bottom. A—Same in blue glass with oak leaf - on bottom, all types of this salt are very rare. They were a - special order at the Sandwich works and very few have been - found. We know of only one specimen in the deep blue. - - Very rare. - ------------------------------------------------------------------------- - -[Illustration: PLATE XV] - ------------------------------------------------------------------------- - - 15. Four letter S scrolls forming sides and base, basket of fruit on - stippled ground. - - A—Opalescent slightly opaque stippled ground. - - 16. Two letter S scrolls forming ends and feet, horns of plenty with - two stars above, lyre on stippled ground of side, two inverted - horns of plenty below. - - 17. Oval salt deeply scalloped edges, four horns of plenty on stippled - ground, star bottom, early period, very delicate. - - A—Same opalescent—rare. - - B—Same purple—very rare. - - 18. Circular on collar base, four medallions in stippled ground, four - mold piece, antimony tint. - - 19. Six sided gothic with deep points, stars in points—later mold but - very lacy. - - 20. Simulated carriage on four wheels, stippled, scrolled ends, star - and diamond on side. - - 21. Deeply cut out top and scroll foot beautiful rope and panels at - end, unusual bottom. - - 22. Typical early period—oblong—molded foot and medallion and diamond - top. - - A—Same in transparent jade—green very rare. - - 23. Oblong, eight sided, hearts at corners—round applied foot. - - A—Same, sides unstippled and without feet. - - 24. Very early heavily scrolled, wavy top and ornamental base, four - prominent oak leaf scrolls. - - A—Same in deep amber very rare. The dark amber in American glass - was at this early period a “mistake” in manufacture. It was - caused by a piece of paper getting into the mould which in - contact with hot glass charred at once giving a beautiful amber - color. - - 25. Basket of fruit on sides with scrolled ends terminating in leaves, - two rosettes on side, leaves and drilled scrolls on feet—bottom - with 11 crossed bars—a very popular design at the works—first - period— - - A—Opalescent. - - B—Green. - - C—Blue. - -To meet the demand this design was a frequent repeat so that fine -specimens in color and pairs are not uncommon. - - 26. Diamond all-over design with deeply scalloped edge with row of - dots. Unusual base with claw feet and scalloped apron. This - ground work has a pattern of N. E. G. and is rare in this form - of Sandwich. - ------------------------------------------------------------------------- - -[Illustration: PLATE XVI] - ------------------------------------------------------------------------- - - 27. Sleigh shape, very shallow, grilled convex base, rope ends, green - tinge. - - 28. Same except sleigh on runners. - - Not shown. - - 29. Scrolled ends and feet, crown with feathers and star on side, band - of stippling below crown. - - 30. Petalled and looped clear glass on standard six petals-period - 1850. This must not be confused with the heavy late salts in - this pattern. - - 31. Chicken salts period 1860. A tiny glass chicken with ball in beak, - the back hollowed out to form the salt, receptacle white glass. - - Not shown. - - A—Vaselene yellow. - - B—Blue. - - C—Clear white. - ------------------------------------------------------------------------- - - - - - _VICTORIAN ANIMALS_ - - -For the West Mustard Company about 1870 the Sandwich works made a number -of designs consisting of chickens and other animals on nests of semi -opaque white glass. Many of these had glass eyes and the less common -ones found to-day are in colors, a remarkable blue predominating. These -were filled with their products, labeled with a red and orange label and -sold to the public destined later to become useful receptacles. Many -collectors of these objects confuse the marbled glass which comes in -mauve and white and ocre and white in many designs similar to the above -with the Sandwich of this late period. This marbled glass in Whieldon -effects was made at Phoenixville, Pa., and may be put in the same class -as the advertising of the West Mustard Co. During this last period of -the Sandwich Glass Works their products became cheapened to meet the -demand of commercial advertising and an endless number of cheap glass -premiums were sent out to all parts of the country in the era just -preceding the soap wrapper and the patent medicine man. - -An interesting bit of information in regard to the opalescent edges -often found on pieces of Victorian glass is that this opalescence was -produced by re-heating the edges to a dull red heat after it was molded. - -The pattern for the opaque glass chickens was inspired by the early -Staffordshire hens. This has led many to believe that the former were -made in England but they are decidedly a late Sandwich product made of -the same composition as many of the lamps and candlesticks. The author -has found nests bearing the original orange and red labels of the West -Mustard Company. - - 1. Opaque white chickens large and small. - - 2. Opaque all blue chickens large and small. - - 3. Opaque blue and white roosters. - - 4. Pair opaque dark purple chickens. - - 5. Opaque white owl quite opalescent at edges. - - 6. Opaque blue and white cats. - - 7. Opaque blue and white dogs. - - 8. Opaque white squirrel. - - 9. Opaque white rabbit. - - 10. Opaque white duck. - - 11. Baskets in blue and white. - - 12. Chickens in clear white, transparent blue and amber glass—rare. - -In this group are steamboats, sleighs, Uncle Sam, and various political -objects, all of which are uninteresting and not worthy of collection. -Little glass bears were made for a concern promoting bear ointment. -Heads of these jars have been dug up at the Sandwich works. Complete -ones are hard to find. - ------------------------------------------------------------------------- - - - - - CANDLESTICKS - _HOW TO TELL OLD STICKS FROM NEW_ - - -1. Genuine old glass candlesticks were always molded in two sections and -fused together. This fusing section varies from one-sixteenth to -one-quarter inch in thickness and is irregular on different sides of the -same stick. This is an absolute test and never fails. - -2. If you will examine the mold seams along the side of the stick you -will find that where the sections are joined the perpendicular line is -not continuous. The seam may be in line on one side but turn the stick -and you will find the rule holds good. This is because in fusing the -parts by hand they were slightly rotated and it was impossible to keep -the mold seams in a straight line. Also the old hand carved molds varied -slightly in size so that no two tops and bottoms were exactly alike. The -modern glass candlestick is molded in one section released from machine -made molds and the side line is continuous from top to bottom. This test -should be applied to all the colored glass sticks of the hollow base -type that are appearing. The earlier sticks with scarred bases have not -been imitated except in shapes never found in old glass. Reproductions -of blown glass will be taken up by the author in another book. - -3. The collector of American glassware finds a very handsome type of -candlestick with blown bobèche top and molded base. It is safe to say -that these tops were imported from England for use at the Sandwich -works. They are only found on the most expensive sticks of the period, -and are identical with English candlesticks of the same time, except for -the typical Sandwich pedestal and base, fused to the blown bobèche. We -know that elaborate lamp bowls were imported and combined with Sandwich -glass bases and later joined with brass standards to marble bases, thus -it is safe to assume that many of the elaborate candlesticks are in part -of similar origin. - ------------------------------------------------------------------------- - -[Illustration: PLATE XVII] - ------------------------------------------------------------------------- - - - - - _CANDLESTICKS_ - - -1. Period 1830. Petal top, loop base, scarred bottom, earliest type. - - Clear White - Opaque White - Pale Lavender - Combination Blue and White - Purple - Blue - Green - Vaselene Yellow - Peacock - Opalescent - Dark Amber—very rare - - A. Plain top looped base. - - B. Petal top, plain hollow, six sided molded base, period 1850. - - C. Petal top, round base. - -2. Plain top and base varying heights, and colors. This is the commonest -type and one that must be most carefully examined by collectors as being -most liable to reproduction. - -3. Colonial Column, generally found in opalescent glass, period 1859. - - A. Opaque two color sticks, blue and white, jade green and white. - -4. Blown bobèche top, fused to early pontilled base in steps. - - A. Various later bases and tops cut and etched. - - B. Opaque white glass sticks. - -Vases were made in many colors of glass at the Sandwich works with bases -corresponding to the whale oil lamps. The output was not large as the -demand for ornaments at this time was not as great as for practical -commodities. See illustration in upper right hand corner. - ------------------------------------------------------------------------- - -[Illustration: PLATE XVIII] - ------------------------------------------------------------------------- - - - - - _THE DOLPHIN GROUP_ - - -The Dolphin Candlesticks are found in seven distinct types. The single -base usually has two scars near the hollow base of the Dolphin showing -the earliest form of ejection from the mold, a kind of modified pontil. -The single base Dolphins while not as delicate in modelling and design -are decidedly earlier and much rarer than the double base. The head of -the Dolphin is hollow for a greater distance than in the double base -sticks showing that these earlier forms were blown into the molds before -the stamp machine was in common use. There is also a sunken bobash of -glass not found in the double base types. - -Type 6 and 7 is mentioned by the author with reluctance as it is of -Victorian origin. The little pentagonal base stick type 5 is dainty and -well molded but the bell shaped Dolphin is ornate and of less value to -collectors. The dishes on Dolphin standards with opalescent edges are of -this period also and mentioned only to make this work complete. - -Type 1. single base 1840 - - a. Clear white. - b. Vaselene yellow slightly cloudy—rare. - c. Opalescent. - -Type 2. single base embossed 1845 - - a. Clear white ornamented with small Dolphins and shells in - relief. - -Type 3. double base 1850 - - a. Clear White. - b. Opalescent white. - c. Opalescent blue top opalescent white Dolphin base. - d. Clear blue. - e. Clear green very rare. - f. Clear purple very rare. - g. Vaselene yellow. - h. Opaque blue. - -Type 4. round base 1859 - - a. Clear white. - b. Clear white with heart in tail of Dolphin. - -Type 5. Pentagon base small stick. - - a. White. - b. Yellow. - c. Blue. - -Type 6. Bell shaped base small Dolphin ornamented with shells. 1860 - - a. Clear white with opalescent top. - b. Blue green with opalescent top. - c. Vaselene yellow with opalescent top. - -Type 7. Milk white opaque glass measurement eight inch small Dolphin on -round base with 16 scallops. 1875 - -Illustration 8 page 68 is a very remarkable clear white Dolphin dish on -standard. It measures 9 by 10½ inches. There is a full size Dolphin, -early type, with hollow head supporting a balanced shell. The piece is -unique. - -Illustration No. 9 page 70 is so far as the author knows, the only lamp -which has been found with a single Dolphin base. It is of clear white -glass and is a beautiful piece. - -A—Lamp supported by three Dolphins—late. - -Illustration 10 page 68 is one of the later Dolphin dishes referred to -at the head of this group. - ------------------------------------------------------------------------- - -[Illustration: PLATE XIX] - ------------------------------------------------------------------------- - - - - - _WHALE OIL LAMPS_ - Period of 1850 - - -A burner was invented consisting of two tin tubes soldered to a brass or -pewter screw cap. This took the place of the single tube of the earlier -lamps and gave a double flame. It was adaptable to use in lamps of -ornamental glass and the enterprising Sandwich factory at once started -the manufacture of pressed glass lamps to meet the demand. - -The earliest type was in clear glass. Later more elaborate and costly -forms were introduced and a blown receptacle for the oil fused to a -molded base often had a beautiful blown center section. The patterns in -these old lamps are endless. Etched and cut tops were imported and fused -to Sandwich bases at the factory. The Victorian era brought in a demand -for two color combinations and opaque glass lamps. We stop at the -introduction of marble bases as they are very much later and the bowls -for many of these lamps were foreign. No attempt has been made to -illustrate all specimens, a few of the more decorative being chosen. -With the early lamps no shade was used and the flickering flame of the -spirit tubes gave little better light than candles but it saved the -housewife the endless dipping and molding. The wick had to be constantly -picked through the small opening at the side of the burner as it burned -down. The fluid used was camphine. This is proof alone that no shade was -used. The glass shades came into use with the “boudoir burner” which -took a flat wick through a round opening patented by E. M. & Company in -1865. At this time people fitted the earlier lamp with these burners and -substituted a new fluid for the earlier whale oil and camphine. We -illustrate a very rare lamp of clear white glass with Dolphin standard -in the Dolphin group. - - Type 1. New England Glass Works, blown top, molded four sided base - column at end, baskets of fruit on each side, lions’ heads at - corners, a very early and rare lamp. - - Type 2. Fluted overlaid molded howl, four sided base with two steps - with fluted Colonial Column joining base and bowl. Colors - similar to Type 6. - - Type 3. Shows a lamp of rare design. The quality of the glass in the - fragile scrolled base with lion’s claw feet is very early, and - the frosted blown bowl of great delicacy. Lamps are seldom found - of this type which closely resembles the flatware of the first - period. - - Type 4. Was a costlier product. It was fused in three parts and - included a bulbous blown center section and cutting was often - introduced on the bowl. - - Type 5. The most popular inexpensive lamp of the period was a molded - lamp in various designs, clear glass hearts, lyres, diamonds, - bulls eye, and hob nail patterns