This article was first published in the April 2000 edition of Glass Collector's Digest, we are extremely proud to be able to make this updated information available to everyone and express our sincere thanks to Mrs.Gugudan for graciously allowing us access to her personal files and records. She can be directly reached at neowhatsis@cwglass.net
| NEO-WHATSIS GLASS? by Judith Van Buskirk-Gugudan In order to find this glass that I love, I have had to ask dealers this try-and-take-a-breath-in-here-somewhere question: "Do you have any of that glass which looks lavender in daylight or in incandescent light and then turns to a pale blue color in fluorescent lighting, and it is or was referred to as Alexandrit or Alexandrite by Moser Glassworks; as Wisteria by The Fostoria Glass Company; as Twilight (but not Twilite nor Wistaria) by Tiffin Glass Company and as Dawn, if made by Tiffin in Duncan & Miller molds but not Dawn, which is gray, if made by A. H. Heisey & Company, but instead as Alexandrite by Heisey ; as Wisteria by Steuben Glass Works; as Heatherbloom by The Cambridge Glass Company, but not all Heatherbloom; as Neo-Blue or Neodymium glass by Lotton Art Glass; as Alexandrite by Morgantown Glass Works; as Wisteria by Fenton Art Glass Company, but only that made in 1977 and 1978; as Alexandrite by Boyd's Crystal Art Glass; as Pink Luxodine or Luxodin by the Czech glass company of ZBS (Zeleznobrodske Sklo A. S.), and it was used in costume jewelry by Weiss Company, Kramer of New York and many other jewelry companies here and in Europe, and those companies didn't call it anything definitive at all?" Usually this question is followed by the dealers saying either that they have none or that they have no black light. After the fluorescent-is-not-black light issue is cleared up, 99% will still maintain that they have no glass like this (I go and look anyway), and 99% of the other 1% will happily show me pink glass, blue glass, lavender glass, and the ubiquitous amethyst glass, zero of which is the neodymium glass I seek. HOWEVER, 1% of that last 1% will actually have a piece or two! It is enough to keep me searching and happy. (Well, that, and eBay). I will be using the term "neodymium glass" throughout this article and it is meant to encompass all of this type of glass. When covering a specific company I will be using that company's name for the glass. So it is no longer "neo-whatsis" glass (as my friend, Madolyn, cleverly termed it) but now, neodymium glass. The dichroic, (which means having or showing two colors), characteristic of neodymium glass is attributable to the use of neodymium oxide (Nd2O3) in the glass batch. Neodymium oxide has been referred to as a "rare-earth element" however it is actually a "rare-earth binary compound." If anyone wants the chemistry scoop regarding neodymium and all its properties, compounds and uses, there is always the encyclopaedia or toss the word into a search engine and VOILA!---- 10,000 things to learn about neodymium, such as its discovery in 1885. The dichroic nature of this glass is what, I think, makes it so interesting and desirable to collectors, and the scarcity of it keeps the prices on most pieces, very dear. Heisey, Morgantown, Tiffin, Fostoria and Cambridge are all now closed. Most of those companies made their neodymium glass for very limited periods. The U.S. companies still pressing it are making bibelots only, not table services, dinnerware and collateral pieces. Moser, ZBS and other European glass houses still make bowls, stems, vases and figurals. Contemporary art glass companies, such as Lotton Art Glass, are making lovely hand-blown decorative pieces. However, it is becoming difficult to find the pieces made from the 30s through the 50s by the famous, old U.S. companies. Morgantown appears to have had the shortest production period and produced only a small number of items in its Alexandrite. I was told that at the recent Morgantown convention, not even one piece in Alexandrite was to be found for sale. Heisey and Fostoria had production periods for their neodymium glass of approximately 5 to 7 years. Steuben had discontinued production of its colored glassware by 1934. Cambridge introduced its Heatherbloom in late 1931 and it appears that by 1936 the color was no longer in production. Tiffin made its Twilight mostly in the 50s. I will be covering some additional information about many of these companies, in the following paragraphs.
