NetworK ezine Issue 119. March 2025
Totally Devoted to Carnival Glass
Welcome to Part Two of this Special Edition of NetworK.
The Annual Glass Exhibit at Pittsburgh, 1910
The focus in Part Two of our Special Edition of NetworK is Carnival Glass made in 1910, with a close look at what was exhibited and promoted at the “Glass Exhibit” at Pittsburgh.
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Just a few years earlier, in 1906, the glass exhibits had been described as not showing “any very radical changes in styles” and with plain patterns and “very little colored glass”. To emphasise this, the “Crockery and Glass Journal” of January 1906 published this “put-down” editorial piece: “there are those who can see no beauty except in vivid colors. Gaudy, bright, glittering effects appeal to the instincts of certain people, and it is for this class that manufacturers produce hideous things. Fortunately, the world is becoming better educated, and the demand for outre (shocking, vulgar) patterns is growing less year by year”. How wrong could they have been?! Into that established and arguably unexciting glass situation in 1906, vividly coloured and heavily patterned Carnival Glass would soon appear – and it would change the glass scene forever. The 1910 “Glass Exhibit” was almost certainly the first time that so much colourful Carnival, often in large and impressive shapes, had been seen at one venue. Some Carnival had been shown in 1909, but there was neither the quantity nor the visual impact that was exhibited in 1910. The “Crockery and Glass” journal described the previous lacklustre event in 1909 compared to 1910 in an evocative and telling way: “The frown of 1909 gave way to the smile in 1910”. It was a significant and notable time for Classic Carnival: production was high, demand was rising and crucially, all the major Carnival makers in the USA were creating their own iridescent glass. So, join us to take a close and personal look at a whole range of Carnival as it flourished and bloomed in that unique and exciting year of 1910. |
Northwood Grape and Cable master punch set, purple.
Courtesy Seeck Auctions. |
Part Two: Carnival Glass
Let’s visit the Carnival makers at their various Pittsburgh hotels where they had their displays for the “Glass Exhibit”, as well as the showrooms or (in the case of Imperial) their factory. We will add context and further insights through the promotional ads etc., seen in mail order catalogues and journals.
Let’s visit the Carnival makers at their various Pittsburgh hotels where they had their displays for the “Glass Exhibit”, as well as the showrooms or (in the case of Imperial) their factory. We will add context and further insights through the promotional ads etc., seen in mail order catalogues and journals.
Northwood at the Fort Pitt Hotel: “Iris” iridescent is a leading feature of the Northwood exhibit
Extract from “Crockery and Glass” journal, January 1910.
The journal reported that “Iris” iridescent was Northwood’s leading line, and of course, this was their Carnival Glass. Among the Northwood water sets, bonbons and vases that were on show, it’s likely that there would have been Butterfly bonbons (right) and Fine Rib vases (far right). Northwood called the marigold colour “Golden Iris”. The colour effect of marigold iridescence on green base glass as shown on the Fine Rib vase (which collectors now call "Alaskan"), was probably what was known in 1910 as "Pomona" - it is referenced in the text of the Frank Miller ad we show later. |
Butterfly bonbons, as shown, right in a beautiful marigold. Courtesy Seeck Auctions.
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Fine Rib vase in "Alaskan".
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Vases were also displayed prominently, and would have included Northwood's Tree Trunk pattern. Shown below are two Tree Trunk vases made from the same mould – the green one on the left has been only slightly swung to just under 6”, whereas the blue vase on the right was swung out to 10”. Note how clear the moulded pattern is on the short vase.
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Above : extract from King Manufacturing catalogue of premiums, c. 1909 or 1910.
The “free” vase is Northwood’s Tree Trunk. Courtesy Glass Paper Fanatics. Left: Northwood Tree Trunk vases in green (the shorter one) and blue. |
Northwood undoubtedly had their Grape and Cable pattern as a main attraction at the front and centre of their exhibit at the Fort Pitt Hotel. There would have been a variety of shapes, including all three sizes of punch set, as well as the fruit (orange bowl) and water set.
Above: a Northwood Grape and Cable orange bowl.
Courtesy Seeck Auctions. |
December 1909 newspaper ad for Northwood’s Grape and Cable master punch set.