appealing to the public. The - molds were heavily grouved and fine stippling was avoided - because this caused greater tendency to breakage which was - undesirable in anything containing inflammable material. - - Type 6. Fluted over laid molded bowl, six sided base, clear white. - - a. Blue. - - b. Green. - - c. Purple. - - d. Vaselene. - - e. Opalescent white. - - f. Opalescent blue top, white base. - - g. Opalescent jade green top, white base. - - h. All jade green, very rare. - - i. Opalescent white top, blue base. - ------------------------------------------------------------------------- - -[Illustration: PLATE XX] - ------------------------------------------------------------------------- - - - - - _FLAT WARE OF THE EARLY PERIOD_ - 1835-1849 - - -The author believes there were made during the first period many large -dishes for table use to match the cup plates. These are necessarily rare -as such objects were more expensive and more liable to breakage. To -illustrate we have given specimens the additional designation of C when -there is a cup plate of corresponding design and have affixed the -measurements. The following dishes are rare and have in every instance -been collected by the author from their original sources. - - 1. Washington, 6 inch plate—C—inscription. “George Washington” spelled - backwards. - - A. Same without head medallion center—See No. 13. - - 2. Heart border plate, N. E. G., 7 inch—C. - - A. Compote on stand. - - Not illustrated. - - 3. Oblong dish with large lyres in four comers 9 inches—C. - - 4. Heart border, deep dish, N. E. G., 7½ inches—C. - - 5. Octagon dish, large American eagle and 13 stars in center—6 - inch—rare—C. - - A. 8 inch dish same—rare. - ------------------------------------------------------------------------- - -[Illustration: PLATE XXI] - ------------------------------------------------------------------------- - - 6. Octagon dish, 9 inch, bee hives in conventional center design with - bees, often called “strawberry pattern” but upon examination the - bees and bee hives are very distinct. This plate, 10 inch, was - very popular and since the furor for collecting pressed glass - numbers have come to light. It represents very beautiful - designing and was in all likelihood sold as a cake plate. There - are four large stars with four thistles around the bee hives in - the center design. - - 7. Octagon dish, 7 inch, C, with the ship “Constitution” in the center - and the word “Union” below, typifying a union sentiment against - the junking of “old ironsides.” One of the rarest pieces of - early Sandwich glass in existence. - - 8. Octagon Dish, 7 inch, C, Pennsylvania Steamboat in center. - Companion piece to No. 7, very rare. - -All the above large dishes match cup plates and must have been made for -the most fastidious housewives of the period with that particular object -in view. - - 9. Round plate, 8 inch, peacock feather border, three thistles and - beautifully feathered scrolls in center. - - 10. Round deep dish, 8 inch, border of scrolls and twelve thistles. - Center twenty rope circles with six pointed flowers two thistles - on back ground and fine stippling. - ------------------------------------------------------------------------- - -[Illustration: PLATE XXII] - ------------------------------------------------------------------------- - - 11. Compote on standard with waterfall base—7½ inch, very rare. A. Top - view of same piece. - - 12. Deep dish, oval, grouved corners, 6 x 8, very rare. All-over - design of great delicacy. I consider this dish, which is one of - a pair, made for a special order in 1839, one of the finest - specimens ever produced in Sandwich glass. The detail of design - is marvelous and the shape necessitated an eight grouved mold. - - 13, 14C, 15, 16C are 6 inch plates two of which have cup plates to - match. - ------------------------------------------------------------------------- - -[Illustration: PLATE XXIII] - ------------------------------------------------------------------------- - - 17, 18, 19, 20 are 6½ inch deep dishes. 20 being the sun flower design - familiar in cup plates. - - 21, 22 are tray shaped dishes of great brilliancy. - ------------------------------------------------------------------------- - -[Illustration: PLATE XXIV] - ------------------------------------------------------------------------- - - 23, 24, 25, 26 are sauce dishes, period 1839. - - 27. Harp and grape center and 28, grape border, conventional center, - are Toddy glass plates mentioned as a type of large cup plate - and very much sought after by collectors. - - A. The grape eagle, blue, in this size is very rare. - ------------------------------------------------------------------------- - -[Illustration: PLATE XXV] - ------------------------------------------------------------------------- - - 29. Presentation piece, Crown above, three feathers and motto—“Ich - Dien.”—This is the badge on the Coat of Arms of the Prince of - Wales and was made at the time of the visit of the late Edward - VII to the U. S. in 1860. - - 30. Presentation piece, Gladstone, “For the Million” Imitation of - English pressing. Made for the Canadian market. - - 31. Early Sandwich creamer rare. - - A. Opalescent. - - 32. Covered sweet meat jar or sugar bowl, eight sided. Gothic - treatment. - - A. Blue. - B. Purple. - C. Opalescent. - - 33. Eight sided Jam dish, 5 inch, rose and thistle clear inset in - corners. Rose and thistle in panels of border and is beautifully - carried out in the center. - - 34. Jam dish, 4½ inch, deeply fluted. - -A great number of 4 inch plates were made and these are becoming very -popular with collectors. These may have been “toddy plates” a large cup -plate made for use with flips as many in the author’s collection bear -signs of frictional wear. - -Small slightly concave dishes resembling cup plates were made for “best -jam” or honey. The patterns in these dishes were not in the finest -designs. They were too small to be popular and larger sauce dishes were -first made at the works about 1839. The covered sweet meat jars later -used for sugar were rare (see illustration) and a really early Sandwich -cream pitcher is the delight of the collector. - -Sugar bowls and creamers were made in clear white, blue, opalescent, and -purple glass. Not many of the colored ones have survived hard usage and -the white many sided bowls with covers are getting very difficult to -find. - -Little toy pieces were made at the works in the early period such as -covered tureens, tiny plates and platters, dolls’ cream pitchers, etc. -These are not illustrated as the detail is too fine to be of value. - ------------------------------------------------------------------------- - -[Illustration: PLATE XXVI] - ------------------------------------------------------------------------- - - - - - _“PETALLED AND LOOPED” PATTERN CLEAR WHITE SANDWICH GLASS PERIOD 1830_ - - -The author has a collection of nearly thirty pieces in this design, many -of the pieces being pontil marked. This pattern matched the candle -sticks of type 1. - -Some few pieces have been found in this pattern in vaselene yellow and -purple. The secret of yellow glass was conveyed to the Sandwich factory -by a workman from Bristol, England. The process was too costly to admit -of the manufacture of many pieces in this color. Some lovely scent -bottles were made, lamps, vases and candle sticks and the author has a -pair of rare salts on standards. We refer of course to the earlier -pieces as Victorian yellow glass is found in abundance. - ------------------------------------------------------------------------- - - - - - _PRESENTATION PIECES_ - - -For special occasions the Sandwich works got out dishes to be presented -as souvenirs. These show special designing and are exceedingly rare. We -illustrate a piece issued for the Prince of Wales’ visit to America. -Also a piece known to have been made at Sandwich in simulated English -design with words “Gladstone” and “For The Million,” thistle center. - -The “Victoria” plate, 7 inch, shows the head of the young Queen—in size -like George Washington’s head in the Washington cup plate—with -“Victoria” above and with a beautifully stippled lace border of the -early period. An exquisite and rare plate. - - Not illustrated. - -No mention is made in this volume of the endless President Garfield, -railroad trains, puss in boots, and Venus designs whose name is Legion -and without whose presence the cabinet of the true collector will not -suffer, such pieces looking entirely out of place on the shelves with -early Sandwich. - -As personalities are painful to the collector I have tried to refrain -from them in this volume, trusting that those who have something to add -or subtract from my text will do so in a kindly spirit. We as Americans -are too prone to make our collections general. We seek quantity rather -than quality and the author is a believer in elimination. The following -are a few suggestions for the amateur collector: - -1. Don’t think you have the best collection until you have seen others. - -2. Don’t think that money can buy the best specimens, courtesy and -patience can buy better. - -3. In collecting old glass he who “hesitates” has lost it to his -neighbor. - -4. Don’t believe all you hear—investigate. - -5. Don’t collect EARLY “WOOLWORTH.” - -6. Don’t let envy keep you from enjoying and studying another’s -collection. - -7. Don’t tell everybody what you are looking for, a rival collector is -born every minute. - -8. Don’t seek numbers of specimens, seek fine workmanship. - -9. Don’t call everything that you cannot classify Canadian, English, or -Spanish. Comparison of specimens and time will change your opinion. - -10. Don’t quote prices for by so doing the market is ruined for both -dealer and collector. The value is according to what you pay and -to-morrow you may obtain the same piece for more or less. - -11. Don’t keep your glass in a dark cup-board done up in paper. Let -others enjoy the fruits of your labor. - -12. Considering that everyone’s taste is not alike “an unfair exchange -is no robbery.” - -13. Don’t say a thing is “very rare” or “very common” remembering that -what is rare in Pennsylvania may be common in Massachusetts. Most -antiques depend upon locality for their rarity and your opinion may be -very local. - -14. Don’t subject old glass to very hot or very cold water in washing. -Early Sandwich is subject to atmospheric conditions. Sudden changes of -heat and cold will cause cracks. - -15. Last and not least, don’t “hoard”; give the other collector a -chance. By exchange and sale of specimens you will improve your own -collection and if you help some one else to get what he wants it will -come back to you ten fold in unexpected moments. An old house, old glass -and old friends is a combination worth living for. - - - _The End._ - ------------------------------------------------------------------------- - - - - - COLLECTOR’S DATA - - - - ------------------------------------------------------------------------- - - - - - INDEX. - - - _Page_ - - Bunker Hill group, 22-24-25 - - Candlesticks, 66 to 69 - - Colored cup plates, 51 - - Composition, 14 - - Conventional cup plates, 42 to 51 - - Cup plates, 18 to 51 - - Dolphin group, 68-70 to 73 - - Don’ts, 95-96 - - Eagle group, 20 to 22 - - Flat ware, 78 to 90 - - Floral group, 40-41 - - Harrison group, 30-34-35 - - Heart series, 42 to 49 - - Henry Clay group, 28-30-31 - - History, 7 to 10 - - Log Cabin group, 34 to 36 - - Miscellaneous cup plates, 38 to 41 - - Molds, 12-13 - - Notes for Collectors, 15 to 17 - - Petalled and Looped glass, 92-93 - - Preface, 5 - - Presentation pieces, 88-89-94 - - Pressed glass, 11 - - Ringgold, 30-32 - - Salts, 53 to 63 - - Ship group, 24 to 29 - - Victorian animals, 62 to 65 - - Washington cup plate, 30-32 - - Washington six-inch plate, 78-79 - - Whale oil lamps, 74 to 77 - - - - - -End of Project Gutenberg's Sandwich Glass, by Lenore Wheeler Williams - -*** END OF THIS PROJECT GUTENBERG EBOOK SANDWICH GLASS *** - -***** This file should be named 52184-0.txt or 52184-0.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/2/1/8/52184/ - -Produced by Juliet Sutherland, ellinora and the Online -Distributed Proofreading Team at http://www.pgdp.net - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - - -Title: Sandwich Glass - A Technical Book for Collectors - -Author: Lenore Wheeler Williams - -Release Date: May 29, 2016 [EBook #52184] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK SANDWICH GLASS *** - - - - -Produced by Juliet Sutherland, ellinora and the Online -Distributed Proofreading Team at http://www.pgdp.net - - - - - - -</pre> - - -<div class='nf-center-c1'> - <div class='nf-center'> - <div>Transcriber’s Note</div> - </div> -</div> - - <ul class='ul_1'> - <li>Obvious punctuation and spelling errors corrected. - </li> - <li>Original variations in spelling retained, e.g. cup plates/cup-plates, candle - sticks/candlesticks, slip ware/slipware. - </li> - <li>The Collector’s Data section that begins on page 97 in the original ran for four full - pages, presumably to give the readers space to make their own notes. The amount of blank - space has been reduced here, and the repeating headers consolidated to a single one. - </li> - <li>There is a “2” at the top of page 65 in the original which has been retained, though - it may be a misprint. Similar numbers may be found on the Plates and it’s possible this 2 - belongs on Plate XVII on page 68. - </li> - <li>Another copy of the original text in the Princeton Library includes a typewritten - correction on page 13. The author and date of the correction is unclear, but reads ‘Page - 12, paragraph 3. The words “SOFT TIN” is a misprint and should be “IRON.”’ - </li> - <li>The numbers and letters around the side of the illustrations correspond to numbered - items in the text. Numbers in the text link to the illustration including that item. - Illustrations of collector items link to larger versions when clicked on. - </li> - </ul> -<div class='pbb'> - <hr class='pb c000' /> -</div> - -<div> - <h1 class='c001'><span class='xlarge'><span class='sc'>Sandwich Glass</span></span></h1> -</div> - -<div class='nf-center-c1'> -<div class='nf-center c000'> - <div><span class='large'><i>by</i></span></div> - <div><span class='large'><i>Lenore Wheeler Williams</i></span></div> - </div> -</div> - -<div class='figcenter id001'> -<img src='images/image001.jpg' alt='decorative emblem with tall sailing ship' class='ig001' /> -</div> - -<div class='nf-center-c1'> - <div class='nf-center'> - <div><span class='large'><i>A Technical Book</i></span></div> - <div><span class='large'><i>for Collectors</i></span></div> - </div> -</div> - -<div class='nf-center-c1'> -<div class='nf-center c002'> - <div><span class='small'><i>Copyright, 1922</i></span></div> - </div> -</div> - -<div class='pbb'> - <hr class='pb c000' /> -</div> - -<div class='nf-center-c1'> -<div class='nf-center c003'> - <div><span class='small'><i>Published by</i></span></div> - <div>THE PARK CITY ENG. CO.