The development of neodymium glass is attributed to Leo Moser, of Moser glass, in collaboration with Professor Quasebart of Berlin and Professor Turner of Sheffield, England, around 1920. It is reported that Heisey obtained the rights to produce this glass directly from the Moser company. Moser still produces its Alexandrit glass, and new pieces are moderately priced. Its pieces from the early production periods, when the Moser family still had ownership interest in Moser Glassworks, are commanding high prices. Moser used additional rare-earth compounds along with neodymium oxide to produce other dichroic glass, notably Heliolit, which changes from an amber-brown to green. Moser referred to all and any of this glass-type as "rare-earth doped" glass. Photo #1 shows a Moser vase, two items from ZBS and a perfume bottle from an unidentified Czech company, all fairly recent. Photo #2 shows a large and elegant Moser three-piece vanity set from the 50s (or could be more recent.) The perfume bottle is 7 ½" tall, the atomizer 5 ½" and the dresser jar 5". For pictures of the older Moser Alexandrite and the intriguing history of the company, I recommend Gary D. Baldwin's book "Moser Artistic Glass, Edition Two". Photo #1 shows, clockwise from upper left: The values suggested here and in the following descriptions are either the price I paid for an item or prices realized on eBay. I share them only to give the reader some idea of value. Due to any number of factors, actual prices vary greatly. The loose stones of this glass scattered throughout the photos are used in making costume jewelry. Marked pieces from well-known manufacturers such as Kramer of N.Y., Eisenberg, Weiss, & Vogue are very collectible. Photo #3 shows:
Fostoria introduced its Wisteria color in 1931 and offered it in many stemware, giftware and tableware lines. Most of the Wisteria production had ceased by 1938. I had a #2424 Kent 9 ½" flared bowl in my unidentified file for two years. I saw a drawing of the bowl in the book, "Fostoria Tableware 1924-1943, The Crystal for America" by Milbra Long and Emily Seate. An exchange of e-mail with Ms Seate confirmed that this item was made in Wisteria and would be so listed in a future book. I have found reference to more than thirty lines in which some, if not all, pieces were produced in Wisteria. The following lines appear to be the easier ones to find: #2440 Lafayette and #2449 Hermitage, and in stemware, #5098, #5099, #6003, and #6004. Fostoria never decorated its Wisteria glass so clear crystal decorated bowls are found on pieces with Wisteria bases and Wisteria bowls are found on clear crystal decorated bases in some stemware and other items. Even though Wisteria production was long in the past by 1977, Fostoria again used Wisteria for the "Designer Collection" line in 1977-1978. These vase collections were called Impressions, Images, and Interpretations. (A fourth line, Impromptu, is known, but I could find no pictures of it.) These were individually crafted art glass pieces in several shapes. These lines were all designed by the well known glass artist and designer, James Carpenter. Which shapes were made in Wisteria is difficult to determine because the color used by the artists who made the actual pieces was theirs to choose. Photo #5 pictures the two which I have. Fostoria had such a prolific production history and a wonderful wide range of table services, dinnerware and giftware that it is relatively easy to find Fostoria's lovely Wisteria. Photo # 4 shows: I think this is the first time a photo of the Kent bowl in Wisteria has been published. As you can see, it is a spectacular piece. Some of Fostoria's lines were exclusively vases, and I have seen only one ever offered for sale in Wisteria. It was a 6 ½" #2428 vase and it sold for $355! I also saw a pair of Wisteria #2447 Duo candlesticks sell recently for $222.50. I know I said it was easy to find Wisteria but I didn't say it was always easy to purchase it.
