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Contents
Dedication. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Acknowledgments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Note to Our Readers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
The Basics of Carnival Glass Collecting . . . . . . . . . . . . . . . . . . . . . . . . 6
Carnival or Stretch Glass?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
The Dugan and Diamond Story. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
The Fenton Story . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
The Imperial Story. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
The Millersburg Story . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
The Northwood Story . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Other American Companies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Non-American Carnival Glassmakers . . . . . . . . . . . . . . . . . . . . . . . . . 11
English Carnival Glass . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Australian Carnival Glass . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Old Trademarks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
New Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Grading Carnival Glass. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Metal Samples for Salespeople . . . . . . . . . . . . . . . . . . . .18
Millersburg “Peacock” Variations . . . . . . . . . . . . . . .19
Patterns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21
Hatpins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .278
Price Guide . . . . . . . . . . . . . . . . . .288
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The Basics of Carnival Glass Collecting
Having researched carnival glass for 30 plus years, it is easy to forget there are collectors just beginning, who haven’t learned
the fine points of this remarkable glass; so for them, here are some basic thoughts.
First comes color. To tell the true color of a piece of carnival glass, hold the piece to a strong light; the base color you see is
the color of the piece. The colors given off by the iridescence have little or nothing to do with the true color of the glass.
Many have asked me to provide a color chart to aid beginners, but capturing glass colors on paper is nearly impossible. The
best advice we can offer on color is to handle as much of this glass as you can, holding it to the light and observing; soon,
colors will come naturally, at least the basic colors.
Next, perhaps we should discuss shapes. Bowls and plates are easy to understand as are pitchers, tumblers, and vases; but even
those have variations: bowls can be ruffled, unruffled (shallow unruffled bowls are called ice cream shape), deep, or shallow.
Pitchers can be standard, smaller (milk pitcher), taller (tankard), or squat. Tumblers can be standard size, tall (lemonade), or
small (juice), even as small as shot glasses. Vases can range from tiny 4" bud vases to monster 22" sizes called funeral vases.
Vases may be straight topped, flared, or JIP (jack-in-the-pulpit) shaped with one side down and one side up. In addition there
are table sets, consisting of a creamer, a sugar, a covered butter dish, and a spooner (this piece has no lid). There are decanters
and stemmed goblets of several sizes; there are rose bowls, evident by the lips being pulled in equally around the top of the
piece; candy dishes that have the rims flared out; and nut bowls that have the rim standing straight up. There are banana bowls
that are pulled up on two sides, baskets that have handles, bonbons that have handles on opposite sides, and nappies with only
one handle. In addition we have berry sets (small and large bowls that are deep and usually come with one large bowl and six
small ones), orange bowls (large footed bowls that held fruit), handled mugs, and plates (these are shallow without any bowl
effect, coming straight out from the base and no higher from base to rim than 2"). Specialized shapes include candlesticks,
hatpins, hatpin holders (footed pieces with the rim turned in to hold hatpins), epergnes (pieces that hold flower lilies), card
trays (flattened bonbons or nappies), toothpick holders, cracker and cookie jars with lids, stemmed compotes (or comports as
they were originally called), hair receivers, powder jars with lids, as well as many novelties that include paperweights, animal
novelties, and wall pocket vases. Finally we have punch sets which consist of a punch bowl, standard or base, and matching
cups. These are all the general shapes of carnival glass. In addition we have many specialty shapes that include light shades,
beads, beaded purses, odd whimsey shapes of all sorts that have been fashioned from standard pieces, pintrays, dresser trays,
pickle casters in metal frames, and bride’s baskets likewise. The list of shapes is almost endless and the beginner should study
these and ask other collectors about odd pieces they can’t identify.
Now, let’s talk briefly about the iridescence itself. By far the major portion of carnival glass items will be found with a satiny
finish that has many colored highlights across the surface, like oil on water; but another very popular finish was developed by
the Millersburg Company and used by all other makers in limited amounts. This is called “radium” finish and can be
recognized by its shiny, mirror-like lustre on the surface. Often, with radium finish, the exterior of the piece has no iridization
and the piece has a light, watery shine. Beyond that, some colors, especially pastels such as white, ice blue, and ice green, have
a frosty look. This treatment is always satin, never radium. Finally, there is the addition of the milky edge on treatments that
are called opalescent. Added to the marigold finish, this is called “peach opalescent” and with the ice blue, it becomes “aqua
opalescent.” Other opalescent treatments with carnival glass are blue opalescent, amethyst opalescent, lime green opalescent,
ice green opalescent, vaseline opalescent, and red opalescent.