</div> - <div>BRIDGEPORT, CONN.</div> - <div><span class='small'><i>Publishers and Plate Makers</i></span></div> - </div> -</div> - -<div class='pbb'> - <hr class='pb c000' /> -</div> - -<div class='nf-center-c1'> -<div class='nf-center c003'> - <div><i>DEDICATION</i></div> - </div> -</div> - -<div class='nf-center-c1'> -<div class='nf-center c002'> - <div>To G. I., H. H., N. L., M. V. all born collectors whose</div> - <div>love for old things is greater than their</div> - <div>commercial value</div> - <div class='c000'>and to</div> - <div class='c000'>H. C. K.</div> - <div class='c000'>who gave the author the courage to write this book.</div> - </div> -</div> - -<div class='pbb'> - <hr class='pb c000' /> -</div> - -<div class='chapter'> - <h2 class='c004'><span class='xlarge'><i>Contents</i></span></h2> -</div> - -<div class='figcenter id002'> -<img src='images/image005.jpg' alt='small decoration' class='ig001' /> -</div> - -<div class='nf-center-c1'> -<div class='nf-center c002'> - <div><span class='large'>SANDWICH GLASS</span></div> - <div class='c000'>by</div> - <div class='c000'><span class='sc'>Lenore Wheeler Williams</span>, Collector of Early</div> - <div>American Antiques.</div> - <div class='c002'><i>A Collector’s Hand Book</i></div> - <div><i>illustrating 186 different specimens covering the entire</i></div> - <div><i>subject of</i></div> - </div> -</div> - -<div class='lg-container-b'> - <div class='linegroup'> - <div class='group'> - <div class='line'>1.—<a href='#CP'>Glass Cup Plates</a>—historical and conventional.</div> - <div class='line'>2.—<a href='#GS'>Salts</a> and <a href='#VA'>Victorian Animals</a>.</div> - <div class='line'>3.—<a href='#CS'>American Glass Candlesticks</a> and <a href='#OIL'>Whale Oil Lamps</a>.</div> - <div class='line'>4.—<a href='#FW'>Flat Ware of the early period</a>.</div> - <div class='line'>5.—<a href='#PP'>Presentation and Commercial pieces.</a></div> - </div> - </div> -</div> - -<p class='c005'>Types, colors, molds, historical data, and information -regarding the Sandwich Glass Company and its -output gathered from specimens collected by the author -covering ninety-odd thousand miles by motor.</p> - -<p class='c005'>On sale by the author at 522 Madison Ave., New -York City; summers at “Great Hearth,” Hopkinton, -New Hampshire.</p> - -<div class='nf-center-c1'> - <div class='nf-center'> - <div>Price <span class="right">$5.00</span> <span class="left">Edition</span> limited.</div> - </div> -</div> - -<div class='pbb'> - <hr class='pb c000' /> -</div> - -<div class='chapter'> - <h2 id='PREF' class='c004'>Preface</h2> -</div> - -<p class='drop-capa0_2_0_7 c006'>It is not the purpose of the author in this volume to -treat of the myriads of pressed glass dating from the -centennial to the present day masquerading in shops -as “Sandwich glass” and cluttering up the cabinets of -the unwary collector only to be discarded later by those -who have learned by comparison with the beautiful lacy -specimens of early Sandwich that they have been led to -acquire pieces of little beauty and less real value. It is -of the period of Sandwich glass dating from the opening -of the factory in 1825 by a handful of men, blowers -of great physique, artists, and mold makers, some of -whom started in the struggling “Parent Tree” factory -of 1817, down to the period of greatest prosperity in -1853—that we are dealing with. These men put their -best efforts into designs of intricate beauty. There is -no comparison between their work and the later commercial -pressed glass which took unto itself all the worst -features of Victorian decoration and which was never -found upon the tables of people of good taste, who -turned from pressed glass to English cut during this -latter period, or preserved with reverence and used on -state occasions the pieces of a generation before. This -late glass covered with stars and rosettes in ugly amber -and blue and white became a tremendous advertising -medium and was distributed as premiums and sold in -quantity at very cheap prices. The author sees no object -in collecting it to-day other than the commercializing -of an unworthy product. The glass sheltered by the -Mansard roof does not fit in with early Sandwich.</p> -<div class='pbb'> - <hr class='pb c000' /> -</div> - -<div class='chapter'> - <span class='pageno' id='Page_7'>7</span> - <h2 id='HIST' class='c004'><i>HISTORY</i> <br /> Forerunners of the Sandwich works—Evolution of the Industry</h2> -</div> - -<p class='c007'>In 1787 a factory was established on Essex Street, -Boston by Whalley, Hunnewell and others for making -crown window glass. This enterprise was not a success -until 1803 when a German by the name of Lint arrived. -From then on the factory became prosperous; the state -paid a bounty and by 1822 the glass had become -famous and was known as Boston Window glass. This -factory was given the exclusive right in their charter -for a number of years.</p> - -<p class='c008'>In 1811 they erected a larger and improved factory -in South Boston, and sent to England for more blowers -of window glass but could not get them on account -of the war so they turned to using flint glass blowers, -previously brought from Europe. This factory in -South Boston was the “parent tree” of the Sandwich -works. It failed in the thirties and started -up again and failed many times but was running in -1854.</p> - -<p class='c008'>Another Company was formed in 1811 called the -Porcelain and Glass Manufacturing Company at East -Cambridge but it failed in the production of both attempted -products because of poor management. The -plant was sold at auction November, 1817, and bought -by a new company which called itself The New England -Glass Company. This enterprise was successful -<span class='pageno' id='Page_8'>8</span>from the beginning—in 1817, thus we see that some -specimens of N. E. G. are of earlier date than Sandwich -glass.</p> - -<p class='c008'>Its capital of $40,000 in 1817 increased until in -1853 it was $500,000. The start was a six pot furnace -with 700 pounds to each pot. Forty hands were employed -and the yearly product was $40,000. In 1853 -there were five furnaces with ten pots of 2,000 pounds -each and 500 hands, and doing a business of $500,000. -The author hopes that this may throw some light upon -the incredulous amateur collector’s query of “Where -does all the old glass come from?”</p> -<div class='pbb'> - <hr class='pb c000' /> -</div> - -<div class='chapter'> - <span class='pageno' id='Page_9'>9</span> - <h2 class='c004'><i>ESTABLISHMENT OF THE SANDWICH GLASS WORKS</i></h2> -</div> - -<p class='c007'>In 1825 a flint glass manufactory was established at -Sandwich, Massachusetts. Building was started in -April, and July 4th, 1825 they commenced blowing. It -was purchased in 1826 by a new company calling itself -The Boston and Sandwich Glass Company. The beginning -was an 8 pot furnace—each pot holding 800 pounds -and a yearly product of $75,000. There were at first 60 -employees but by 1853 the capital was $400,000 with -weekly melts of 100,000 pounds—500 employees—four -furnaces of 10 pots producing yearly $600,000 worth of -cup plates, lamps, dishes, salt cellars, etcetra.</p> - -<p class='c008'>Deming Jarves, one of the incorporators of the -Boston and Sandwich Glass Company, writes in 1854 -as follows:</p> - -<p class='c008'>“In 1825 a Flint Glass Manufactory was established -by individual enterprise in Sandwich, Massachusetts. -Ground was broke in April, dwellings for the workmen -built and the manufactory completed; and on July 4, -1825 they commenced blowing glass, three months after -first breaking ground.”</p> - -<p class='c008'>In the early days of the factory the life of a glass -blower was short due to the overheated glass houses but -for twenty years prior to 1854 no employee of the Boston -and Sandwich Company died or was seriously ill from -his employment. The invention of the mold machine -saved many lives. The pressing mold for glass was invented -<span class='pageno' id='Page_10'>10</span>in 1827 by a workman named Robinson at the -New England Glass Company but was later adopted -and perfected by the Sandwich works.</p> -<div class='pbb'> - <hr class='pb c000' /> -</div> - -<div class='chapter'> - <span class='pageno' id='Page_11'>11</span> - <h2 id='PG' class='c004'><i>PRESSED GLASS</i></h2> -</div> - -<p class='c007'>Pressed glass was many times reheated to a point -sufficient to melt a thin surface layer—This was called -“fire polishing.” It removed any roughness due to the -process of molding and left a smooth bright surface.</p> - -<p class='c008'>Flint glass—The name of flint glass was derived -from the fact that in England flints were calcined and -pulverized to make silica which is the main constituent of -glass. The use of flint made the glass highly refractive -and brilliant and oxide of lead which was also added -increased it.</p> - -<p class='c008'>As pressed glass was the main product of the Sandwich -works the few blown specimens of the factory will -be taken up by the author in a separate volume dealing -with the blown pitchers, plates, flips, jars, and balls -blown at Willington, Westford, New London, Stoddard, -Lyndeboro, Keene, and Chelmsford.</p> -<div class='pbb'> - <hr class='pb c000' /> -</div> - -<div class='chapter'> - <span class='pageno' id='Page_12'>12</span> - <h2 id='MOLD' class='c004'><i>MOLDS</i></h2> -</div> - -<p class='c007'>The mold machine invented by the New England -Glass Works revolutionized the flint glass industry. By -its use glass could be pressed into any shape.</p> - -<p class='c008'>Glass in melted form is not malleable but its -ductility is next to gold and by steady pressure can be -forced into any shape. The mass blown against and -into moulds was subjected to the stamp and penetrated -the most delicate carvings. In places the early stippled -specimens of Sandwich glass are only a thirty-second of -an inch in thickness. The resulting sharpness of detail -is wonderful.</p> - -<p class='c008'>The reason that nothing remains of the early molds -is accounted for by the fact that iron was a costly commodity -even as late as 1825. Thrift was responsible for -the success of our forefathers and the glass molds which -were made of soft tin were melted and re-run as they -became dull from usage. Original designs were destroyed -as new patterns were evolved. With the invention -of the stamping machine iron ladles were used to -pour the glass into the mold. We are often puzzled to -know why a pontil should appear on early specimens of -“pressed” glass. This is because the earlier specimens -were actually blown against and into the molds before -the invention of mechanical pressure.</p> - -<p class='c008'>Soft Slip, a clay used in making the old Connecticut -slip ware dishes was run into a new mold. This proof -showed any imperfections as well as supplying the works -with a pattern for a new mold when necessary. These -<span class='pageno' id='Page_13'>13</span>proofs were easily broken and of little use at the factory -after a mold was discontinued.</p> - -<p class='c008'>A poor impression was caused by a worn out mold -or as in the case of the very early plates made by plungers -before the stamp machine came into use, by insufficient -contact with the mold. The rarest type of Bunker -Hill cup plate illustrates this point.</p> - -<p class='c008'>The carving of iron molds was called “Chipping” -and mold chippers were responsible for the art of the -finished product.</p> - -<p class='c008'>When the New England Glass Company moved -to Ohio in the Eighties thousands of iron molds were -sold to junk dealers.</p> -<div class='pbb'> - <hr class='pb c000' /> -</div> - -<div class='chapter'> - <span class='pageno' id='Page_14'>14</span> - <h2 id='COMP' class='c004'><i>COMPOSITION</i></h2> -</div> - -<p class='c007'>Sandwich glass was made of silex, ash, nitre, pig -lead, and other ingredients but the secret of the bright -surface on old pressed glass, a characteristic which differentiates -it from the modern pressed glass, was the use -of barytes. This was introduced into the molten mass -and gave the beautiful silver tint that we find in early -glass. The New England Glass Company omitted this -barytes from its glass with resulting dullness. Its specimens -are all crude and heavy in comparison with the -lacy examples of early Sandwich.</p> -<div class='pbb'> - <hr class='pb c000' /> -</div> - -<div class='chapter'> - <span class='pageno' id='Page_15'>15</span> - <h2 id='NOTE' class='c004'><i>NOTES FOR COLLECTORS</i></h2> -</div> - -<p class='c009'>1. A small pocket lens is invaluable in studying the -designs on Sandwich glass.</p> - -<p class='c010'>2. The mounting of specimens on black satine brings -out a higher refractive quality of the glass than when -mounted on velvet.</p> - -<p class='c010'>3. Specimens that show signs of wear may be touched -up and made brilliant by a slight application of the -banana oil lacquer.</p> - -<p class='c010'>4. “Rust” a term for the scum that rose to the surface -of the pot and had to be thoroughly removed by skimming, -often appears on specimens making them less valuable -for collection. A weak solution of acid will improve -the glass in such cases.</p> - -<p class='c008'>Many interesting facts concerning Sandwich glass -have been gained from contact with owners of inherited -specimens in the remote districts of New England—in -many cases the descendants of glass blowers whose -knowledge is real, not based upon hearsay in going from -shop to shop.</p> - -<p class='c008'>The popular term “Snake-skin” refers to the resemblance -of the stippled back ground in early Sandwich -glass to the skin of a snake. I like the term Lace glass -better as it more clearly conveys the delicacy of treatment. -There was a later glass produced by the Sandwich -works in 1875 in order to meet the popular demand -at less expense. This might well be called Snake-skin -because the stippling is so merged that the term applies -<span class='pageno' id='Page_16'>16</span>to it much more than to the fine early specimen. This -glass was made in machine cut molds. There was more -background than detail and the pieces were sold in -cheap sets.