Cambridge introduced its Heatherbloom in late 1931. It was last advertised in 1935. There were two kinds of Heatherbloom made, one with neodymium oxide in the batch and one without it. Naturally, the one without neodymium oxide is not dichroic. I read in one of my references that most Heatherbloom items which did not change color were marked so that it was not a problem in identifying them. That has not been my experience, though. What I have found is that most collectors who love Heatherbloom collect it for its beauty and whether it changes to pale blue or not is not particularly significant to them. Of course it is significant to the neodymium glass enthusiast. The line I see most often is Mount Vernon. It looks like cut glass and is very pretty in Heatherbloom. I have seen references to the following items or lines in Heatherbloom: #646 candlesticks, #3400 line in several etchings, Martha Washington, #3011 Statuesque, #3035, #3126, #3121, and #496. Three pieces are shown in Photo #6. Neodymium glass has probably been produced in almost every glass-making country that exists. I have an Italian piece with neodymium glass surrounding a red center, a technique referred to as "Sommerso." My other Italian piece is a monumental bull figural (See Photo #5). It was made by Licio Zanetti. It is 12" in length, 9" high, 4" wide and weighs six pounds. My husband gave it to me for our ninth wedding anniversary. I also have two examples of Swedish neodymium glass. Both the bubble optic paperweight and the cylindrical bud vase are from 1969. Photo #6 shows: Morgantown introduced its Alexandrite no later than January, 1930. It was only offered in a few items and no mention of the color can be found in Morgantown's 1931 catalog. One of my references suggested that perhaps it was experimental. I have searched through two Morgantown books and several articles, and I have found only these items produced in Alexandrite: #7665 Laura stems, #7667 Georgian stems, #7594 Exeter stems and #7639 footed finger bowl. All of these are extremely difficult to find. I have included an advertisement from the June, 1930 , Good Housekeeping magazine. An excerpt reads, " When you see this new Alexandrite glassware by Heisey, you wonder at its soft, elusive radiance." In the seven books and dozens of newsletters that I have regarding Heisey, I have found several start and ending dates shown for the production period of Alexandrite. What continues to keep pieces in demand and prices high is its beauty and its "soft, elusive radiance." Heisey made the most Alexandrite in its #1401 Empress pattern, but the color was used in many other lines. A tall candelabrum, such as #301 Old Williamsburg, is a joy to see. The following lines have pieces made in Alexandrite (there are others): #4027 Christos, #301 Old Williamsburg, #1306 Comet Leaf, #3381 Creole, #1401 Empress, #4045 Ball vase, #1445 Grape Cluster candlesticks, #3390 Carcassonne and #134 Trident. A pair of two-light #134 Trident candlesticks sold recently for $800. Heisey discontinued most of its Alexandrite production around the mid-thirties. I found references to Steuben's Wisteria having been in production as early as 1928. It was certainly popular. In the December 1932 catalog alone, I counted 45 lines which were available in Wisteria. Steuben's glass was not mass-market oriented; therefore, there were no vast amounts of glass made in any line, pattern or color. I haven't listed all those line numbers, since Steuben's Wisteria is infrequently available for purchase. Photo #7:
Lotton Art Glass, which produces some of the most beautiful glass in the country, designs and executes incredible bowls, vases and sculptures using neodymium glass. The company has used the terms Neo-blue and Neodymium glass for its pieces. Some pieces are tall swirling sculptural designs encased in Neodymium glass. The company makes an adorable line of mini-perfumes with florals also encased in Neodymium glass. Charles Lotton, the founder, has been delighting collectors with his art glass and his Multi Flora design for almost 30 years. Photo #8 shows one of the mini-perfume bottles and Photo #13 shows a Charles Lotton Multi Flora neodymium glass bowl. It is 11" in diameter. Charles made this piece for me this year. The world-renowned Dale Chihuly worked with neodymium glass in his famous "Chihuly Over Venice" series of chandelier installations in Venice, Italy. The portfolio art print shown here is of a chandelier made in Nuutajarvi, Finland. It is inscribed by Chihuly "Neodymium Chandelier, Detail in the Woods, Nuutajarvi, Finland, Part I June 1995, Chihuly." Since the price of any Chihuly work is stratospheric, I do enjoy this print with the name of my favorite glass inscribed in his own hand. Fenton produced a Wisteria in 1977 and 1978 which contained neodymium oxide. There were ten items offered in the color: 7" Threaded Diamond-optic basket, Knobby Bullseye candy box, 7" Threaded Diamond-optic vase, Colonial candy box, Tree-of-Life comport, Heart fairy light, 5 ½" and 7 ½" Swirl ashtrays, 6 ½" Threaded Diamond-optic bowl and Threaded Diamond-optic bell. Fenton's Wisteria has only a subtle change of color, not the dramatic shift of the other companies' colors covered herein. A copy of a page from the January 1977 Fenton catalog, which