Fenton Glass

When looking at Fenton's antique or vintage carnival glass, it helps to be able to identify the various characteristics and traits. For example, patterns could be stamped onto the outside of a piece (also called the back), the inside (front), or both. The bases of pieces were also varied—some had flat collars while others sported ball or spatula feet.

The edges of carnival glass are another differentiator. Some are smooth with gentle undulations, others are divided into alternating sections of unbroken curves and sharp points to create what is known as a bracket edge. Other pieces feature edges that appear crimped, ruffled, pulled, or resemble the teeth of a saw.

While carnival glass was made for everyday use, many pieces seemed suited to special occasions or the serving of treats. Thus, Fenton made a great number of ruffled candy dishes, high-sided nut bowls, and low nappies.

In the 1920s, Fenton introduced a carnival color that would prove to be a hit with customers of the day and contemporary Fenton collectors alike—red. But as the 1930s arrived and the Depression deepened, Fenton dropped its carnival lines in favor of household items such as plates and mixing bowls. Other designs produced during the late 1930s and throughout the 1940s include the ruffled-edge Crest pieces, and the twisting Spiral Optics.

It was tough going, and the company almost didn’t make it. What rescued Fenton was a Victorian style of glass called Hobnail, whose uniformly bumpy surface resembled the bottoms of hobnail boots. It had been out of fashion for decades, but Fenton found a new audience for this "retro" glassware. A pattern called Diamond Lace combined the bumpy surface of the Hobnails with the optical qualities of the Spiral Optics. And then Fenton produced a milk glass Hobnail. Sales eclipsed even those tallied during the heyday of Iridill, and the company’s future was once again secure.

Today Fenton's antique and vintage glassware is quite popular with collectors. Fenton has even found contemporary audiences for its 1970s Iridill reissues, as well as its first lines of 1970s Burmese glassware, whose creamy pink opaque surfaces are often hand-painted.

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