</p> - -<p class='c008'>Throughout this work the author has in every instance -purposely omitted the question of values. The -value of old things is not intrinsic. It is governed by the -demand and not by set prices. Inestimable harm has -been done unintentionally by popular magazine writers -who have quoted prices forgetting that those who go far -afield may pay to-day a large price for a piece that to-morrow -they find for a song, thus evening up the collecting -average. The mere quotation of a price means -nothing to the real collector but it immediately plants -in the minds of the uninitiated who do not discriminate -between their treasures the idea that they can get the -amount quoted and more next time and so the practice of -“hoarding” and “pyramiding” is established. It begins -with the farmer’s wife and does not stop with the dealer -and collector until the modest collector becomes discouraged -and his interest dies. To the very few who understand -the joy of exchanging duplicate specimens regardless -of value and of taking a small profit over what they -pay thus enabling them to complete their collections in -the spirit of olden days this book is dedicated.</p> - -<p class='c008'>As the reproduction of blown glass is easier than -<span class='pageno' id='Page_17'>17</span>pressed there is a certain joy in owning fine specimens -of the latter. The field is too broad and the designs too -intricate to tempt the modern mold maker. The machine -product is too obviously regular and lacks the silvery -brightness produced in old pressed glass by the use -of barytes and the artistic technique of the hand made -mold.</p> -<div class='pbb'> - <hr class='pb c000' /> -</div> - -<div class='chapter'> - <span class='pageno' id='Page_18'>18</span> - <h2 id='CP' class='c004'><i>CUP PLATES</i></h2> -</div> - -<p class='drop-capa0_2_0_7 c011'>In the days when our forefathers considered it quite -correct to pour tea from the cup into the saucer and -drink it from the latter the problem still remained of -an unsightly ring upon the linen. Thus the cup plate -was evolved in the first place from a purely utilitarian -standpoint. It took the place of the modern coaster but -later became a subject for “table talk” in the form of -political and social reform. The thought and sentiment -of the times were worked into the dainty molds and the -resulting cup-plates became works of art.</p> - -<p class='c008'>The first plates were crude and heavy but as time -went on less glass was blown against the molds with -greater force resulting in plates of brilliant stippling -and delicacy. New designs were carved until in 1840, -when the ship Constitution was about to be junked, to -arouse public opinion one of the most exquisite octagon -plates appeared—representing the highest art in Sandwich -glass.</p> - -<p class='c008'>The invention of the stamp machine increased the -production and the little plates came away from the -molds with clearer and sharper edges and brilliancy of -detail. The first cup plates made were conventional or -geometrical patterns. The author owns one one-half -inch thick with pontil, a rare example of the first process.</p> - -<p class='c008'>Previous to the period 1825-30 the dinner sets made -in England for the American market included cup plates -of china. During this time the conventional cup plates -were first put out by the Sandwich Glass Works and -<span class='pageno' id='Page_19'>19</span>soon gained such great popularity, due both to their -beauty and their fitness with any china, that cup plates -were generally omitted from dinner sets thereafter. -People who could not afford entire dinner sets had previously -gone without cup plates and the glass cup plate -was an innovation.</p> - -<p class='c008'>Distribution of their products was a great problem -at the Sandwich works. Much glass found its way over -the country by way of the tin peddlers cart. The finding -of a number of specimens in the same locality to-day -can often be traced back to a peddler who went out of -business in that particular town—his wares to be rediscovered -by a later generation.</p> - -<p class='c008'>The author has in her cup plate collection a slipware -“proof” of the ship Cadmus. This was the first run -of a new mold and served as a pattern from which to -take orders. The iron molds were too much in use to show -to prospective buyers and the little glass plates themselves -too fragile and hence the proof of red glazed clay -served the double purpose of showing necessary corrections -in a new mold and giving the company a “sample” -cup plate. These proofs are very rare as they seldom -got out of the hands of the factory and were destroyed -as new patterns were created to take the place of the -old.</p> -<div class='pbb'> - <hr class='pb c000' /> -</div> -<div id='P1' class='figcenter id003'> -<span class='pageno' id='Page_20'>20</span> -<a href='images/image022_lg.jpg'><img src='images/image022.jpg' alt='Plate I' class='ig001' /></a> -<div class='ic003'> -<p><span class='sc'>Plate I</span></p> -</div> -</div> -<div class='pbb'> - <hr class='pb c000' /> -</div> - -<div class='chapter'> - <span class='pageno' id='Page_21'>21</span> - <h2 id='EAGLE' class='c004'><i>THE EAGLE GROUP</i></h2> -</div> - -<p class='c012'><a href='#P1'>1.</a> Fort Pitt—Eagle in flight grasping arrows and olive -branch, 24 stars scattered in background, -ribbon from eagle’s beak with -words FORT PITT. Edge peacock -feather design, wings half folded. Issued -to recall Washington’s capture of -Fort Duquesne—renamed Fort Pitt.</p> - -<p class='c013'>A—Same serrated edge.</p> - -<div class='c014'>Rare.</div> - -<p class='c015'><a href='#P1'>2.</a> Rayed eagle—Deeply serrated, edge with bulls eye -in each scallop, 13 stars with rays on -stippled field.</p> - -<p class='c013'>A—Smaller and more numerous serrations.</p> - -<div class='c014'>Uncommon.</div> - -<p class='c015'><a href='#P1'>3.</a> Miniature rayed eagle—Same as No. 2 with outer -border omitted. This plate is the size -of the bee-hive and is exceedingly rare.</p> - -<p class='c015'><a href='#P1'>4.</a> Scroll bordered eagle—Fine stippling, shield on -breast of eagle is lacking and the edge is -unserrated.</p> - -<p class='c015'><a href='#P1'>5.</a> Large eagle with 13 stars, medallion border, no stippling -in background.</p> - -<div class='c014'>Uncommon.</div> - -<p class='c015'><a href='#P1'>6.</a> 1831 Eagle—Five stars signifying new states added, -dated 1831, eagle facing to left.</p> -<div class='pbb'> - <hr class='pb c000' /> -</div> -<div id='P2' class='figcenter id003'> -<span class='pageno' id='Page_22'>22</span> -<a href='images/image024_lg.jpg'><img src='images/image024.jpg' alt='Plate II' class='ig001' /></a> -<div class='ic003'> -<p><span class='sc'>Plate II</span></p> -</div> -</div> -<div class='pbb'> - <hr class='pb c000' /> -</div> - -<p class='c015'><span class='pageno' id='Page_23'>23</span><a href='#P2'>7.</a> Grape eagle—A small eagle surrounded with circle -of dots, and a border of grapes and -branches with leaves alternating. -Outer border has four large stars, edge -scalloped and pointed with stipple extending -to edge of serrations.</p> - -<div class='c014'>Rare.</div> - -<p class='c015'><a href='#P2'>8.</a> Same with no stippling in scallops and points on -clear ground.</p> - -<div class='c014'>Rare.</div> - -<p class='c015'><a href='#P2'>9.</a> Small eagle with inner circle of stippling fleur de lis -and flowers in alternate band in clear -ground border consisting of three leaf -and scroll motifs and three clear flowers—the -finest stippling is used in this plate -which is so delicate that it is difficult to -find perfect specimens.</p> - -<div class='c014'>Uncommon.</div> - -<p class='c015'><a href='#P2'>10.</a> Concentric circle eagle—As we go to press a small -eagle has been found with background -of concentric circles extending to edge -of plate—Clear ground.</p> - -<div class='c014'>Rare.</div> - -<p class='c015'><a href='#P2'>11.</a> Plain bordered eagle—Bulls eye serrations—13 -stars around eagle in scattered field.</p> - -<div class='c014'>Rare.</div> - -<p class='c013'>A—Edge with plain serrations without -bulls eyes.</p> - -<div class='c014'>Rare.</div> -<div class='pbb'> - <hr class='pb c000' /> -</div> -<div id='P3' class='figcenter id003'> -<span class='pageno' id='Page_24'>24</span> -<a href='images/image026_lg.jpg'><img src='images/image026.jpg' alt='Plate III' class='ig001' /></a> -<div class='ic003'> -<p><span class='sc'>Plate III</span></p> -</div> -</div> -<div class='pbb'> - <hr class='pb c000' /> -</div> - -<div class='chapter'> - <span class='pageno' id='Page_25'>25</span> - <h2 id='BUNK' class='c004'><i>BUNKER HILL GROUP</i></h2> -</div> - -<p class='c007'>This series of four distinct designs was gotten out to -commemorate the completion of the Bunker Hill monument. -Three changes in the mold were made before the -works were satisfied with the plate. The earliest is very -rare.</p> - -<p class='c015'><a href='#P2'>12.</a> Bunker Hill Monument on clear ground, three -lines of inscription, outer line set off by -rope in tassels, bricks in monument.</p> - -<p class='c016'>Corner stone laid by Lafayette, June -17, 1825</p> - -<p class='c016'>Bunker Hill battle fought June 17, -1776</p> - -<p class='c016'>From the Fair to the Brave</p> - -<p class='c016'>Finished by the Ladies 1841</p> - -<p class='c015'><a href='#P3'>13.</a> Same as 12, with twelve stars in inner circle around -monument.</p> - -<p class='c015'><a href='#P3'>14.</a> Bunker Hill with rope border, two lines of inscription -without bricks in monument, twelve -stars in circle around monument.</p> - -<p class='c015'><a href='#P3'>15.</a> Bunker Hill Monument, one row of inscription -only, twelve stars in larger circle -around monument with one star above -with bricks, rope border.</p> - -<div class='c017'>Rare.</div> -<div class='pbb'> - <hr class='pb c000' /> -</div> -<div class='chapter'> - <h2 id='SHIP' class='c004'><i>THE SHIP GROUP</i></h2> -</div> - -<p class='c012'><a href='#P3'>16.</a> Cadmus—Small square rigged ship in circle of -<span class='pageno' id='Page_26'>26</span>dots, border like plate No. 7. This -plate is called the small Constitution by -many as the ship is undoubtedly the -same type of vessel but the plate was -gotten out to represent the Cadmus, the -ship which brought Lafayette to America -in 1824, and shows the early cruder -workmanship—See Camehl page 197.</p> - -<p class='c015'><a href='#P3'>17.</a> The Constitution—Large square rigged ship in -center, inner border type of No. 7, octagonal -plate of exquisite workmanship. -Note cover design of this book. This -cup plate represents the acme of Sandwich -glass designing. It was issued when -feeling was running high against the -probable “junking” of the Constitution -in hopes that public opinion might -change the fate of the old sailing vessel.</p> - -<div class='c014'>Very Rare.</div> - -<p class='c015'><a href='#P3'>18.</a> Pennsylvania steam boat-octagonal. This is the -companion piece to the Constitution. -The inner border varies in that it has -four shields and scrolls in a background -of horizontal lines. In popular magazine -articles this boat has been called the -<span class='pageno' id='Page_27'>27</span>Fulton but any one familiar with the old -wood cuts of Robert Fulton’s steam boat -will note that they do not bear the slight slightest -resemblance to the boat on the cup-plate -whereas it is the almost exact -counter part of the side wheeler Pennsylvania -that plied the Ohio River. -Further Fulton’s boats had one mast -for sailing in case of trouble.</p> - -<p class='c008'>I refer my reader to the “Blue China Book,” by -Camehl page 224, “City of Pittsburgh, Pennsylvania -Steam Boat,” by Clews, and to page 231, “Fulton Steam -Boat” and ask them to draw their own conclusion. The -political situation in regard to navigation on the Ohio -River at this time has further bearing on the subject. A -further note that will substantiate this claim is that in a -careful check list of known specimens kept and much -research work done along the lines of glass found in a -given locality, the majority of these rare little octagonal -cup plates and the still rarer large plates with the same -ship in the center have come out of Pennsylvania, showing -that the Pennsylvania Steam Boat would be likely to -find a readier sale there than elsewhere. It appealed to -the States pride as prior to the Civil War, States Rights -were a much more prominent issue than later on.</p> - -<div class='c017'>Very rare.</div> -<div class='pbb'> - <hr class='pb c000' /> -</div> -<div id='P4' class='figcenter id003'> -<span class='pageno' id='Page_28'>28</span> -<a href='images/image030_lg.jpg'><img src='images/image030.jpg' alt='Plate IV' class='ig001' /></a> -<div class='ic003'> -<p><span class='sc'>Plate IV</span></p> -</div> -</div> -<div class='pbb'> - <hr class='pb c000' /> -</div> - -<p class='c015'><span class='pageno' id='Page_29'>29</span><a href='#P4'>19.</a> Chancellor Livingston—Auxiliary sailing vessel -with paddle wheel, full rigged with flying -jibs, American flag at stern, dotted -waves, word “Chancellor” above and -“Livingston” below ship on clear -ground. Border two shields, two hearts, -and four large stars on stippled ground. -One of America’s first steamboats -named after Robert Livingston, chancellor -of New York State, a partner of -Fulton in ship building.</p> - -<p class='c015'><a href='#P4'>20.</a> Chancellor Livingston same as No. 19 but with -stippled ropes.</p> - -<div class='c014'>Uncommon.</div> - -<p class='c015'><a href='#P4'>21.</a> Chancellor Livingston—With line waves and different -arrangement of spars, an earlier -design than No. 19.</p> - -<p class='c015'><a href='#P4'>22.</a> Benjamin Franklin—Full rigged ship covering entire -center of plate, flag inscribed B. F. -at mast head. American flag at stern, -stippled rigging and elaborate equipment. -Border with spread eagle, four -anchors, stars and scrolls.</p> - -<p class='c015'><a href='#P4'>23.</a> The Maid of the Mist—Boat on rough water showing -the Suspension Bridge at Niagara, -the falls and sun above bridge. This -cup-plate was issued in honor of the -completion of the bridge across the -Niagara River. A later plate but exceedingly -rare. N. E. G.</p> - -<div class='c014'>Very rare.</div> -<div class='pbb'> - <hr class='pb c000' /> -</div> -<div id='P5' class='figcenter id003'> -<span class='pageno' id='Page_30'>30</span> -<a href='images/image032_lg.jpg'><img src='images/image032.jpg' alt='Plate V' class='ig001' /></a> -<div class='ic003'> -<p><span class='sc'>Plate V</span></p> -</div> -</div> -<div class='pbb'> - <hr class='pb c000' /> -</div> - -<div class='chapter'> - <span class='pageno' id='Page_31'>31</span> - <h2 id='CLAY' class='c004'><i>THE HENRY CLAY GROUP</i></h2> -</div> - -<p class='c012'><a href='#P4'>24.