Regardless of the imagery at its heart, whether it was relief flowers or painted birds, the borders of milk glass plates were often pressed or molded to resemble latticework or pinwheels. Some edges were scalloped, others were beaded like frosting on the rim of a wedding cake, and a few were even smooth and round, with undecorated centers to go with these uncharacteristically understated edges.

Platters were a step up from plates—unlike dinnerware, which demanded a certain minimum level of functionality, platters could go all-out when it came to decorative effects. The relief on a rare Lincoln platter from the late 1800s is so great that it must have been used exclusively as a commemorative object. At the other end of the utility spectrum were waffle platters, whose gridded surfaces resembled those of the popular breakfast item they were designed to carry. Somewhere in between was the retriever platter, which depicted a three-dimensional dog head breaking through cattails at the bottom of the platter.

For objects such as serving dishes, milk glass was often pressed so that its surface had a diamond-cut pattern—collectors refer to these as Sawtooth pieces. Atterbury was especially well known for its covered Sawtooth dishes in the shapes of ducks, fish, and other animals. In fact, Atterbury made so much milk glass that the company’s Pittsburgh factory was often referred to as the White House.

In a class by themselves are the covered serving dishes, whose tops resembled roosters, chickens, hens, and swans, as well as lions and other less domestic beasts. Sometimes people were honored by having a bust of themselves cap a casserole dish, although the ones made for Thomas Dewey failed to elect him president. More successful were the Atterbury cats from the 1880s, which had real glass eyes.

Jugs and pitchers were another favorite form for milk glass. Geometric and basket-weave reliefs graced the outsides of these handsome objects, and Hobnail patterns were very popular on everything from flower vases to syrup jars.

During the Depression and into the 1940s and ’50s, milk glass lost some of its luster as a symbol of domestic status. Respected glass companies such as Akro Agate, Westmoreland, Fenton, and Fostoria made milk glass, but the style seemed a throwback to an earlier, fustier age.

Akro Agate made powder jars, whose lids were in the shapes of Colonial-era women wearing billowy dresses. Fostoria made a pink version of milk glass, while Westmoreland made things like covered dishes whose tops and bottoms formed a kneeling camel. It was all very charming but seemed out of step with the evolving styles of the day.

Despite this, some companies actually made a name for themselves with milk glass. In particular, Fenton’s line of Hobnail milk glass—from fan-shaped vases to toothpick holders to candlesticks—became the company’s flagship pattern in the 1950s. Indeed, the company’s prodigious output and success with Hobnail milk glass contributed to a resurgence of interest in this retro form during the early 1960s.

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