See more on our website, link in the references below. |
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Some sources (and conventional wisdom) claim Northwood's Grape and Cable line was introduced in 1910 and debuted at the Pittsburgh “Glass Exhibit”. However, our research in 2016 proved that the line had actually hit the market in 1909, as seen in this 1909 Boston Store ad above. Just as the Pittsburgh show was finishing, in early February 1910, Northwood’s agent Frank Miller, ran a major ad in the “Pottery, Glass and Brass Salesman” journal featuring the Grape and Cable punch set. Also in the same month, in another journal (“Pottery and Glass”), the Grape and Cable punch bowl was promoted and described as available in three sizes: 10, 12 and 14 inches. Butler Brothers and other mail order catalogues such as Baltimore Bargain House, also pushed the large Grape and Cable punch set. There's no doubt that all three of these shapes were exhibited at the show, and that they were the fashionable thing to have in 1910. Right: an extract from “Pottery, Glass and Brass
Salesman” 1910. The text is extremely informative! |
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The ”Crockery and Glass” journal also noted that “water sets are in great variety” at Northwood’s exhibit – visitors and buyers would no doubt have seen Northwood’s Grape and Cable water set.
Above: a Northwood Grape and Cable water set in purple.
Northwood called these dark iridescent colours "Florentine". Image courtesy Seeck Auctions. |
Above: the King Manufacturing Co. catalogue, probably 1910 (possibly 1909) offered a range of Grape and Cable items, and here we see the water set. Courtesy Glass Paper Fanatics.
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Millersburg at the Fort Pitt Hotel: Iridescent specialties are leading features with Millersburg.
In the first week of the “Glass Exhibit” the “Crockery and Glass” journal began strongly promoting Millersburg’s Carnival, with many references writing in glowing terms of the beauty of their glass.
Extract from “Crockery and Glass” journal, January 1910.
It’s clear from the text describing the Millersburg display that there was a wide selection of Carnival on show – and in all sizes, large and small. Perhaps there would have been some small comports tucked in amongst the larger, showier items, such as this dainty Leaf and Little Flowers comport. Right: a Millersburg Leaf and Little Flowers comport in green, which stands just 3” high. |
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Below: the larger, showier items may well have included pieces like this amethyst tri-corner shaped Zig Zag bowl with an amazing tightly crimped (candy ribbon) edge that complements the wonderfully artistic effect.
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This report from early January 1910, describes Millersburg’s “Radium”, giving the reader the sense that it was different from any other iridised glass. The text refers to it being "the creation of J. W. Fenton" after “several years of costly experiments”.
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The January 1910 issue of “China, Glass and Lamps” had the following vivid description of Millersburg’s iridescent glass. The narrative is likely to have been referring to Millersburg’s Trout and Fly pattern (shown below, right) or possibly their Big Fish pattern. The eloquent description read: “Move the dish and the fish seems to move with it, each scale a flashing glimmering sky of rainbow hue. Never did a monster sport in tropical waters surrounded by greater beauty nor accompanied by prettier lights.”
Above: a green Strawberry Wreath 10” bowl with a radium iridescence. Courtesy Seeck Auctions.
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Above: a spectacular Trout and Fly bowl in lavender.
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There’s no doubt that John Fenton’s Millersburg Glass Co. was seen by the trade press as the attractive “new kid on the block” in early 1910. A search through the “Crockery and Glass” journal January to June 1910, reveals 43 mentions of Millersburg as opposed to just five mentions of Northwood (which was a well-established and familiar glass company at that time).
And then there was this …
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The “Crockery and Glass” journal reported that the Millersburg exhibit had some large and important looking vases, with “rich relief work” (i.e. a strong moulded pattern). The reported size of these vases is so important – the dimensions exactly match the Millersburg People’s Vase, which, according to our own research, was produced c. late 1909. |
Extract from “Crockery and Glass” journal, January 1910.
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It makes perfect sense that these vases would be a star attraction in the Millersburg exhibit, especially in view of their massive size and impact-making design. Our image picture below shows how the display might have looked back then.
Above: the iconic People’s Vase was almost certainly on show
at the 1910 Pittsburgh “Glass Exhibit”. |
Above: a People’s Vase in amethyst with a ruffled top.
Courtesy Seeck Auctions. |
Riding high on the success of glass sales and popularity at Pittsburgh, John Fenton immediately spent more money further promoting his Radium Carnival in the trade press. In February, mere days after the Pittsburgh “Glass Exhibit” closed, a full-page ad appeared in the “Crockery and Glass” journal, extolling Millersburg’s glass and specifically referring to the “Pittsburgh display”. One week later, again, the identical full-page ad appeared in the same glass journal, as well as some smaller ads.