</a> Henry Clay with one star under small head in center -facing left. Words “Henry Clay” -in stippled circle around head. Thistle -and medallion border.</p> - -<p class='c015'><a href='#P5'>25.</a> Henry Clay with five stars,—a rare plate and one -that easily escapes the notice of the collector -who mistakes it for No. 25. Two -of the stars are placed over the head -and two outside the center circle, not -in border.</p> - -<div class='c014'>Rare.</div> - -<p class='c015'><a href='#P5'>26.</a> Henry Clay with no name—A smaller head, than -any of the others without inscription—uncommon -but not rare, probably a -mold superceded by No. 25.</p> - -<p class='c015'><a href='#P5'>27.</a> Henry Clay facing right—A large head facing to -the right, in inner circle of clear glass. -Two laurel branches crossed and tied -with ribbon to form a half wreath under -portrait. Words HENRY CLAY -in large letters above head, border -of fine stippling with ten large fleurs -de lis serrated edge. The author -considers this the rarest cup plate -in spite of the recent furor over the -Washington, seven of the latter having -<span class='pageno' id='Page_32'>32</span>turned up in Pennsylvania alone while -it is a fortunate collector indeed who -can boast of a perfect large head of -Henry Clay facing right.</p> - -<p class='c015'><a href='#P5'>28.</a> <a id='WASHCP'></a>George Washington large head—octagonal, on -background of rays, very rare. Laurel -wreath at edge of border with tiny stars -and scrolls at extreme edge. Much confusion -has been occasioned by a six inch -plate with small head of Washington in -center. Inscription George Washington -spelled backward. This is of course -not the Washington cup plate although -it is a rare specimen of Sandwich glass.</p> - -<p class='c015'><a href='#P5'>29.</a> <a id='RING'></a>Major Ringgold—Large crude portrait, bust on -clear ground, twelve sided serration. Inscriptions -Ringgold left side of head—Palo -Alto to right. Major Ringgold -fell in battle at Palo Alto and was very -popular at the time. This cup plate is -very rare,—it pictures the hero of the -Mexican war and is one of the crudest -plates ever made. Specimens are seldom -found in good condition. N. E. G. -A.—Larger lettering and not twelve -sided edge.</p> -<div class='pbb'> - <hr class='pb c000' /> -</div> -<div id='P6' class='figcenter id003'> -<span class='pageno' id='Page_34'>34</span> -<a href='images/image036_lg.jpg'><img src='images/image036.jpg' alt='Plate VI' class='ig001' /></a> -<div class='ic003'> -<p><span class='sc'>Plate VI</span></p> -</div> -</div> -<div class='pbb'> - <hr class='pb c000' /> -</div> - -<div class='chapter'> - <span class='pageno' id='Page_35'>35</span> - <h2 id='HARR' class='c004'><i>THE HARRISON GROUP</i></h2> -</div> - -<p class='c007'>These plates as well as the Clay group were gotten -out during the time that Harrison and Clay were running -for president in 1840. His nomination was also -responsible for the log cabin group which follows. -Harrison was an old frontier woodsman and the log -cabin was supposed to be typical of his rugged nature. -Horace Greely edited a Whig newspaper at this -time called “The Log Cabin.”</p> - -<p class='c015'><a href='#P5'>30.</a> Head of Harrison on clear ground—Inscription -“Maj. Gen. W. H. Harrison, Born Feb. -9, 1773” in circle around head, outer -circle of 26 stars, rope border with blank -labels above and below.</p> - -<div class='c014'>Uncommon.</div> - -<p class='c015'><a href='#P6'>31.</a> Head of Harrison with labels with word “President” -above and date 1841 below.</p> -<div class='pbb'> - <hr class='pb c000' /> -</div> -<div class='chapter'> - <h2 id='LOGC' class='c004'><i>THE LOG CABIN GROUP</i></h2> -</div> - -<p class='c012'><a href='#P6'>32.</a> Log cabin with words “Fort Meigs” above on clear -ground, border with vine and acorns -and inscription “Tippecanoe” above and -“Wm. H. Harrison” below. This cup -plate belongs equally in the Harrison -group as it was a souvenir in the Harrison -Campaign. All the log cabins were -gotten out with this in view.</p> - -<div class='c014'>Uncommon.</div> - -<p class='c015'><span class='pageno' id='Page_36'>36</span><a href='#P6'>33.</a> Log cabin with flag—Flower border, cider barrel, -and tree. The cider barrel typified Harrison’s -hospitality; no chimney on cabin.</p> - -<p class='c015'><a href='#P6'>34.</a> Log cabin with flag—No barrel—Cabin fills entire -center of plate—two windows—Top -only of log chimney showing. Smaller -flag than No. 33, plain border.</p> - -<div class='c014'>Rare.</div> - -<p class='c015'><a href='#P6'>35.</a> Log cabin, cider barrel; plain border; large tree in -full foliage; one window. Liberty cap -on top of flag pole with waving flag. -Bench at base of tree.</p> - -<div class='c014'>Very rare.</div> - -<p class='c015'><a href='#P6'>36.</a> Log cabin with a large chimney at end, cider barrel -under one window, clear background, -the earliest plate issued in this series. -N. E. G.</p> - -<div class='c014'>Rare.</div> - -<p class='c015'>37. Log cabin with acorn border type of No. 33.</p> - -<div class='c014'>Not shown.</div> -<div class='pbb'> - <hr class='pb c000' /> -</div> - -<div id='P7' class='figcenter id003'> -<span class='pageno' id='Page_38'>38</span> -<a href='images/image040_lg.jpg'><img src='images/image040.jpg' alt='Plate VII' class='ig001' /></a> -<div class='ic003'> -<p><span class='sc'>Plate VII</span></p> -</div> -</div> -<div class='pbb'> - <hr class='pb c000' /> -</div> - -<div class='chapter'> - <span class='pageno' id='Page_39'>39</span> - <h2 id='MISC' class='c004'><i>MISCELLANEOUS</i></h2> -</div> - -<p class='c012'><a href='#P7'>38.</a> Bee hive medallion border—Laurel wreath border -hive and nine bees.</p> - -<p class='c015'><a href='#P7'>39.</a> Bee hive medallion border small plate with 11 honey -bees above hive, fine stipple, one of the -rarer plates.</p> - -<p class='c013'>A—Same with variation in border.</p> - -<p class='c015'><a href='#P7'>40.</a> The Lyre—Large Lyre, four strings and two -palms filling center of plate, border -groups of rays and pointed, stippling -deeply indented, bulls eye edge.</p> - -<p class='c015'><a href='#P7'>41.</a> The Hound—Reclining gray hound with branches -left and right, oak leaf border, broken -by six circles, clear ground.</p> - -<p class='c015'><a href='#P7'>42.</a> Harp with laurel wreath and seven pointed star -above—a very beautiful plate. Shamrock -border.</p> - -<p class='c013'>A—A four inch plate is found with -small harp in center. This is of course -not a true cup plate.</p> - -<p class='c015'><a href='#P7'>43.</a> The Anchor—Similar plate with large anchor stippled -ground stars and stippled triangles -alternating in border.</p> -<div class='pbb'> - <hr class='pb c000' /> -</div> -<div id='P8' class='figcenter id003'> -<span class='pageno' id='Page_40'>40</span> -<a href='images/image042_lg.jpg'><img src='images/image042.jpg' alt='Plate VIII' class='ig001' /></a> -<div class='ic003'> -<p><span class='sc'>Plate VIII</span></p> -</div> -</div> -<div class='pbb'> - <hr class='pb c000' /> -</div> - -<p class='c015'><span class='pageno' id='Page_41'>41</span><a href='#P8'>44.</a> The Butterfly—A butterfly on stippled center -ground, border of eight forget-me-nots -on clear ground.</p> - -<p class='c015'><a href='#P8'>45.</a> The Unhappy Marriage or double face—Two -heads with inscription above “The Wedding -Day”—invert the plate and the -same heads are seen with distorted visage -and the words above “Three Weeks -After.” Border of very handsome flowers, -clear ground.</p> -<div class='pbb'> - <hr class='pb c000' /> -</div> -<div class='chapter'> - <h2 id='FLOR' class='c004'><i>THE FLORAL GROUP</i></h2> -</div> - -<p class='c012'><a href='#P8'>46.</a> The rose and pansy on stippled ground, size of bee -hive, border of pointed leaves on clear -grounds.</p> - -<p class='c015'><a href='#P8'>47.</a> The daisy—Size of bee-hive, large daisy with ten -petals filling entire center of plate, 13 -large five pointed stars in border on fine -stippling. A most delicate and beautiful -design.</p> - -<p class='c015'><a href='#P8'>48.</a> The open rose—Size of bee hive, wild rose in center -with two rows of petals.</p> - -<p class='c015'><a href='#P8'>49.</a> The thistle—A large thistle in center of plate, fine -lacy stippling.</p> -<div class='pbb'> - <hr class='pb c000' /> -</div> -<div id='P9' class='figcenter id003'> -<span class='pageno' id='Page_42'>42</span> -<a href='images/image044_lg.jpg'><img src='images/image044.jpg' alt='Plate IX' class='ig001' /></a> -<div class='ic003'> -<p><span class='sc'>Plate IX</span></p> -</div> -</div> -<div class='pbb'> - <hr class='pb c000' /> -</div> - -<div class='chapter'> - <span class='pageno' id='Page_43'>43</span> - <h2 id='CNVCP' class='c004'><i>CONVENTIONAL CUP PLATES</i></h2> -</div> - -<p class='c007'>It is impossible to describe fully the vast number of -conventional cup plates but there are two in the author’s -collection that do not fit into any group. One “<a href='#P9'>A</a>” has 26 -large stars on a clear field. N. E. G. It is a very early -plate and I like to call it “the States.” The other “<a href='#P9'>C</a>” is a -later plate of which I do not know of a duplicate. The -center is a feathered nine pointed star in octagon medallion -and the border is a mother goose design with -four children, four trees, a pig, and other nursery rhyme -scenery. We illustrate these together with a rare slipware -proof of the ship Cadmus “<a href='#P9'>B</a>”.</p> - -<div class='pbb'> - <hr class='pb c000' /> -</div> -<div class='chapter'> - <h2 id='HEART' class='c004'><i>THE HEART SERIES</i></h2> -</div> - -<p class='c012'><a href='#P9'>H1.</a> Single large heart in center background of concentric -circles. Fourteen clear glass hearts -in border.</p> - -<p class='c015'><a href='#P9'>H2.</a> The Valentine. Two hearts in center pierced with -arrows, small flowers on stippled background, -lyres in border.</p> - -<p class='c015'><a href='#P9'>H3.</a> Four interlaced hearts in center, nine hearts in border -with sheaf of wheat between.</p> -<div class='pbb'> - <hr class='pb c000' /> -</div> -<div id='P10' class='figcenter id003'> -<span class='pageno' id='Page_44'>44</span> -<a href='images/image046_lg.jpg'><img src='images/image046.jpg' alt='Plate X' class='ig001' /></a> -<div class='ic003'> -<p><span class='sc'>Plate X</span></p> -</div> -</div> -<div class='pbb'> - <hr class='pb c000' /> -</div> - -<p class='c015'><span class='pageno' id='Page_45'>45</span><a href='#P10'>H4.</a> Same as No. 3 with variation in wheat and three -stipples above.</p> - -<p class='c015'><a href='#P10'>H5.</a> Ten sided edge serrated, thirteen stippled hearts in -border, geometrical center with stipple -background.</p> - -<p class='c015'><a href='#P10'>H6.</a> Twelve sided edge, thirteen stippled hearts in -border, center like No. 5, no serrations.</p> - -<p class='c015'><a href='#P10'>H7.</a> Thirteen stippled hearts in border, center like -No. 5.</p> - -<p class='c015'><a href='#P10'>H8.</a> Same as No. 7 with twelve stippled hearts in -border, two lobes of center design also -stippled.</p> - -<p class='c015'><a href='#P10'>H9.</a> Same as No. 8 with two stars between each heart, -center like No. 6.</p> -<div class='pbb'> - <hr class='pb c000' /> -</div> -<div id='P11' class='figcenter id003'> -<span class='pageno' id='Page_46'>46</span> -<a href='images/image048_lg.jpg'><img src='images/image048.jpg' alt='Plate XI' class='ig001' /></a> -<div class='ic003'> -<p><span class='sc'>Plate XI</span></p> -</div> -</div> -<div class='pbb'> - <hr class='pb c000' /> -</div> - -<p class='c015'><span class='pageno' id='Page_47'>47</span><a href='#P11'>H10.</a> Same as No. 7 larger size cup plate.</p> - -<p class='c015'>H11. Larger plate type of No. 8 with four lobes of -center design clear.</p> - -<div class='c014'>Not illustrated.</div> - -<p class='c015'><a href='#P11'>H12.</a> Small plate (size of bee hive) six hearts forming -center with wheel of dew drops between, -edge has bull’s eye in each serration. -Hearts are very heavily stippled in -waffle design.</p> - -<p class='c015'><a href='#P11'>H13.</a> Fourteen stippled heart border with fourteen five -pointed stars in diamonds super imposed -on hearts in border, center peacock -feather design with star in each bull’s -eye.</p> - -<p class='c015'><a href='#P11'>H14.</a> Twelve sided flower border serrated edge, small -stipple triangle in center, three small -hearts in feathered scrolls.</p> - -<p class='c015'><a href='#P11'>H15.</a> Thirteen stippled hearts in border slightly larger -cup plate than No. 7, background of -center clear.</p> - -<p class='c015'><a href='#P11'>H16.</a> Fourteen rope stippled hearts in border, eight -pointed conventional star in center within -a pointed larger star.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>New England’s Glass Works Type.</div> - </div> -</div> - -<div class='pbb'> - <hr class='pb c000' /> -</div> -<div id='P12' class='figcenter id003'> -<span class='pageno' id='Page_48'>48</span> -<a href='images/image050_lg.jpg'><img src='images/image050.jpg' alt='Plate XII' class='ig001' /></a> -<div class='ic003'> -<p><span class='sc'>Plate XII</span></p> -</div> -</div> -<div class='pbb'> - <hr class='pb c000' /> -</div> - -<p class='c015'><span class='pageno' id='Page_49'>49</span><a href='#P12'>H17.</a> Four clear heart center forming clover leaf design, -stippled background, border -twelve hearts reversed stippling.</p> - -<p class='c015'><a href='#P12'>H18.</a> Same center, as No. 17, no stipple in center but -plain border made up of stippling.</p> - -<p class='c015'><a href='#P12'>H19.</a> Same center as No. 17, no stippling in either -hearts or background, no hearts in -border.</p> - -<p class='c015'><a href='#P12'>H20.</a> Twelve sided serrated edge, twelve stippled -hearts in border with drop ornaments -between them. Center design of four -motives, rosettes and stippling.</p> - -<p class='c015'><a href='#P12'>H21.</a> Six hearts “Waffle Design,” in outer circle of -center with rosettes between them; -large six pointed star with rosette in -center, clear ground, vine and wheat -border New England Glass Works -type. A companion plate to No. 16.</p> - -<p class='c015'><a href='#P12'>H22.</a> Eight hearts in center, four with leaves and four -stippled, wreath border.