Finally, there are many new color labels that have come about over the last few years. These are mostly shadings of primary or
secondary colors; they are often hard to understand and harder to describe. Here are a few: moonstone (opaque glass, not as
dense as milk glass); clambroth (pale ginger ale color); black amethyst (nearly black glass iridized); horehound (a shade darker
than amber); Persian blue (opaque, like moonstone but blue); smoke (grayish, with blue and gold highlights); teal (a mixture
of blue and green); vaseline (a mixture of green and yellow); lavender (a pale amethyst); and lime (green with a yellow mix).
Lastly, there are a handful of colors, now in vogue, that nobody seems to agree on a definition: things like Renniger blue, a
tealish, sapphirey blue, according to some! Have we carried all this too far? Of course, but it isn’t in our hands to stop this
proliferation of colors. We can only hope the above information proves helpful in some way. Remember, we are all learning
and knowledge comes in time and with patience. The trip is worth the effort.
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Old Trademarks
Over the years there have been many requests for information about carnival glass trademarks and while this section will be old
news to seasoned collectors, it may just help beginners avoid costly purchases they will regret. If it saves just one from
mistaking reproductions for old carnival, the effort is well worth it.
Northwood, Imperial, Cambridge, Dugan-Diamond, McKee, Higbee, Jeannette, Sowerby (England), and Cristales de Mexico
(Mexico) are the trademarks on old glass that collectors will see. All these companies marked at least a part of their production. The
dates for marking vary and range from 1904 to 1939, depending on the company’s lifespan and when they first started marking glass.
On the other hand, many well-known glassmakers never marked old glass. These include Fenton, Millersburg, U.S. Glass,
Fostoria, Indiana, and others. Fostoria and Fenton used paper labels on their products and over the years these have been
washed off. Others depended on advertising to identify their product and marked the packaging.
Now let’s take a look at the most often seen old glass markings.
Northwood
Cristales de Mexico
Higbee
Diamond
(Dugan-Diamond)
Cambridge
Imperial
Jeannette
Jain Glass Works of Firozabad, India
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On some pieces of
Aurora Pearls, there
is a trademark.
McKee
Sowerby
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Acorn Burrs
Acorn Burrs, one of Northwood’s premier patterns from around 1911, is found in a berry
set, water set, table set, whimsey vase (from the tumbler), and a punch set. Colors are
many and include marigold, amethyst, and green in all pieces except the vase, white, ice
blue, ice green, lime green, aqua opalescent, and cobalt blue in the punch set. Here we are
happy to show the first reported punch bowl and base in this color.
Acorn Vase
While some collectors believe this is a U.S. Glass pattern, others feel it
may well be from Millersburg. At any rate, it is a rare item, standing 5³⁄₈" tall. Colors known are marigold, amethyst, green, and the
vaseline shown, but only one vase in each color has been confirmed.
Adam’s Rib
Adam’s Rib was made by the Diamond Glass Company (their #900
pattern) in the mid-1920s. It can be found in ice green, celeste blue,
and marigold (the console bowl is also known in marigold-over-milk
glass). Shapes include a lemonade pitcher and mug, covered candy jar,
10" vase (shown), candlesticks, a large footed console, a fan
vase, a compote, open sugar, a large bowl, and probably a
creamer.
A Dozen Roses
This rare footed bowl, found in marigold, amethyst (shown), or green, has
an exterior pattern with the same ovid frames as the interior but without the
roses. The maker hasn’t been confirmed as far as
we know but most collectors feel this pattern
is from Imperial.
African Shield
This small vase shape originally had a wire flower holder
that held the stems of freshly cut blossoms in a neat
arrangement. It is 2⁷⁄₈" tall and 3¹⁄₄" wide at the top. It
is made by Sowerby. Marigold is the only color reported
so far.