February 1910 “Crockery and Glass” journal extract.
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February 1910 “The Pottery, Glass & Brass Salesman” journal extract.
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The editorials were glowing too, stating in February 1910 that “The new Radium glass of the Millersburg Glass Co., has made a decided “hit” with the trade and is being ordered even more liberally than the company anticipated – much to the gratification of its creator, J W Fenton. Harry F Webber (sales) started on the road immediately after the display at Pittsburgh was closed”.
The glowing reports continued into March: “Sales of Radium glass with the Millersburg Glass Co. are increasing in such a manner that the fondest hopes of general Manager John W Fenton have been exceeded. The sales department, which is in charge of H F Weber, has been kept unusually busy since the January exhibit in Pittsburgh, where the new line was first shown. The new Radium berry sets and nappies are proving to be among the most popular of the items in the new lines.”
Yet another full-page ad for Millersburg’s Radium appeared in February 1910, this time in “The Pottery, Glass & Brass Salesman” journal, underlining John Fenton’s desire to push his lines to the max. In this ad, shown above, right, their glass is likened to that of “the ancients” and is compared to “specimens of medieval glass under lock and key” in museums. Quite a claim perhaps, for mass-produced pressed glass, and yet the beauty of Carnival is undeniable.
But were things moving too quickly for Millersburg – and did John Fenton over-reach himself? The reception and sales for Millersburg’s Radium Carnival at the Fort Pitt Hotel in Pittsburgh were undoubtedly very positive and the “Crockery and Glass Journal” wrote in January that “everyone who has looked at the line has ordered”. In response it was announced that new lines would be added “at once” – yet John Fenton was already in debt to Hipkins Novelty Mould Company for previous work. In August 1909, just a couple of months after production at Millersburg had started, Hipkins had begun legal proceedings against Millersburg Glass Company and John Fenton, claiming that bills for moulds were unpaid. That problem was only going to get worse.
Note also the references to the price of their glass in both Millersburg ads shown above. Comparing prices (as seen in Butler Bros. – see References below for link to full article on Millersburg) we see that large bowls from Millersburg were being offered at 92 cents a dozen, compared to similarly large bowls from Fenton priced at $1.95. It begs the question as to whether Millersburg’s costings (in a desire to capture the market) were too low, adding to their financial woes.
Later in 1910, it was reported that large scale improvements and expansion were planned at Millersburg. Could it be that John Fenton’s response to the apparent popularity of their lines in early 1910 made him overinvest and overstretch the factory – going beyond their capabilities? The legal proceedings on behalf of Hipkins Mould Company were about to be heard in the Holmes County Court in January 1911. Debts were mounting, creditors were lining up. In April 1911, receivers were appointed, Millersburg was bankrupt. You can read all about the demise of the company on our website – link in the References.
Cambridge at the Fort Pitt Hotel: Four new lines of crystal tableware
Above: eExtract from “Crockery and Glass” journal, January 1910.
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There seems little doubt that although Cambridge had a magnificent display at the Fort Pitt, none of it was Carnival Glass. The company had produced various “Near-Cut” patterns, which were heavily promoted, but although some of these are known to be iridised, they were not in production c. 1909-1910. The “Crockery and Glass” journal reports of all the glass makers displays are very clear, and iridised glass (Iris, Aurora or any other similar descriptors) are clearly referenced. No such terms were used to describe Cambridge for the 1910 “Glass Exhibit” so we assume that their iridescent production was somewhat later in production. |
The “Crockery and Glass” journal reports of all the glass makers displays are very clear, and iridised glass (Iris, Aurora or any other similar descriptors) were clearly referenced. No such terms were used to describe Cambridge for the 1910 “Glass Exhibit” so we assume that their iridescent production was somewhat later in production.
Above: Cambridge "Fern" or "Fern Leaf" / Inverted Feather water and table sets in crystal glass (not Carnival),
advertised in Sears Roebuck 1910 catalogue. Courtesy Phil Prince.
advertised in Sears Roebuck 1910 catalogue. Courtesy Phil Prince.
Dugan at the Seventh Avenue Hotel: The “Aurora” is the most recent offering … a colored iridescent glass
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Left and above: extracts from “Crockery and Glass” journal, January 1910.