features this glass, can be found on Page 100 of the book, "Fenton Glass, The Third Twenty-Five Years," by William Heacock. Both Mr. Bill Fenton and Mr. Frank Fenton were kind enough to speak with me by phone. Mr. Frank Fenton remembered the line and the neodymium oxide usage clearly. Speaking with him was a wonderful, educational experience for me. They are two fine gentlemen from a wonderful and successful company. In Photo #8 you will see the Threaded Diamond-optic bell. Boyd makes small figural pieces and other items in its Alexandrite. A limited number of an item is pressed in a specific color, and then that item is not pressed again in that color. Boyd has made many items in its Alexandrite color. In Photo #8 there are seven of the Boyd miniatures. Photo #8, clockwise from upper left Tiffin introduced its Twilight around 1951. Three of my reference sources indicate that even until Tiffin's closing in 1980, some items were still being produced in Twilight. Tiffin also made a color called Twilite (note spelling) in the late 20s and early 30s. It was originally referred to as Evening Blue. This color does not have a dichroic nature. The similarity of the two names engenders confusion, as we might expect. Seen side-by-side, it is evident that the two are different, but when is anyone lucky enough to have that happen? As with all neodymium glass, the Twilight will change color and simplifies identification. Tiffin's extraordinary art glass, made mostly during the 50s, rivals any art glass in the world. Forms, colors, dramatic sizes, and much free-hand inventiveness enliven this glass. Twilight was used in almost every line. "Dawn" was the name used for this glass, when it was used to produce items in molds that had been obtained by Tiffin when the Duncan Miller company closed. Items in the Canterbury line are frequently described as being in the Dawn color. Twilight and Dawn are the same glass formula. Tiffin also produced a color called Wistaria (note spelling). It is not dichroic and is more pink in color, but it is still confused with Twilight occasionally. It would be almost as easy to list the items which were not made in Twilight as it would be to list those which were, as this color was used for many lines and with dozens of individual item numbers. Items from the Empress line combine Twilight with Smoke or Green. The Empress line alone had about 75 shapes. By combining optics, hand-tooled foot variations, shapes and sizes, even a simple item, such as an ashtray, might have had fifteen or twenty different looks (and numbers.) There are pieces in Twilight with Bubble Optic, Swedish Optic (which was renamed Tiffin Optic after 1946), Spiral Optic (usually cornucopias), 5 Rib Optic, 10 Rib Optic, Bubble Ball stem, #17430 hand-applied four-part foot, Manzoni foot (example in photos), Cellini line (hand-tooled open-work stem), Scallop Edge, Blown foot, Bubble stem with teardrop and others. Twilight can be found in stems, vases, bowls, pitchers, nappies, candleholders, compotes, centerpieces, flower arrangers, hurricane lamps, candy boxes, creamer and sugar sets, bonbons, free-form decorative items, hostess plates, rose bowls, baskets, and numerous ashtrays. A few pieces were also engraved or cut. I can recommend the following two books for additional information information on Tiffin's Twilight: Tiffin Glassmasters The Modern Years by Kelly O' Kane and Tiffin Modern Mid-Century Art Glass by Ruth Hemminger, Ed Goshe and Leslie Pina. I can also show you the items in the photos, and you can see a sample of the beauty and versatility of Tiffin's Twilight.
Tiffin pieces Photo #10, clockwise from upper left: The #1 ashtray and the #5453 ashtray are made from a10-rib optic. The glass is folded and pulled into these shapes. The whole upper edge of the heart-shaped piece is folded back on itself, and there are open spaces on the underside. These heavy pieces catch light and reflect it beautifully
Tiffin pieces Photo #9, clockwise from upper left:
Until I found this one, I had only seen drawings and mentions of the 10¼" Tiffin Optic #15 vase with the Manzoni foot. It is a wonderful piece and the one selected for the front cover. This may be the first one in this size photographed for publication.
I hope neodymium glass is less of a mystery now. Whether this glass is used in a fantastic Moser piece from the 1920s or in a little Boyd carousel horse from the 1990s, the color delights, and its changeable nature intrigues. I am hoping there are other collectors who would like to share their experiences and discuss their collections. I end with a warning though. If you want to collect this glass, you will have to learn how to ask that page-long question from the beginning of this article and not run out of breath. Judith Van Buskirk-Gugudan and her husband, Charles, recently moved from Hawaii to Florida for their retirement. They are interested in neodymium glass, art glass, EAPG canary/vaseline glass and glass identification. Judith is a member of Heisey Collectors of America, Inc., Tiffin Glass Collectors Club, Fostoria Glass Society of America, Inc., National Duncan Glass Society, Inc., National Cambridge Collectors, Inc., and Vaseline Glass Collectors, Inc. Photos taken by Mr. Newton Harman, Springs Photo, Crystal River, Florida. |