Age Herald
This famous advertising pattern, known to have come from the Fenton factory, is
found only in amethyst. Both bowls and plates are known. The pattern was
designed as a give-away item from the well-known Birmingham, Alabama, newspaper. The exterior pattern is a wide panel.
Alternating Dimples
This squat vase is eight sided and every other side is dimpled. The coloring is a fine clambroth. The neck is
crimped then flared out at the top with dimples all
around and the bowl has fine enameled flowers between the dimpled sections. Anyone
with more information on this piece is requested to contact us.
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Cleveland Memorial
Made to celebrate Cleveland’s centennial, this ashtray from Millersburg has scenes that
depict the Garfield statue, his tomb at Lake View cemetery, the Soldiers and Sailors
monument, the Superior Street viaduct, and Cleveland’s Chamber of Commerce building.
These rare ashtrays can be found in amethyst or marigold.
Cloverleaf Mini Fish Bowl
With bulges on four sides, this mini goldfish
bowl has the appearance of a four-leaf clover when viewed from the top, hence
the name. It is on clear glass with a flashed iridescence and sits on a matching black
glass base. Around the top rim is an edging of gilding. The maker hasn’t been identified as far as we know.
Coal Bucket (U.S. Glass)
These rather rare little match holders can be found in both marigold and green, and are a
dream come true for collectors of miniatures. Few are around, and
they bring high prices when sold.
Cobblestone (Imperial)
From Imperial, found mostly in 8¹⁄₂" – 10" ruffled bowls (one plate is reported in purple), this pattern has Arcs as an exterior pattern. Purple is most often seen, with
marigold a bit scarce, helios green less scarce, amber rare, and
cobalt blue even rarer. In addition, a similar pattern by Fenton
is found on a bonbon with a honeycomb exterior.
Coin Dot Variant (Fenton)
This pattern is much like the regular Coin Dot, but has added dots at the edges of the
center grouping at 12, 2, 4, 6, 8, and 10 clockwise. It is believed this mould was later
retooled into the Feather Stitch pattern. Colors are marigold, green, amethyst, and
blue. Thanks to Mr. and Mrs. A.T. McClelland for sharing this scarce green example.
Coin Spot
This well-known pattern was made by the Dugan Company and continued by Diamond Glass.
It is found on the compote shown or a goblet shape, all from the same mould. (In opalescent
glass a vase was also pulled from this mould.) Colors in carnival glass
include marigold, amethyst, cobalt blue, peach opalescent, ice green,
and celeste blue. (Green has long been rumored.) Peach opalescent examples are the easiest to find.
Colonial (Imperial)
Colonial is often mistaken for the Chesterfield pattern or even Wide Panel, all by Imperial. It is
found in candlesticks, a buttermilk goblet, a breakfast creamer and sugar set, a lemonade mug, and
the child’s mug shown. This mug was designated #593 by the factory as were all the shapes except the
#41 candlesticks. Coloring is always marigold except for the candlesticks which were made in
amber, purple, and clambroth as well.
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Fan Montage
This interesting biscuit jar was found by Gary Vandevander and is the first we’ve seen. It is likely
European but doesn’t appear in any of our references at this time. We welcome any information
about the pattern or its maker.
Fans
This Rindskopf pattern can be found in the small pitcher (5" tall, 7"
across the handle), a matching tumbler, and a cracker jar with metal lid.
The pattern is very pretty with an allover design, and the color is usually
quite rich. It has been reported in marigold only.
Fan Star (Millersburg)
Very few Millersburg pieces had plain exteriors and the one
shown here has only the marie or base design to avoid being called
plain. The Fan Star base can be found on the Zig Zag bowl and accompanying the Cactus exterior on Rays and Ribbons pieces. The design is just a 24-rayed star that feathers
out in fan-like lines at the end of each ray.
Fan-Tail
Fan-Tail is found as an interior pattern on some Butterfly and Berry bowls and chop
plates (shown). The design is a series of whirling peacock tails. Colors are marigold,
cobalt blue, green, and white. Fenton has reproduced this pattern in some modern glass.