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There we have it, Dugan’s splendid three-room suite at the Seventh Avenue was filled with around 500 pieces of Carnival Glass in their display. The name of the iridescent glass was quoted as “Aurora” or “Aurora Iris” (surely marigold). In the “American Flint” journal in late 1909 Dugan’s glass was also described as “Pearl Iris”, saying “Supt. Thomas Dugan has introduced a new line of ware called Pearl Iris – an iridescent effect on opalescent glass”. (See References below for links to read how opalescent Carnival was created).
This was clearly what collectors now call peach opalescent – marigold iridescence on clear based glass with white opalescent effects.
This was clearly what collectors now call peach opalescent – marigold iridescence on clear based glass with white opalescent effects.
Above: Dugan’s Fan candy or bon-bon dish in peach opal.
Courtesy Burns Auctions. Right: a Sears Roebuck catalogue extract, Fall 1910, courtesy Phil Prince, alongside a peach opal Stippled Petals with a hand painted
Lily of the Valley decoration. Courtesy Seeck Auctions. |
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The Dugan display must have looked incredibly impressive, with pieces ranging from large punch sets to small individual items. Marigold (“Aurora” or “Aurora Iris”) and peach opal (“Pearl Iris”) items would have dominated the display, which would also have included hand decorated bowls that were part of Dugan’s line in 1910. The painting was carried out in enamel, and in Butler Brothers ads for these hand decorated Dugan bowls, the promotional text stated “Decorations burnt in, will not wash off”.
Above: a Sears Roebuck catalogue extract, Fall 1910, courtesy Phil Prince.
Right: the same set as in the catalogue - Dugan's Petal and Fan master and individual berries in peach opal. Courtesy Seeck Auctions. |
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Look again at the extract from the "Crockery and Glass" journal shown at the top of this section. The description of the Dugan exhibit mentions a punch bowl. What might that have been? Dugan made two large punch sets – Many Fruits and S-Repeat (and later, Stork and Rushes). It is possible that Many Fruits and/or S-Repeat were on display in 1910. |
Dugan’s Many Fruits punch set in marigold.
Courtesy Seeck Auctions. |
S-Repeat punch set, purple.
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Lancaster at the Seventh Avenue Hotel: A new line of iridescent lustre glass called “Aurora” includes a number of specialties
Extract from “Crockery and Glass” Journal, January 1910.
Here’s a really interesting revelation. Lancaster were exhibiting their Carnival (that they called “Aurora”) in 1910. We know from our previous research that the January 9th 1909 edition of “China, Glass and Lamps” featured a line of vases by Lancaster in “Crystal, Iridescent, Lustre and Ruby”. This entry in the 1910 “Crockery and Glass” journal above, confirms that Lancaster were producing Carnival at this time. The trio of vases shown on the right were all made by Lancaster, however we cannot confirm the specific date of manufacture. Much more information on the company can be seen in our extensive research articles on Lancaster Glass (links in References below). |
Left to right: Fishnet Grape, Fishnet Poppy (both courtesy Burns Auctions) and Fishnet Rose (courtesy Seeck Auctions).
Currently we cannot be sure of the date of production of these items. |
Westmoreland at the Seventh Avenue Hotel: New creations in vases
Extract from “Crockery and Glass” journal, January 1910.
According to the “Crockery and Glass” journal, Westmoreland didn’t include any Carnival in their displays. That’s surprising, considering there had been several individual Carnival items the year before, in the 1909 Butler Brothers catalogues. Perhaps they felt that their “pottery effect” items with the “decals” were going to pull in the sales instead. Items such as the Louisa bonbon and the Orange Peel punch set had been shown in 1909 catalogues, as well as several other items as shown in the ad on the right. It’s possible, of course, that a few Carnival items were in the Westmoreland exhibit, but not enough to have been worth mentioning in the glass journal’s summation. |
1909 Butler Brothers ad for a Westmoreland Carnival Assortment.
Smooth Rays, Pearly Dots, Corinth items, as well as Louisa. |
Showrooms - Fenton Art Glass
1910 Fenton letterhead. Courtesy Fenton Art Glass and the Fenton Family.
The letterhead clearly indicated Fenton's desire to show their important position among the glass makers, as “originators of iridescent ware”. |
Extract from “Crockery and Glass” journal, January 1908.