</p> - -<p class='c008'>Previously not much attention has been paid to the -Heart Series by collectors. These are of rare beauty -when gathered in sequence. They were among the most -popular plates of the time. They were called the Sentiment -or Valentine cup plates and were more often given -as tokens of regard than any other designs.</p> -<div class='pbb'> - <hr class='pb c000' /> -</div> -<div id='P13' class='figcenter id003'> -<span class='pageno' id='Page_50'>50</span> -<a href='images/image052_lg.jpg'><img src='images/image052.jpg' alt='Plate XIII' class='ig001' /></a> -<div class='ic003'> -<p>CONVENTIONAL<br /><span class='sc'>Plate XIII</span></p> -</div> -</div> -<div class='pbb'> - <hr class='pb c000' /> -</div> - -<p class='c008'><span class='pageno' id='Page_51'>51</span><a id='CLRCP'></a>Colored cup plates were issued in smaller numbers -but were not found practical because of the expense connected -with their manufacture. Many people considered -them not in good taste for table use but the opalescent -conventional plates were more popular. These have -necessarily become rare and the collector who goes in -for colored plates to any extent has a hard undertaking -to make his series complete. A conventional plate -popularly called “The Wheel of Fortune” seems to have -been made in lovely shades of lavender, green, amber, -mauve, and blue.</p> - -<p class='c008'>Tints or “off-shades” are much sought after by collectors -in cup plates. These color variations were produced -by the chemical reaction of an over-dose of one -of the ingredients in the mixture—a “mistake” in -composition.</p> - -<p class='c008'>Of the hundreds of conventional designs we have -tried to <a href='#P13'>illustrate</a> only a few of the unusual and particularly -lacy ones.</p> - -<p class='c008'>The author illustrates 78 different cup plates, trusting -that the reader will appreciate the effort made.</p> -<div class='pbb'> - <hr class='pb c000' /> -</div> - -<div class='chapter'> - <span class='pageno' id='Page_53'>53</span> - <h2 id='GS' class='c004'><i>PRESSED GLASS SALTS</i></h2> -</div> - -<p class='drop-capa0_2_0_7 c011'>Many of the little salts used on our grandmothers’ -tables reflected the political feeling of the times -as did the cup plates, and in noting the following -from the Sandwich works I am including a number of -specimens which the New England Glass factory made -in imitation of the Sandwich at the time. These will be -marked N. E. G. in the text. These are heavier, less -transparent, and are from molds crudely carved. The -period is 1840.</p> - -<p class='c008'>One salt has come to light marked Robinson & -Son, Pittsburgh, Pa. It is a boat salt similar to the -Lafayette boat made at Sandwich but shorter and -broader. It is of clear glass of a later type. Blown -glass salts will be taken up in a subsequent book by the -author. The beautiful conventional designs produced -by artists of the Sandwich Glass Company are so numerous -and delicate in workmanship that we illustrate as -many varieties as possible hoping that collectors of these -charming little pieces will understand our purpose and -forgive omissions of specimens that they hold dear. All -salts shown are from the author’s collection and most of -them are in pairs, but we show one only for reference. -New varieties are being found daily adding to the fascination -of collecting. The following types are worthy -of note:</p> - -<p class='c008'>All salts illustrated are in numerical sequence except -those marked in the text “Not shown.”</p> -<div class='pbb'> - <hr class='pb c000' /> -</div> -<div id='P14' class='figcenter id003'> -<span class='pageno' id='Page_54'>54</span> -<a href='images/image056_lg.jpg'><img src='images/image056.jpg' alt='Plate XIV' class='ig001' /></a> -<div class='ic003'> -<p><span class='sc'>Plate XIV</span></p> -</div> -</div> -<div class='pbb'> - <hr class='pb c000' /> -</div> - -<p class='c015'><span class='pageno' id='Page_55'>55</span><a href='#P14'>1.</a> American eagle, nine stars, colonial column at corners, -vine at top, ends with tree in full -bloom. N. E. G.</p> - -<p class='c015'><a href='#P14'>2.</a> Side-basket of fruit, ends—wild rose, bottom—marked -New England Glass Company, -Boston.</p> - -<p class='c015'><a href='#P14'>3.</a> Diamond waffle design, colonial column at ends, -scallop above, star bottom. N. E. G.</p> - -<p class='c015'><a href='#P14'>4.</a> Diamond waffle design, irregular wavy sides, vine -above, hob nail in diamond on bottom. -N. E. G.</p> - -<p class='c015'><a href='#P14'>5.</a> Large diamond waffle star on coarse stipple background, -flaring sides. N. E. G.</p> - -<p class='c015'><a href='#P14'>6.</a> Grill work with large heart on side in diamond design, -column at ends. N. E. G.</p> - -<p class='c015'>7. Portrait of Lafayette on side of salt, Washington on -other—very rare. N. E. G.</p> - -<div class='c014'>Not shown.</div> - -<p class='c015'><a href='#P14'>8.</a> Boat shaped salt, side wheel marked Lafayette with -star, stern marked B & S Glass Company.</p> - -<p class='c015'>9. Same in blue glass with opalescent tinge marked -Sandwich on bottom. A fine specimen -piece to own.</p> - -<div class='c014'>Not shown.</div> - -<p class='c015'><a href='#P14'>10.</a> The Chariot race, clear white glass, very rare, ends -reptile in medallion, bottom—scroll -with six five pointed stars, very rare.</p> - -<p class='c013'>A—Same in opaque light blue glass, exceedingly -rare.</p> - -<p class='c015'><span class='pageno' id='Page_56'>56</span><a href='#P14'>11.</a> Eight sided flaring salt, earliest period, fine stippled -background with rose, fleur de lis -and beautifully designed American -eagle on bottom. The eagle is in flight -with olive branch in one claw three arrows -in the other and a shield on its -breast. The author considers this one -of the rarest Sandwich salts ever found. -It is like a bit of old lace.</p> - -<p class='c015'><a href='#P14'>12.</a> Round with three alternate Cadmus ships and -eagles—rare.</p> - -<p class='c015'><a href='#P14'>13.</a> Four large eagles with feet on balls forming sides -and base of salt, two curled surface -from beaks of eagles forming top of -salt, large shield on each side below—very -rare.</p> - -<p class='c015'><a href='#P14'>14.</a> Presentation salt, unusually large, early type, on -ornamental base with scroll bracket -feet, shielded ends with two eagles’ -heads, marked Providence on bottom. -A—Same in blue glass with oak leaf on -bottom, all types of this salt are very -rare. They were a special order at the -Sandwich works and very few have been -found. We know of only one specimen -in the deep blue.</p> - -<div class='c014'>Very rare.</div> - -<div class='pbb'> - <hr class='pb c000' /> -</div> -<div id='P15' class='figcenter id003'> -<span class='pageno' id='Page_58'>58</span> -<a href='images/image060_lg.jpg'><img src='images/image060.jpg' alt='Plate XV' class='ig001' /></a> -<div class='ic003'> -<p><span class='sc'>Plate XV</span></p> -</div> -</div> -<div class='pbb'> - <hr class='pb c000' /> -</div> - -<p class='c015'><span class='pageno' id='Page_59'>59</span><a href='#P15'>15</a>. Four letter S scrolls forming sides and base, basket -of fruit on stippled ground.</p> - -<p class='c018'>A—Opalescent slightly opaque stippled -ground.</p> - -<p class='c015'><a href='#P15'>16.</a> Two letter S scrolls forming ends and feet, horns -of plenty with two stars above, lyre on -stippled ground of side, two inverted -horns of plenty below.</p> - -<p class='c015'><a href='#P15'>17.</a> Oval salt deeply scalloped edges, four horns of -plenty on stippled ground, star bottom, -early period, very delicate.</p> - -<p class='c018'>A—Same opalescent—rare.</p> - -<p class='c018'>B—Same purple—very rare.</p> - -<p class='c015'><a href='#P15'>18.</a> Circular on collar base, four medallions in stippled -ground, four mold piece, antimony -tint.</p> - -<p class='c015'><a href='#P15'>19.</a> Six sided gothic with deep points, stars in points—later -mold but very lacy.</p> - -<p class='c015'><a href='#P15'>20.</a> Simulated carriage on four wheels, stippled, scrolled -ends, star and diamond on side.</p> - -<p class='c015'><a href='#P15'>21.</a> Deeply cut out top and scroll foot beautiful rope -and panels at end, unusual bottom.</p> - -<p class='c015'><a href='#P15'>22.</a> Typical early period—oblong—molded foot and -medallion and diamond top.</p> - -<p class='c018'>A—Same in transparent jade—green -very rare.</p> - -<p class='c015'><span class='pageno' id='Page_60'>60</span><a href='#P15'>23.</a> Oblong, eight sided, hearts at corners—round applied -foot.</p> - -<p class='c018'>A—Same, sides unstippled and without -feet.</p> - -<p class='c015'><a href='#P15'>24.</a> Very early heavily scrolled, wavy top and ornamental -base, four prominent oak leaf -scrolls.</p> - -<p class='c018'>A—Same in deep amber very rare. The -dark amber in American glass was at -this early period a “mistake” in manufacture. -It was caused by a piece of -paper getting into the mould which in -contact with hot glass charred at once -giving a beautiful amber color.</p> - -<p class='c015'><a href='#P15'>25.</a> Basket of fruit on sides with scrolled ends terminating -in leaves, two rosettes on side, -leaves and drilled scrolls on feet—bottom -with 11 crossed bars—a very popular -design at the works—first period—</p> - -<p class='c018'>A—Opalescent.</p> - -<p class='c018'>B—Green.</p> - -<p class='c018'>C—Blue.</p> - -<p class='c008'>To meet the demand this design was a frequent -repeat so that fine specimens in color and pairs are not -uncommon.</p> - -<p class='c015'><span class='pageno' id='Page_61'>61</span><a href='#P15'>26.</a> Diamond all-over design with deeply scalloped -edge with row of dots. Unusual base -with claw feet and scalloped apron. -This ground work has a pattern of N. -E. G. and is rare in this form of Sandwich.</p> -<div class='pbb'> - <hr class='pb c000' /> -</div> -<div id='P16' class='figcenter id003'> -<span class='pageno' id='Page_62'>62</span> -<a href='images/image064_lg.jpg'><img src='images/image064.jpg' alt='Plate XVI' class='ig001' /></a> -<div class='ic003'> -<p><span class='sc'>Plate XVI</span></p> -</div> -</div> -<div class='pbb'> - <hr class='pb c000' /> -</div> - -<p class='c015'><span class='pageno' id='Page_63'>63</span><a href='#P16'>27.</a> Sleigh shape, very shallow, grilled convex base, -rope ends, green tinge.</p> - -<p class='c015'>28. Same except sleigh on runners.</p> - -<div class='c014'>Not shown.</div> - -<p class='c015'><a href='#P16'>29.</a> Scrolled ends and feet, crown with feathers and -star on side, band of stippling below -crown.</p> - -<p class='c015'><a href='#P16'>30.</a> Petalled and looped clear glass on standard six -petals-period 1850. This must not be -confused with the heavy late salts in -this pattern.</p> - -<p class='c015'>31. Chicken salts period 1860. A tiny glass chicken -with ball in beak, the back hollowed -out to form the salt, receptacle white -glass.</p> - -<div class='c014'>Not shown.</div> - -<p class='c018'>A—Vaselene yellow.</p> - -<p class='c018'>B—Blue.</p> - -<p class='c018'>C—Clear white.</p> -<div class='pbb'> - <hr class='pb c000' /> -</div> -<div class='chapter'> - <h2 id='VA' class='c004'><i>VICTORIAN ANIMALS</i></h2> -</div> - -<p class='drop-capa0_2_0_7 c011'>For the West Mustard Company about 1870 the -Sandwich works made a number of designs consisting -of chickens and other animals on nests of -semi opaque white glass. Many of these had glass eyes -and the less common ones found to-day are in colors, a -<span class='pageno' id='Page_64'>64</span>remarkable blue predominating. These were filled with -their products, labeled with a red and orange label and -sold to the public destined later to become useful receptacles. -Many collectors of these objects confuse the -marbled glass which comes in mauve and white and ocre -and white in many designs similar to the above with the -Sandwich of this late period. This marbled glass in -Whieldon effects was made at Phoenixville, Pa., and -may be put in the same class as the advertising of the -West Mustard Co. During this last period of the Sandwich -Glass Works their products became cheapened to -meet the demand of commercial advertising and an endless -number of cheap glass premiums were sent out -to all parts of the country in the era just preceding the -soap wrapper and the patent medicine man.</p> - -<p class='c008'>An interesting bit of information in regard to the -opalescent edges often found on pieces of Victorian glass -is that this opalescence was produced by re-heating the -edges to a dull red heat after it was molded.</p> - -<p class='c008'>The pattern for the opaque glass chickens was inspired -by the early Staffordshire hens. This has led -many to believe that the former were made in England -but they are decidedly a late Sandwich product made -of the same composition as many of the lamps and candlesticks. -The author has found nests bearing the original -orange and red labels of the West Mustard Company.</p> - - <ul class='ul_1'> - <li><span class='pageno' id='Page_65'>65</span><a href='#P16'>1.</a> Opaque white chickens large and small. - </li> - <li class='c019'>2. Opaque all blue chickens large and small. - </li> - <li class='c019'>3. Opaque blue and white roosters. - </li> - <li class='c019'>4. Pair opaque dark purple chickens. - </li> - <li class='c019'><a href='#P16'>5.</a> Opaque white owl quite opalescent at edges. - </li> - <li class='c019'>6. Opaque blue and white cats. - </li> - <li class='c019'><a href='#P16'>7.</a> Opaque blue and white dogs. - </li> - <li class='c019'>8. Opaque white squirrel. - </li> - <li class='c019'><a href='#P16'>9.</a> Opaque white rabbit. - </li> - <li class='c019'>10. Opaque white duck. - </li> - <li class='c019'><a href='#P16'>11.</a> Baskets in blue and white. - </li> - <li class='c019'>12. Chickens in clear white, transparent blue and amber glass—rare. - </li> - </ul> - -<p class='c020'>In this group are steamboats, sleighs, Uncle Sam, -and various political objects, all of which are uninteresting -and not worthy of collection. Little glass bears were -made for a concern promoting bear ointment. Heads of -these jars have been dug up at the Sandwich works. -Complete ones are hard to find.</p> -<div class='pbb'> - <hr class='pb c000' /> -</div> - -<div class='chapter'> - <span class='pageno' id='Page_66'>66</span> - <h2 id='CS' class='c004'>CANDLESTICKS <br /> <i>HOW TO TELL OLD STICKS FROM NEW</i></h2> -</div> - -<p class='c007'>1. Genuine old glass candlesticks were always molded -in two sections and fused together. This fusing section -varies from one-sixteenth to one-quarter inch in thickness -and is irregular on different sides of the same stick. -This is an absolute test and never fails.