Far Eastern
We suspect this 3¹⁄₂" tall jar once had a lid since the shape is much
like the Stjarna bonboniere. The maker isn’t known to us at this
time but it is most likely European. We certainly welcome any
information about this pattern.
Farmyard
Farmyard is one of Dugan’s best designs and is found in large
bowls and a rare plate. Colors are amethyst, peach opalescent (rare),
and green (rare), and all are sought. Thanks to Peter Baerwald for
sharing the photo.
Fashion (Imperial)
Fashion was from Imperial (their #402¹⁄₂) and is
found in a water set, punch set, breakfast set, 9"
bowls, a large compote, and a rose bowl. Colors
include marigold, purple, red, smoke, and horehound.
Fashion was also made in many shapes in crystal in 1910.
Feather and Heart
This fine water set, found in green, marigold, and amethyst, is typical in many ways of all the
Millersburg water sets. The pitcher lip is long and pulled quite low, while the rim is scalloped quite
like its cousin, the Marilyn set. The glass is quite clear, rather heavy, and has excellent iridescence.
A little difficult to find, the pattern adds greatly to any collection.
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Lotus Land
What a privilege to show this very rare bonbon, generous in size (8¹⁄₄" across) and
rich in design. From its stippled center flower to the whimsical outer flowers, the
pattern is one you won’t soon forget. Amethyst and marigold are known.
Louisa
This familiar pattern from Westmoreland is found on bowls with three
curled feet in various shapes that include a
deep bowl, ice cream bowl, a nut bowl, and the banana bowl shown. Colors
are marigold, amethyst, blue, green, horehound, vaseline, teal, and a rare peach
opalescent (shown in our eighth edition). The pattern was later reproduced in the
1950s by Jeannette in pale Depression shades.
Lovely
Found as the interior pattern on some Leaf and Beads pieces, this well-planned
design has been credited to the Northwood Company but shards are reported
to have been found at the Dugan factory site. Colors are marigold, amethyst,
or green, and because of its scarcity, pieces with this interior always demand a
high interest.
Loving Cup
Standing 5³⁄₄" tall and measuring 6¹⁄₄" across
the handles, this outstanding piece of glass is
known as Fenton’s Loving Cup despite carrying the wellknown Orange Tree pattern. The interior has a Peacock Tail pattern and there is a scale band
above the orange trees as well as scaling on the base. Colors cover a wide range and include
marigold, amethyst, green, blue, peach opalescent,
aqua opalescent, and white.
Lucile
Originally this was a crystal Indiana Glass pattern called Prosperity. It is also called
Ferris Wheel. The carnival water pitchers and tumblers are made by Brockwitz.
Pitchers are made in blue and tumblers in blue and marigold. There must have
been a marigold pitcher made.
Lucky Bell
This berry set pattern, which is also known as Bell and Arches, is seldom
found or discussed. The large bowls are about 8¹⁄₂" in diameter, the small
ones about 4¹⁄₂". The maker isn’t known,
and marigold is the only reported
color.
Lules Argentina
This plate was sold on the Internet. It is shown in a Cristalerias Piccardo catalog
from Argentina where it was advertised in other shapes as well. It measures 7⁷⁄₈"
across and has a rich marigold iridescence. It is now in West Virginia.
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Scroll Embossed (Imperial)
Scroll Embossed is found in plates and bowls with three different exterior patterns, three
sizes of compotes, a goblet, sherbet, and a nut dish. Colors are many. We are grateful to
Alice Widtfeldt for sharing this photo.
Scroll Embossed
Variant (English)
Much like the Imperial pattern it was copied from,
this English version is found on small bowls, plates, handled
ashtrays, compotes, as well as on the Diving Dolphin pieces. The exterior design is
the giveaway; File on Imperial, a vine-like pattern on the English pieces. Colors are
marigold, blue, green, and amethyst.
Scroll Fluted
Scroll Fluted was shown in Imperial Glass Company ads. This unusual pattern is found in
bowls and the rose bowl shape shown with collar bases. Crystal and carnival glass
are both known. The design of panels of beveling against plain panels that
extend higher at the rim is an unusual one.