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In January 1908, Fenton had taken rooms at the Fort Pitt to display in the Pittsburgh “Glass Exhibit” – in fact they had shown the very first Carnival there (“Iridie” glass). At that time, Fenton Art Glass was being run by brothers Frank and John Fenton, so they would probably both have attended the 1908 Pittsburgh “Glass Exhibit”. However, the following year, 1909, John Fenton sold his interest in Fenton at Williamstown and started his own glass works at Millersburg. Then. in 1910, Fenton did not take any rooms for displays at the Pittsburgh “Glass Exhibit” preferring instead to use their own showrooms, a block and a half away from the Fort Pitt Hotel on Sixth Street.
The question is, why did Fenton apparently not participate in the 1910 “Glass Exhibit”? We can only speculate that the relationship between the brothers, Frank and John, was tense. Some insights can be gained from William Heacock’s book “Fenton The First Twenty Five Years” in which he states that “John was bright and enterprising; he knew how to make money but not how to keep it. (He was)… good at initiating a project, but poor at finishing one. Frank, on the other hand, who was conservative by nature and dedicated to long-range company stability, must have found John’s flightiness appalling.” Heacock states “the two men were totally unalike in temperament and personality”, which may explain why Fenton chose not to stay at the Fort Pitt Hotel in January 1910.
Let’s take a look at what Fenton were doing in 1910. Fenton assortments shown in Butler Brothers in 1909 are dominated by Coin Dot, Smooth and Stippled Rays plus Long Thumbprint vases in marigold, amethyst and green.
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However, 1910 was about to see a flowering of patterns and shapes from Fenton. One of their most popular and well-known patterns is their Butterfly and Berry. 
Butterfly and Berry water set in amethyst. Courtesy Seeck Auctions.
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A marigold Butterfly and Berry table set. Courtesy Seeck Auctions.
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The image shown on the right is courtesy of the Fenton Family and Fenton Art Glass Co. It shows Fenton glassworkers in around 1910, who were described as making Butterfly and Berry items. The group is the “press shop” and Fenton explained that they were “headed by Elmer Goosman (dark shirt, second from right)”. Shown below is one of the many and varied ads for Butterfly and Berry items. This one was in the Spring 1911 Butler Brothers wholesale catalogues. 
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Punch sets were undoubtedly fashionable and also sought-after in 1910, and Fenton issued their glorious Wreath of Roses version that year.
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Above left: a marigold Wreath of Roses punch set, courtesy Seeck Auctions; Centre: Fenton's Wreath of Roses punch set in a
Sears Roebuck catalogue in 1910. Courtesy Phil Prince; Right: Fenton’s Wreath of Roses punch set in a Baltimore Bargain House catalogue in 1910.*
See the difference in price between the two mail order houses! Sears was $2.48 per set, Baltimore Bargain House was only $1.35. * Note also that the interior design of the punch cups is visible in this ad – it is the Vintage pattern. These items are also known with a Persian Medallion interior.
Sears Roebuck catalogue in 1910. Courtesy Phil Prince; Right: Fenton’s Wreath of Roses punch set in a Baltimore Bargain House catalogue in 1910.*
See the difference in price between the two mail order houses! Sears was $2.48 per set, Baltimore Bargain House was only $1.35. * Note also that the interior design of the punch cups is visible in this ad – it is the Vintage pattern. These items are also known with a Persian Medallion interior.
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By December 1910, Fenton’s pattern range had grown enormously. Butler Brothers assortments included a wide variety that included popular designs such as Peacock Tail, Autumn Acorns, Holly, Thistle, Vintage, Feathered Serpent, Little Flowers, Iris as well as water sets in Panelled Dandelion and Butterfly and Fern. Right: a 1910 Butler Bros ad for Fenton’s Carnival. Butterfly & Fern and
Panelled Dandelion pitchers, colorised and brought to life. Far right: a Butterfly and Fern water pitcher (blow moulded) in blue. |
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Factories - Imperial Glass Company
As we saw in Part One, Imperial had taken the decision back in 1905, not to attend any Pittsburgh Glass Exhibitions. Their choice instead was that they – and their marketing agents – would handle all their promotions and sales. They used their own extensive catalogues (that included pricing and packaging information for the wholesale buyers) as well as newspaper and trade journal ads, plus all the mail order outlets. Furthermore, they sold via showrooms in major cities, using agents such as Cox and Lafferty. And they were clearly very successful.
Imperial Scroll Embossed plate in purple.
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Imperial Morning Glory vases in marigold (Rubigold) – 8” and 4” tall, with the same base size, 2.5”.