</p> - -<p class='c008'>2. If you will examine the mold seams along the side of -the stick you will find that where the sections are joined -the perpendicular line is not continuous. The seam -may be in line on one side but turn the stick and you -will find the rule holds good. This is because in fusing -the parts by hand they were slightly rotated and it was -impossible to keep the mold seams in a straight line. -Also the old hand carved molds varied slightly in size so -that no two tops and bottoms were exactly alike. The -modern glass candlestick is molded in one section -released from machine made molds and the side line -is continuous from top to bottom. This test should be -applied to all the colored glass sticks of the hollow base -type that are appearing. The earlier sticks with scarred -bases have not been imitated except in shapes never -found in old glass. Reproductions of blown glass will -be taken up by the author in another book.</p> - -<p class='c008'>3. The collector of American glassware finds a very -handsome type of candlestick with blown bobèche top -and molded base. It is safe to say that these tops were -<span class='pageno' id='Page_67'>67</span>imported from England for use at the Sandwich works. -They are only found on the most expensive sticks of the -period, and are identical with English candlesticks of -the same time, except for the typical Sandwich pedestal -and base, fused to the blown bobèche. We know that -elaborate lamp bowls were imported and combined with -Sandwich glass bases and later joined with brass standards -to marble bases, thus it is safe to assume that many -of the elaborate candlesticks are in part of similar origin.</p> -<div class='pbb'> - <hr class='pb c000' /> -</div> -<div id='P17' class='figcenter id003'> -<span class='pageno' id='Page_68'>68</span> -<a href='images/image070_lg.jpg'><img src='images/image070.jpg' alt='Plate XVII' class='ig001' /></a> -<div class='ic003'> -<p><span class='sc'>Plate XVII</span></p> -</div> -</div> -<div class='pbb'> - <hr class='pb c000' /> -</div> - -<div class='chapter'> - <span class='pageno' id='Page_69'>69</span> - <h2 class='c004'><i>CANDLESTICKS</i></h2> -</div> - -<p class='c007'><a href='#P17'>1.</a> Period 1830. Petal top, loop base, scarred bottom, -earliest type.</p> - - <ul class='ul_2'> - <li>Clear White - </li> - <li>Opaque White - </li> - <li>Pale Lavender - </li> - <li>Combination Blue and White - </li> - <li>Purple - </li> - <li>Blue - </li> - <li>Green - </li> - <li>Vaselene Yellow - </li> - <li>Peacock - </li> - <li>Opalescent - </li> - <li>Dark Amber—very rare - </li> - </ul> - -<p class='c021'>A. Plain top looped base.</p> - -<p class='c021'>B. Petal top, plain hollow, six sided molded base, -period 1850.</p> - -<p class='c021'>C. Petal top, round base.</p> - -<p class='c008'>2. Plain top and base varying heights, and colors. This -is the commonest type and one that must be most carefully -examined by collectors as being most liable to reproduction.</p> - -<p class='c008'><a href='#P17'>3.</a> Colonial Column, generally found in opalescent -glass, period 1859.</p> - -<p class='c021'>A. Opaque two color sticks, blue and white, jade -green and white.</p> - -<p class='c008'><a href='#P17'>4.</a> Blown bobèche top, fused to early pontilled base in -steps.</p> - -<p class='c021'>A. Various later bases and tops cut and etched.</p> - -<p class='c021'>B. Opaque white glass sticks.</p> - -<p class='c008'>Vases were made in many colors of glass at the -Sandwich works with bases corresponding to the whale -oil lamps. The output was not large as the demand -for ornaments at this time was not as great as for practical -commodities. See illustration in upper right hand -corner.</p> -<div class='pbb'> - <hr class='pb c000' /> -</div> -<div id='P18' class='figcenter id003'> -<span class='pageno' id='Page_70'>70</span> -<a href='images/image072_lg.jpg'><img src='images/image072.jpg' alt='Plate XVIII' class='ig001' /></a> -<div class='ic003'> -<p><span class='sc'>Plate XVIII</span></p> -</div> -</div> -<div class='pbb'> - <hr class='pb c000' /> -</div> - -<div class='chapter'> - <span class='pageno' id='Page_71'>71</span> - <h2 id='DOLPH' class='c004'><i>THE DOLPHIN GROUP</i></h2> -</div> - -<p class='c007'>The Dolphin Candlesticks are found in seven distinct -types. The single base usually has two scars near -the hollow base of the Dolphin showing the earliest form -of ejection from the mold, a kind of modified pontil. -The single base Dolphins while not as delicate in modelling -and design are decidedly earlier and much rarer -than the double base. The head of the Dolphin is -hollow for a greater distance than in the double base -sticks showing that these earlier forms were blown into -the molds before the stamp machine was in common use. -There is also a sunken bobash of glass not found in the -double base types.</p> - -<p class='c008'>Type 6 and 7 is mentioned by the author with reluctance -as it is of Victorian origin. The little pentagonal -base stick type 5 is dainty and well molded but the bell -shaped Dolphin is ornate and of less value to collectors. -The dishes on Dolphin standards with opalescent edges -are of this period also and mentioned only to make this -work complete.</p> - -<p class='c008'>Type <a href='#P18'>1.</a> single base 1840</p> - - <ul class='ul_3'> - <li>a. Clear white. - </li> - <li>b. Vaselene yellow slightly cloudy—rare. - </li> - <li>c. Opalescent. - </li> - </ul> - -<p class='c008'><span class='pageno' id='Page_72'>72</span>Type <a href='#P18'>2.</a> single base embossed 1845</p> - - <ul class='ul_3'> - <li>a. Clear white ornamented with small Dolphins and shells in relief. - </li> - </ul> - -<p class='c008'>Type <a href='#P18'>3.</a> double base 1850</p> - - <ul class='ul_3'> - <li>a. Clear White. - </li> - <li>b. Opalescent white. - </li> - <li>c. Opalescent blue top opalescent white Dolphin base. - </li> - <li>d. Clear blue. - </li> - <li>e. Clear green very rare. - </li> - <li>f. Clear purple very rare. - </li> - <li>g. Vaselene yellow. - </li> - <li>h. Opaque blue. - </li> - </ul> - -<p class='c008'>Type <a href='#P18'>4.</a> round base 1859</p> - - <ul class='ul_3'> - <li>a. Clear white. - </li> - <li>b. Clear white with heart in tail of Dolphin. - </li> - </ul> - -<p class='c008'>Type <a href='#P18'>5.</a> Pentagon base small stick.</p> - - <ul class='ul_3'> - <li>a. White. - </li> - <li>b. Yellow. - </li> - <li>c. Blue. - </li> - </ul> - -<p class='c008'><span class='pageno' id='Page_73'>73</span>Type <a href='#P18'>6.</a> Bell shaped base small Dolphin ornamented with shells. 1860</p> - - <ul class='ul_3'> - <li>a. Clear white with opalescent top. - </li> - <li>b. Blue green with opalescent top. - </li> - <li>c. Vaselene yellow with opalescent top. - </li> - </ul> - -<p class='c008'>Type <a href='#P18'>7.</a> Milk white opaque glass measurement -eight inch small Dolphin on round base -with 16 scallops. 1875</p> - -<p class='c008'>Illustration <a href='#P17'>8</a> page 68 is a very remarkable clear -white Dolphin dish on standard. It measures 9 by 10½ -inches. There is a full size Dolphin, early type, with -hollow head supporting a balanced shell. The piece is -unique.</p> - -<p class='c008'>Illustration No. <a href='#P18'>9</a> page 70 is so far as the author -knows, the only lamp which has been found with a single -Dolphin base. It is of clear white glass and is a beautiful -piece.</p> - -<p class='c008'>A—Lamp supported by three Dolphins—late.</p> - -<p class='c008'>Illustration <a href='#P17'>10</a> page 68 is one of the later Dolphin -dishes referred to at the head of this group.</p> -<div class='pbb'> - <hr class='pb c000' /> -</div> -<div id='P19' class='figcenter id003'> -<span class='pageno' id='Page_74'>74</span> -<a href='images/image076_lg.jpg'><img src='images/image076.jpg' alt='Plate XIX' class='ig001' /></a> -<div class='ic003'> -<p><span class='sc'>Plate XIX</span></p> -</div> -</div> -<div class='pbb'> - <hr class='pb c000' /> -</div> - -<div class='chapter'> - <span class='pageno' id='Page_75'>75</span> - <h2 id='OIL' class='c004'><i>WHALE OIL LAMPS</i> <br /> Period of 1850</h2> -</div> - -<p class='drop-capa0_2_0_7 c011'>A burner was invented consisting of two tin tubes -soldered to a brass or pewter screw cap. This -took the place of the single tube of the earlier -lamps and gave a double flame. It was adaptable to use -in lamps of ornamental glass and the enterprising Sandwich -factory at once started the manufacture of pressed -glass lamps to meet the demand.</p> - -<p class='c008'>The earliest type was in clear glass. Later more -elaborate and costly forms were introduced and a blown -receptacle for the oil fused to a molded base often had -a beautiful blown center section. The patterns in these -old lamps are endless. Etched and cut tops were imported -and fused to Sandwich bases at the factory. -The Victorian era brought in a demand for two color -combinations and opaque glass lamps. We stop at the -introduction of marble bases as they are very much later -and the bowls for many of these lamps were foreign. -No attempt has been made to illustrate all specimens, a -few of the more decorative being chosen. With the -early lamps no shade was used and the flickering flame -of the spirit tubes gave little better light than candles -but it saved the housewife the endless dipping and molding. -The wick had to be constantly picked through the -small opening at the side of the burner as it burned -down. The fluid used was camphine. This is proof alone -that no shade was used. The glass shades came into use -<span class='pageno' id='Page_76'>76</span>with the “boudoir burner” which took a flat wick through -a round opening patented by E. M. & Company in 1865. -At this time people fitted the earlier lamp with these -burners and substituted a new fluid for the earlier whale -oil and camphine. We illustrate a very rare lamp of -clear white glass with Dolphin standard in the Dolphin -group.</p> - -<p class='c015'>Type <a href='#P19'>1.</a> New England Glass Works, blown top, -molded four sided base column at end, baskets -of fruit on each side, lions’ heads at -corners, a very early and rare lamp.</p> - -<p class='c015'>Type <a href='#P19'>2.</a> Fluted overlaid molded howl, four sided -base with two steps with fluted Colonial -Column joining base and bowl. -Colors similar to Type 6.</p> - -<p class='c015'>Type <a href='#P19'>3.</a> Shows a lamp of rare design. The quality -of the glass in the fragile scrolled base with -lion’s claw feet is very early, and the frosted -blown bowl of great delicacy. Lamps -are seldom found of this type which closely -resembles the flatware of the first period.</p> - -<p class='c015'>Type <a href='#P19'>4.</a> Was a costlier product. It was fused in -three parts and included a bulbous blown -center section and cutting was often introduced -on the bowl.</p> - -<p class='c015'><span class='pageno' id='Page_77'>77</span>Type <a href='#P19'>5.</a> The most popular inexpensive lamp of the -period was a molded lamp in various designs, -clear glass hearts, lyres, diamonds, -bulls eye, and hob nail patterns appealing -to the public. The molds were heavily -grouved and fine stippling was avoided because -this caused greater tendency to -breakage which was undesirable in anything -containing inflammable material.</p> - -<p class='c015'>Type <a href='#P19'>6.</a> Fluted over laid molded bowl, six sided -base, clear white.</p> - - <ul class='ul_3'> - <li>a. Blue. - </li> - <li class='c019'>b. Green. - </li> - <li class='c019'>c. Purple. - </li> - <li class='c019'>d. Vaselene. - </li> - <li class='c019'>e. Opalescent white. - </li> - <li class='c019'>f. Opalescent blue top, white base. - </li> - <li class='c019'>g. Opalescent jade green top, white base. - </li> - <li class='c019'>h. All jade green, very rare. - </li> - <li class='c019'>i. Opalescent white top, blue base. - </li> - </ul> - -<div class='pbb'> - <hr class='pb c000' /> -</div> -<div id='P20' class='figcenter id003'> -<span class='pageno' id='Page_78'>78</span> -<a href='images/image080_lg.jpg'><img src='images/image080.jpg' alt='Plate XX' class='ig001' /></a> -<div class='ic003'> -<p><span class='sc'>Plate XX</span></p> -</div> -</div> -<div class='pbb'> - <hr class='pb c000' /> -</div> - -<div class='chapter'> - <span class='pageno' id='Page_79'>79</span> - <h2 id='FW' class='c004'><i>FLAT WARE OF THE EARLY PERIOD</i> <br /> 1835-1849</h2> -</div> - -<p class='drop-capa0_2_0_7 c011'>The author believes there were made during the first -period many large dishes for table use to match the -cup plates. These are necessarily rare as such objects -were more expensive and more liable to breakage. -To illustrate we have given specimens the additional designation -of C when there is a cup plate of corresponding -design and have affixed the measurements. The following -dishes are rare and have in every instance been -collected by the author from their original sources.</p> - -<p class='c015'><a href='#P20'>1.</a> <a id='WASH6'></a>Washington, 6 inch plate—C—inscription. -“George Washington” spelled backwards.</p> - -<p class='c013'>A. Same without head medallion center—See -No. 13.</p> - -<p class='c015'><a href='#P20'>2.</a> Heart border plate, N. E. G., 7 inch—C.</p> - -<p class='c013'>A. Compote on stand.</p> -<div class='c014'>Not illustrated.</div> - -<p class='c015'><a href='#P20'>3.</a> Oblong dish with large lyres in four comers 9 -inches—C.</p> - -<p class='c015'><a href='#P20'>4.</a> Heart border, deep dish, N. E. G., 7½ inches—C.</p> - -<p class='c015'><a href='#P20'>5.</a> Octagon dish, large American eagle and 13 stars -in center—6 inch—rare—C.</p> - -<p class='c013'>A. 8 inch dish same—rare.</p> - -<div class='pbb'> - <hr class='pb c000' /> -</div> -<div id='P21' class='figcenter id003'> -<span class='pageno' id='Page_80'>80</span> -<a href='images/image082_lg.jpg'><img src='images/image082.jpg' alt='Plate XXI' class='ig001' /></a> -<div class='ic003'> -<p><span class='sc'>Plate XXI</span></p> -</div> -</div> -<div class='pbb'> - <hr class='pb c000' /> -</div> - -<p class='c015'><span class='pageno' id='Page_81'>81</span><a href='#P21'>6.</a> Octagon dish, 9 inch, bee hives in conventional -center design with bees, often called “strawberry -pattern” but upon examination the bees -and bee hives are very distinct. This plate, 10 -inch, was very popular and since the furor -for collecting pressed glass numbers have come -to light. It represents very beautiful designing -and was in all likelihood sold as a cake plate. -There are four large stars with four thistles -around the bee hives in the center design.