Clearly, It's Depression Glass, Too
By Linda Nelson
Depression Glass is sometimes quickly defined as "colored glassware from the Depression era," but some may be surprised to learn that a number of Depression patterns were made in crystal, as well. "Crystal," the term frequently used to describe clear Depression Glass, is a bit misleading. It is not fine crystal, but merely plain glass, "crystal clear" in color. In this article, crystal refers to clear Depression Glass.
Almost all makers of Depression Glass at some time made items in crystal, but the Hocking Glass Company seems to have been particularly busy turning out clear glass designs, especially ones with geometric shapes. The Hocking Glass Company became Anchor Hocking Glass Corporation on December 31, 1937 when it merged with the Anchor Cap and Closure Corporation.
Manhattan
Collectors have made Manhattan, with its strong deco-style design, one of the most popular patterns of clear Depression glass. And since almost all pieces are crystal, collectors are enthusiastic about the limited number they find in pink, green, and Royal Ruby.
Anchor Hocking made Manhattan in the late 1930s and early 1940s. High-relief, geometric ridges encircle each piece of Manhattan and create many prime locations for damage. Buyers should examine each piece carefully by running a finger along each edge to check for chips. It is also prudent to hold the piece up to the light and turn it carefully checking for cracks.
The Manhattan line includes a nice selection of plates, bowls, and serving pieces so that collectors can expect to assemble complete table settings, if they choose. However, Manhattan offers only one tumbler and no goblets for drinking glasses. Other patterns mimic the lines of this pattern, so if you’re a purist, be sure to check a reputable list of Manhattan pieces and their measurements to ensure what you buy is Manhattan.
In fact, Anchor Hocking added to the confusion by introducing Park Avenue, a Manhattan look-alike in 1987. None of the pieces are actually the same size as the old Manhattan pattern, but are close enough to be confusing. Gene Florence, in his Anchor Hocking’s Fire-King and More book, compares dimensions for some of the similar items. Park Avenue offers a host of beverage glasses, perhaps to make up for Manhattan’s one tumbler.
Anchor Hocking quit making Park Avenue in 1993, according to the Fire-King and More book. Mr. Florence states that some Manhattan collectors buy Park Avenue to use as their everyday ware. With the Park Avenue pattern no longer made, it, too, is beginning to be considered collectible.
Queen Mary
Hocking Glass introduced Queen Mary in 1936, preceding Manhattan, and made it for three years. Also a geometric pattern, Queen Mary has vertical ridges and was produced in both crystal and pink, with pink being produced first. Collectors tend to prefer Queen Mary in pink.
A variety of items were made in both colors. Anchor Hocking made several sizes of bowls, plates, and tumblers, but in Mauzy’s Depression Glass, the authors state that dinner plates are becoming scarce. Other service items include candlesticks, ashtrays, candy jar, comport, and butter dishes with either glass or metal lids. The item pictured is the covered candy dish in crystal.
Because of its many ridges, Queen Mary needs to be checked as diligently for defects as Manhattan.
Colonial "Knife and Fork"
Colonial, called Knife and Fork to distinguish it from Colonial Block and Colonial Fluted made by other companies, was made in pink, green, and crystal. Collectors give attention to the colors equally, but have limited interest in clear. The pattern is unusual in that it combines vertical ribs with a scalloped border. The plain border has a smooth edge with the scallops confining the ribs. The photograph shows the 4.75-inch berry bowl in crystal. The design and the unusual shade of the green glass, which tends toward yellow, make it difficult to mix with other Depression Glass patterns.
Introduced in 1934 and made for four years, Colonial met the needs of hostesses who still desired all the pieces needed for serving gracious meals. Colonial includes a cream soup bowl with handles, various bowls for berries, soup, cereal and vegetables, pitchers with and without ice lips, and a spoon holder. The pattern claims a long list of tumblers, and goblets in six sizes from the 3-inch, 2-oz. goblet to the 5.75-inch, 8.5-oz. water goblet.
Other Patterns
During the 1930s and early 1940s, Anchor Hocking made a number of other patterns that included clear glass in the selection. Many of these patterns were geometric, rather than floral, in style. Miss America, a popular pattern in pink, was also made in crystal. The pattern features a starburst in the center and a band of diamond-shaped "hobnails" on the edge. It is sometimes confused with English Hobnail, made by Westmoreland Glass Company. Look for rays of the same length on Miss America’s starbursts. The item in the photograph is the oval Miss America celery dish in crystal.
Hocking produced its own Hobnail pattern, which featured rounded "bumps" in circular bands. Hobnail has the distinction that although most collectors are looking for pink, the crystal pieces are valued equally. Some of the Hobnail shapes appeared again with minor changes in 1942 as Moonstone, a luncheon set with opalescent edge trim.
Fortune, Old Cafe, and Roulette all incorporate a design of rays or spokes, with Roulette being the most plain. All three patterns have a limited number of items that were made, but included crystal pieces. Fortune and Roulette were made in 1936 and 1937, and Old Cafe was made 1936 until 1938.
Generally, crystal Depression Glass is less expensive than colored items of the same pattern. Collectors who enjoy textures and are less interested in colored glass can put together impressive collections. The facets of Anchor Hocking’s crystal sparkle beautifully in lighted displays.
Resources:
Books:
- Anchor Hocking's Fire-King and More, second edition, by Gene Florence, Collector Books, 2000.
- Depression Glass & More: 1920s-1960s Identification and Values, 12th edition, by Gene Florence, Collector Books, 2000.
- Mauzy's Depression Glass, by Barbara and Jim Mauzy, Schiffer Publishing Ltd., 1999.
Web Sites:
About the Author:
I've been interested in American Dinnerware for at least 15 years, but I knew I was hooked when I bought a 1937 set of Taylor Smith & Taylor dishes. I didn't need them, didn't really have room for them, and had no plans to use them, but I had to have them. I love the charm of their old-fashioned shape and the border of roses linked with a blue art deco-like band. The rest of my collection tends to be a piece here and there because my interest in American Dinnerware is bigger than my pocketbook. So, although my collection is small, my research continues.
I have a bachelor's degree in journalism and commercial art, but I've learned about pottery and glassware from reading, research on the Internet, and looking at pieces in antique shops. I grew up eating Sunday dinner from Taylor Smith & Taylor Lu-Ray dishes. My mother still uses them for special occasion dinners - like when "the kids" come home. (It's nice to have at least a couple of places where we can still be "the kids.")
After many years in a pressure-cooker job, with my husband's blessing I traded my long commute and a respectable paycheck for a chance to pursue some dreams. Now, I provide freelance writing and editing services remotely, thanks to email and the Internet. My primary customers are high-tech companies. My husband and I live in Sherman, Texas, with our spoiled-rotten rat terrier, Biscuit.
My other interests include drawing, painting, reading, crafts, antiques, and searching the Internet to learn more about it all. Visit me at American Dinnerware. I'd love to hear from you and talk about dinnerware. The site is new but will be growing.
Article courtesy of Suite101.com.