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Imperial had launched their popular Rubigold (marigold) in 1908, adding to the line in 1909, and in 1910, however, they promoted Rubigold in a special section of the July 1910 Imperial catalogue. A few months later, in Fall 1910, Cox & Lafferty launched a series of impressive and eye-catching ads for Imperial in “The Pottery, Glass and Brass Salesman”. October 1910 would see the launch of Imperial’s magnificent Azur (amethyst or purple glass).
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Above is a Diamond and Lace pitcher, and below, a Flute tumbler. Both are in Imperial's "Azur" / purple.
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The patterns shown in the ad above are Flute, Heavy Grape, Scroll Embossed, Ripple, Beaded Bullseye, Diamond and Sunburst, and Diamond Lace. Cox & Lafferty image in “The Pottery, Glass and Brass Salesman” from the New York Public Library, digitised by Google. Note the offer in the ad – 11½ dozen items in Azure for $15.32. That’s almost 140 pieces for just over $15.
Afterword … and Beyond
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Carnival Glass – mass-produced, iridescent glassware featuring beautiful (often exotic) designs, in shimmering colour, had proved itself to be a hit. From its early beginnings in 1907 at Fenton and its low-profile, first appearance at the Pittsburgh Glass Exhibit in 1908, Carnival entered the big-time in 1910. Makers and buyers were all at Pittsburgh in that snowy January of 1910. The push for sales was immense and growing, extending beyond the USA using agents in the UK and beyond. In the May 1910 British Pottery Gazette, Fenton’s “peacock iridescent” glass was highly praised. In December 1910, “The Pottery, Glass and Brass Salesman” reported that the fame of Millersburg’s Radium line “has reached the land of King George” (i.e. the UK). And the public loved Carnival Glass. It was functional, decorative, not too pricey and above all, it was beautiful. It adorned humble and affluent homes alike. There would be difficult times, of course – and the first of these was on the immediate horizon. Just a year after the amazing success of Millersburg at the 1910 Pittsburgh Exhibition, receivers were appointed to investigate the business.
Sadly, it was the beginning of the end for the glory that was Millersburg, as confirmed by this May 1911 extract from “The Pottery, Glass and Brass Salesman” (right). (Our detailed research into this is on our website - links below in References). |
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There were difficulties too at Dugan Art Glass. Tom Dugan would become the victim of a boardroom coup while he was attending the “Pittsburgh Glass Exhibit” in January 1913; the company would be renamed Diamond Glass. Northwood would stay the course a little longer. The loss of his brother Carl in 1918, outside the Fort Pitt Hotel, whilst attending the “Pittsburgh Glass Exhibit”, undoubtedly affected Harry badly. Harry Northwood himself died the following year, in 1919, and the factory did not recover its glory days, folding a few years later. Diamond Glass did not recover after a devastating fire in 1931 Of the original “Big Five” makers of Classic Carnival, only Fenton and Imperial would stay the course. These two giants would go on to produce an astonishing flowering of gloriously splendid Revival era Carnival, accompanied along the way by many new entrants into the Carnival market. But that’s a story for another day … This lovely Fenton ad on the right dates back to August 1970, just over six months after Fenton introduced their Revival Carnival Glass. Note how they nostalgically refer to their production of Classic Carnival, both in the patterns and the iridescent treatment. 
Fenton Persian Medallion Revival Carnival glass bowl. A Classic Carnival pattern reused in Revival Carnival.
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Above: Fenton's 1970 ad for their Revival Carnival.
A mixture of Classic and Revival patterns. Interestingly, three of the Revival pieces were made from moulds that Fenton had acquired from other companies. Image courtesy of Glass Paper Fanatics |
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References and Links
Dugan boardroom coup: The Dugan and Diamond Mystery Northwood's Grape and Cable Revelation: In the Line in 1909 Northwood's Alaskan: Pomona, Golden Iris, and Florentine Magnificent Millersburg: The Rise and sadly, The Fall Iridescent Opalescent Carnival: The Glory of Peach Opal |
Carnival from Lancaster Glass #1: Lancaster's Carnival Patterns Carnival from Lancaster Glass #2: More Lancaster Carnival Glass Imperial Glass: Imperial's First Carnival, 1908 First Imperial ad in 1908: Imperial's 1908 ad. Imperial's New York Agency ads: Cox & Lafferty Fenton Revival 1970: Some Great Old Things in Our Attic |
Part 1 of "The Annual Glass Exhibit at Pittsburgh, 1910."
Click on the image below to read Part 1 of this truly eventful gathering
of the major players in the United States glass industry in 1910.
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