</p> - -<p class='c015'><a href='#P21'>7.</a> Octagon dish, 7 inch, C, with the ship “Constitution” -in the center and the word “Union” below, -typifying a union sentiment against the -junking of “old ironsides.” One of the rarest -pieces of early Sandwich glass in existence.</p> - -<p class='c015'><a href='#P21'>8.</a> Octagon Dish, 7 inch, C, Pennsylvania Steamboat -in center. Companion piece to No. 7, very rare.</p> - -<p class='c008'>All the above large dishes match cup plates and -must have been made for the most fastidious housewives -of the period with that particular object in view.</p> - -<p class='c015'><a href='#P21'>9.</a> Round plate, 8 inch, peacock feather border, -three thistles and beautifully feathered scrolls -in center.</p> - -<p class='c015'><a href='#P21'>10.</a> Round deep dish, 8 inch, border of scrolls and -twelve thistles. Center twenty rope circles with -six pointed flowers two thistles on back ground -and fine stippling.</p> - -<div class='pbb'> - <hr class='pb c000' /> -</div> -<div id='P22' class='figcenter id003'> -<span class='pageno' id='Page_82'>82</span> -<a href='images/image084_lg.jpg'><img src='images/image084.jpg' alt='Plate XXII' class='ig001' /></a> -<div class='ic003'> -<p><span class='sc'>Plate XXII</span></p> -</div> -</div> -<div class='pbb'> - <hr class='pb c000' /> -</div> - -<p class='c015'><span class='pageno' id='Page_83'>83</span><a href='#P22'>11.</a> Compote on standard with waterfall base—7½ -inch, very rare. A. Top view of same piece.</p> - -<p class='c015'><a href='#P22'>12.</a> Deep dish, oval, grouved corners, 6 x 8, very rare. -All-over design of great delicacy. I consider -this dish, which is one of a pair, made for a -special order in 1839, one of the finest specimens -ever produced in Sandwich glass. The detail -of design is marvelous and the shape necessitated -an eight grouved mold.</p> - -<p class='c015'><a href='#P22'>13</a>, <a href='#P22'>14C</a>, <a href='#P22'>15</a>, <a href='#P22'>16C</a> are 6 inch plates two of which have cup -plates to match.</p> - -<div class='pbb'> - <hr class='pb c000' /> -</div> -<div id='P23' class='figcenter id003'> -<span class='pageno' id='Page_84'>84</span> -<a href='images/image086_lg.jpg'><img src='images/image086.jpg' alt='Plate XXIII' class='ig001' /></a> -<div class='ic003'> -<p><span class='sc'>Plate XXIII</span></p> -</div> -</div> -<div class='pbb'> - <hr class='pb c000' /> -</div> - -<p class='c015'><span class='pageno' id='Page_85'>85</span><a href='#P23'>17</a>, <a href='#P23'>18</a>, <a href='#P23'>19</a>, <a href='#P23'>20</a> are 6½ inch deep dishes. 20 being the -sun flower design familiar in cup plates.</p> - -<p class='c015'><a href='#P23'>21</a>, <a href='#P23'>22</a> are tray shaped dishes of great brilliancy.</p> - -<div class='pbb'> - <hr class='pb c000' /> -</div> -<div id='P24' class='figcenter id003'> -<span class='pageno' id='Page_86'>86</span> -<a href='images/image088_lg.jpg'><img src='images/image088.jpg' alt='Plate XXIV' class='ig001' /></a> -<div class='ic003'> -<p><span class='sc'>Plate XXIV</span></p> -</div> -</div> -<div class='pbb'> - <hr class='pb c000' /> -</div> - -<p class='c015'><span class='pageno' id='Page_87'>87</span><a href='#P24'>23</a>, <a href='#P24'>24</a>, <a href='#P24'>25</a>, <a href='#P24'>26</a> are sauce dishes, period 1839.</p> - -<p class='c015'><a href='#P24'>27.</a> Harp and grape center and <a href='#P24'>28</a>, grape border, conventional -center, are Toddy glass plates mentioned -as a type of large cup plate and very -much sought after by collectors.</p> - -<p class='c013'>A. The grape eagle, blue, in this size is very -rare.</p> - -<div class='pbb'> - <hr class='pb c000' /> -</div> -<div id='P25' class='figcenter id003'> -<span class='pageno' id='Page_88'>88</span> -<a href='images/image090_lg.jpg'><img src='images/image090.jpg' alt='Plate XXV' class='ig001' /></a> -<div class='ic003'> -<p><span class='sc'>Plate XXV</span></p> -</div> -</div> -<div class='pbb'> - <hr class='pb c000' /> -</div> - -<p class='c015'><span class='pageno' id='Page_89'>89</span><a href='#P25'>29.</a> Presentation piece, Crown above, three feathers -and motto—“Ich Dien.”—This is the badge on -the Coat of Arms of the Prince of Wales and -was made at the time of the visit of the late Edward -VII to the U. S. in 1860.</p> - -<p class='c015'><a href='#P25'>30.</a> Presentation piece, Gladstone, “For the Million” -Imitation of English pressing. Made for the -Canadian market.</p> - -<p class='c015'><a href='#P25'>31.</a> Early Sandwich creamer rare.</p> - - <ul class='ul_4'> - <li>A. Opalescent. - </li> - </ul> - -<p class='c015'><a href='#P25'>32.</a> Covered sweet meat jar or sugar bowl, eight -sided. Gothic treatment.</p> - - <ul class='ul_4'> - <li>A. Blue. - </li> - <li>B. Purple. - </li> - <li>C. Opalescent. - </li> - </ul> - -<p class='c015'><a href='#P25'>33.</a> Eight sided Jam dish, 5 inch, rose and thistle -clear inset in corners. Rose and thistle in panels -of border and is beautifully carried out in -the center.</p> - -<p class='c015'><a href='#P25'>34.</a> Jam dish, 4½ inch, deeply fluted.</p> - -<p class='c008'><span class='pageno' id='Page_90'>90</span>A great number of 4 inch plates were made and -these are becoming very popular with collectors. These -may have been “toddy plates” a large cup plate made for -use with flips as many in the author’s collection bear -signs of frictional wear.</p> - -<p class='c008'>Small slightly concave dishes resembling cup plates -were made for “best jam” or honey. The patterns in -these dishes were not in the finest designs. They were -too small to be popular and larger sauce dishes were -first made at the works about 1839. The covered sweet -meat jars later used for sugar were rare (see illustration) -and a really early Sandwich cream pitcher is the delight -of the collector.</p> - -<p class='c008'>Sugar bowls and creamers were made in clear white, -blue, opalescent, and purple glass. Not many of the -colored ones have survived hard usage and the white -many sided bowls with covers are getting very difficult -to find.</p> - -<p class='c008'>Little toy pieces were made at the works in the -early period such as covered tureens, tiny plates and platters, -dolls’ cream pitchers, etc. These are not illustrated -as the detail is too fine to be of value.</p> - -<div class='pbb'> - <hr class='pb c000' /> -</div> -<div id='P26' class='figcenter id003'> -<span class='pageno' id='Page_92'>92</span> -<a href='images/image094_lg.jpg'><img src='images/image094.jpg' alt='Plate XXVI' class='ig001' /></a> -<div class='ic003'> -<p><span class='sc'>Plate XXVI</span></p> -</div> -</div> -<div class='pbb'> - <hr class='pb c000' /> -</div> - -<div class='chapter'> - <span class='pageno' id='Page_93'>93</span> - <h2 id='PETAL' class='c004'><i>“PETALLED AND LOOPED” PATTERN CLEAR WHITE SANDWICH GLASS PERIOD 1830</i></h2> -</div> - -<p class='c007'>The author has a <a href='#P26'>collection</a> of nearly thirty pieces -in this design, many of the pieces being pontil marked. -This pattern matched the candle sticks of type 1.</p> - -<p class='c008'>Some few pieces have been found in this pattern in -vaselene yellow and purple. The secret of yellow -glass was conveyed to the Sandwich factory by a workman -from Bristol, England. The process was too costly -to admit of the manufacture of many pieces in this -color. Some lovely scent bottles were made, lamps, -vases and candle sticks and the author has a pair of rare -salts on standards. We refer of course to the earlier -pieces as Victorian yellow glass is found in abundance.</p> -<div class='pbb'> - <hr class='pb c000' /> -</div> - -<div class='chapter'> - <span class='pageno' id='Page_94'>94</span> - <h2 id='PP' class='c004'><i>PRESENTATION PIECES</i></h2> -</div> - -<p class='c007'>For special occasions the Sandwich works got out -dishes to be presented as souvenirs. These show special -designing and are exceedingly rare. We illustrate a -<a href='#P25'>piece</a> issued for the Prince of Wales’ visit to America. -Also a <a href='#P25'>piece</a> known to have been made at Sandwich in -simulated English design with words “Gladstone” and -“For The Million,” thistle center.</p> - -<p class='c008'>The “Victoria” plate, 7 inch, shows the head of the -young Queen—in size like George Washington’s head in -the Washington cup plate—with “Victoria” above and -with a beautifully stippled lace border of the early period. -An exquisite and rare plate.</p> - -<div class='c017'>Not illustrated.</div> - -<p class='c008'>No mention is made in this volume of the endless -President Garfield, railroad trains, puss in boots, and -Venus designs whose name is Legion and without whose -presence the cabinet of the true collector will not suffer, -such pieces looking entirely out of place on the shelves -with early Sandwich.</p> - -<p class='c008'>As personalities are painful to the collector I have -tried to refrain from them in this volume, trusting that -those who have something to add or subtract from my -text will do so in a kindly spirit. We as Americans are -too prone to make our collections general. We seek -quantity rather than quality and the author is a believer -in elimination. <a id='DONT'></a>The following are a few suggestions for -the amateur collector:</p> - -<p class='c008'><span class='pageno' id='Page_95'>95</span>1. Don’t think you have the best collection until -you have seen others.</p> - -<p class='c008'>2. Don’t think that money can buy the best specimens, -courtesy and patience can buy better.</p> - -<p class='c008'>3. In collecting old glass he who “hesitates” has -lost it to his neighbor.</p> - -<p class='c008'>4. Don’t believe all you hear—investigate.</p> - -<p class='c008'>5. Don’t collect EARLY “WOOLWORTH.”</p> - -<p class='c008'>6. Don’t let envy keep you from enjoying and -studying another’s collection.</p> - -<p class='c008'>7. Don’t tell everybody what you are looking for, -a rival collector is born every minute.</p> - -<p class='c008'>8. Don’t seek numbers of specimens, seek fine -workmanship.</p> - -<p class='c008'>9. Don’t call everything that you cannot classify -Canadian, English, or Spanish. Comparison of specimens -and time will change your opinion.</p> - -<p class='c008'>10. Don’t quote prices for by so doing the market -is ruined for both dealer and collector. The value is according -to what you pay and to-morrow you may obtain -the same piece for more or less.</p> - -<p class='c008'><span class='pageno' id='Page_96'>96</span>11. Don’t keep your glass in a dark cup-board -done up in paper. Let others enjoy the fruits of your -labor.</p> - -<p class='c008'>12. Considering that everyone’s taste is not alike -“an unfair exchange is no robbery.”</p> - -<p class='c008'>13. Don’t say a thing is “very rare” or “very common” -remembering that what is rare in Pennsylvania -may be common in Massachusetts. Most antiques depend -upon locality for their rarity and your opinion may -be very local.</p> - -<p class='c008'>14. Don’t subject old glass to very hot or very cold -water in washing. Early Sandwich is subject to atmospheric -conditions. Sudden changes of heat and cold -will cause cracks.</p> - -<p class='c008'>15. Last and not least, don’t “hoard”; give the -other collector a chance. By exchange and sale of specimens -you will improve your own collection and if you -help some one else to get what he wants it will come back -to you ten fold in unexpected moments. An old house, -old glass and old friends is a combination worth living -for.</p> - -<div class='nf-center-c0'> -<div class='nf-center c002'> - <div><i>The End.</i></div> - </div> -</div> - -<div class='pbb'> - <hr class='pb c000' /> -</div> - -<div class='chapter'> - <span class='pageno' id='Page_97'>97</span> - <h2 class='c004'>COLLECTOR’S DATA</h2> -</div> -<div class='pbb'> - <hr class='pb c003' /> -</div> - -<div class='chapter'> - <span class='pageno' id='Page_101'>101</span> - <h2 class='c004'>INDEX.</h2> -</div> - -<p class='c022'><i>Page</i></p> -<ul class='index'> - <li class='c023'><a href='#BUNK'>Bunker Hill group</a>, 22-24-25</li> - <li class='c023'><a href='#CS'>Candlesticks</a>, 66 to 69</li> - <li class='c023'><a href='#CLRCP'>Colored cup plates</a>, 51</li> - <li class='c023'><a href='#COMP'>Composition</a>, 14</li> - <li class='c023'><a href='#CNVCP'>Conventional cup plates</a>, 42 to 51</li> - <li class='c023'><a href='#CP'>Cup plates</a>, 18 to 51</li> - <li class='c023'><a href='#DOLPH'>Dolphin group</a>, 68-70 to 73</li> - <li class='c023'><a href='#DONT'>Don’ts</a>, 95-96</li> - <li class='c023'><a href='#EAGLE'>Eagle group</a>, 20 to 22</li> - <li class='c023'><a href='#FW'>Flat ware</a>, 78 to 90</li> - <li class='c023'><a href='#FLOR'>Floral group</a>, 40-41</li> - <li class='c023'><a href='#HARR'>Harrison group</a>, 30-34-35</li> - <li class='c023'><a href='#HEART'>Heart series</a>, 42 to 49</li> - <li class='c023'><a href='#CLAY'>Henry Clay group</a>, 28-30-31</li> - <li class='c023'><a href='#HIST'>History</a>, 7 to 10</li> - <li class='c023'><a href='#LOGC'>Log Cabin group</a>, 34 to 36</li> - <li class='c023'><a href='#MISC'>Miscellaneous cup plates</a>, 38 to 41</li> - <li class='c023'><span class='pageno' id='Page_102'>102</span><a href='#MOLD'>Molds</a>, 12-13</li> - <li class='c023'><a href='#NOTE'>Notes for Collectors</a>, 15 to 17</li> - <li class='c023'><a href='#PETAL'>Petalled and Looped glass</a>, 92-93</li> - <li class='c023'><a href='#PREF'>Preface</a>, 5</li> - <li class='c023'><a href='#PP'>Presentation pieces</a>, 88-89-94</li> - <li class='c023'><a href='#PG'>Pressed glass</a>, 11</li> - <li class='c023'><a href='#RING'>Ringgold</a>, 30-32</li> - <li class='c023'><a href='#GS'>Salts</a>, 53 to 63</li> - <li class='c023'><a href='#SHIP'>Ship group</a>, 24 to 29</li> - <li class='c023'><a href='#VA'>Victorian animals</a>, 62 to 65</li> - <li class='c023'><a href='#WASHCP'>Washington cup plate</a>, 30-32</li> - <li class='c023'><a href='#WASH6'>Washington six-inch plate</a>, 78-79</li> - <li class='c023'><a href='#OIL'>Whale oil lamps</a>, 74 to 77</li> -</ul> - - - - - - - - -<pre> - - - - - -End of Project Gutenberg's Sandwich Glass, by Lenore Wheeler Williams - -*** END OF THIS PROJECT GUTENBERG EBOOK SANDWICH GLASS *** - -***** This file should be named 52184-h.htm or 52184-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/2/1/8/52184/ - -Produced by Juliet Sutherland, ellinora and the Online -Distributed Proofreading Team at http://www.pgdp.net - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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