Scroll Panel Lamp
This lamp is similar in many ways to the Mitered Block lamp shown on page 172. It is red carnival and has
panels bordered by nice scrolling. It is marked “Falkenstein-9002” inside the metal fittings and stands nearly
two feet tall. We strongly suspect this is European and thank the Mel Buels for sharing this nice lamp with us.
Seacoast Pintray
This beautiful piece is one of two pintray designs from Millersburg (the other
is the Sunflower). It features a lighthouse, seascape, a sailboat, and a large fish.
It can be found in marigold, green, and amethyst (shown), and even a deep
purple.
Seafoam
Seafoam was made in both carnival glass and opalescent glass,
along with the crystal and colored line. This is really Dugan’s SRepeat goblet that has been reshaped and renamed. The interior pattern is called Constellation (shown on page 62). Carnival glass colors are
marigold, amethyst, white, peach opalescent, and an unusual yellow glass with
marigold lustre.
Seagulls Bowl
If one rarity in this book stands as an example
of “scarce but not prized,” the Seagulls bowl is
that rarity. Certainly there are far fewer of these to be found than many items
that bring 10 times the money, but for some strange reason, these cuties are not
sought by most collectors. The two bird figures are heavily detailed as is the bowl
pattern. The color, while not outstanding, is good and is iridized both inside and out.
The diameter of the bowl is 5³⁄₄" and the depth is 2⁷⁄₈". I believe the manufacturer was
Dugan.
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Pattern Name
Rose Bowl, rare
MALLARD DUCK
one shape
MANCHESTER
Flower Holder w/frog
MANHATTAN (U.S. GLASS)
Decanter
Wine
Vase, rare
MANY FRUITS (DUGAN)
Punch Bowl w/base
Punch Cup
MANY PRISMS
Perfume w/stopper
MANY RIBS
(MODEL FLINT NORTHWOOD)
Vase, 8", very rare
MANY STARS & VARIANT
(MILLERSBURG)
Bowl, ruffled, 9", scarce
Bowl, ice cream shape, 9¹₂", rare
Bowl, tricornered, rare
Chop Plate, very rare
MAPLE LEAF (DUGAN)
Bowl, stemmed, 4¹₂"
Bowl, stemmed, 9"
Butter
Creamer or Spooner
Sugar
Pitcher
Tumbler
MAPLE LEAF BASKET (BROCKWITZ)
Basket, handle, large
MARGUERITE
Vase, 10"
MARIANNA (CZECH)
Vase
MARIE (FENTON)
Rustic Vase interior base pattern
MARILYN (MILLERSBURG)
Pitcher, rare
Tumbler, rare
MARTEC (McKEE)
Tumbler, rare
MARTHA
Compote, 7¹₂"
MARY ANN (DUGAN)
Vase, 2 varieties, 7"
Loving Cup, 3 handles, rare
MARY GREGORY
Cologne Bottle, rare
MASSACHUSETTS (U.S. GLASS)
Mug, rare
Tumbler, very scarce
Vase, very scarce
MAYAN (MILLERSBURG)
Bowl, 8¹₂" – 10",
common in green, all others, rare
MAY BASKET (ENGLISH)
Basket, 7¹₂"
Bowl, 9", rare
MAYFLOWER (IMPERIAL)
Light Shade
MAYFLOWER (MILLERSBURG)
Bowl, 9" – 9¹₂", very rare
exterior of Grape Leaves bowls
MAYPOLE
Vase, 6¹₄"
McKEE’S #20
Sherbet
McKEE’S SQUIGGY
Vase
MEANDER (NORTHWOOD)
exterior pattern only
MELON RIB
Candy Jar w/lid
Decanter
Powder Jar w/lid
Pitcher
Tumbler
Shakers, pair
344
M
A
125
G
B
PO
AO
IB
IG
W
Red
Other
400
550 CRAN
100 AM
250
40
350
400
25
700
30
40
2500
125
1400
70
75
3000
375
475
500
1100
2500
550
1100
3000
4250
35
100
150
55
80
300
50
50
40
100
150
70
90
350
55
1350
225
2000
350
3000 V
5000
30
60
125
45
70
175
30
65
110
260
950
135
500
160
100
550
375
1000 PkA
175
150
200
175
3500
150
40
95
160
45
70
3000
45
105
60
35
90
30
90
35
60
20
35
125