Ric

Sundry Vitros . . .

The patent has nice illustrations and explanations of Alley’s shearing mechanism. It was filed on February 27, 1933 (Serial No. 658,752) and granted on March 5, 1935 (U.S. Pat. No. 1,993,235). 1935 Lawrence Glass Novelty Shearing Machine US Patent #1,993,235.pdf

@shiroaiko I do not recognize the trademark. I am guessing "Brilliant" was just a common description for clay-foil marbles and was not associated with a specific company or brand. Regardless, Hopf & Hopf included bulk and packaged "Tonmärbel brilliant" on their 1953 price list. Here are the marbles from the poly-net bags I posted earlier. The large ones are about 15/16".

Interesting, I think it's a German slag too - maybe a striped transparent gone awry?

@shiroaiko I wonder if some of the "Brilliant Marbles" (boxes of clay marbles) shown in Stephanie's post here are the ones described on Hopf's stock/price list? I think there are also some Hopf wire-pulls in her thread.

I think that's the gist of it. I have unlabelled poly-net bags (tubes) that are melted closed on one end and tied on the other that I once thought were Veiligglas and I'm now convinced they are Hopf's too. @Fire1981 posted some examples just like mine in another thread. @shiroaiko I have known one particular type of these marbles for quite a few years. It is the one with translucent gold/amber and white striping glass. On some of these, the striping glass has tiny bubbles associated with it, which makes it sparkle like gold. It's a very pretty effect. I have never known what they were until now but I found them intriguing enough to pick up a few at shows over the years - another mystery solved, thank you!

@teajayo You know what I like TJ, that is picture perfect - beautiful!

@shiroaiko This is very interesting - I appreciate your efforts! It is nice to learn more about these companies and their marbles. I was in serious need of an update on what is known about "foreign" machine-made marbles. I am very happy to be getting it from you!

In order of increasing rarity, I would say, blue, green, blue/green, red. The blue/greens are uncommon, but not too uncommon.

@shiroaiko This is very interesting to me and I really appreciate you assembling all of this information! Much of what you say makes very good sense to me, and there is no reason to think that Seike's marbles were not marketed as CODEG or Fairylite. But I wonder what other marbles they might have marketed. I would be surprised if they were only Seike's. And I wonder if any of these other marbles were also labeled "Foreign", with no specific country of origin listed. I wonder if CODEG ever marketed Veiligglas. Many questions remain for me. But I must say that I had three of the 10 count CODEG boxes at one time. I got them out of Ireland years ago, which makes me think even more that they may be Seike's. The marbles are very nice. I had thought they were Veiligglas and I was not aware of any discussion to the contrary. Now I need to catch up and reevaluate. Thank you for bringing all of this to my attention!

I just want to clarify something. I am not saying this marble isn't Vitro, I have not seen them all. In fact, I would say that if this marble is American it's likely a Vitro - I couldn't imagine who else would have made it. On the other hand, it would be a very unusual Vitro, IMO. I'm pretty sure I have a few that would fit nicely with these in my Vitro archive, maybe with different colors too, but I'm not certain. Unfortunately, I'm not close to my collection at the moment. The colors on certain marbles I have in my Vitro archives has always bothered me a bit - I have to work pretty hard to convince myself that they really are Vitro colors. Beyond that, the marbles look Vitro enough that they're in there. Lately, I have been looking at El Aguilas production and I notice that some of them share similar colors and combinations to some of the interesting ones in my archive, and I think I may have figured out a way to sort out the interlopers. But that idea is not ready for prime time yet. I have had many of these marbles for many years, probably long before I ever even heard of El Aguila, and certainly way before I had access to verified examples of their production. And at this point, I'd be kind of surprised if I didn't have 50 of them in there, and I plan to have fun trying to sort them out. 🙂

It's an odd one. I see Vitro, Pelt, and MK possibilities, which means . . . I got nothing, but at least I have it in that order.

My understanding is that Cowan de Groot and Grahams Bros. were general toy merchants who marketed many imported products, including marbles. Does your reference specifically indicate that marbles were being imported from Japan by these companies? Is there any documentation from Seike that indicates his marbles were being sold to these companies?

Thanks for sharing this, it's way cool! An automated shearing mechanism for hand-gathered marbles. I can just imagine Cerise Agates being made, and at the rate of 40/min no less. Very interesting.

A wire-pull would be essentially one continuous stream of striping glass flowing around in the base glass. This looks like multiple shorter streams of striping glass, at least to me.

Happy Thursday! Here's an old pic. I think the dish is Czech.

Those are cool, Melissa - sorta Coral colors.

@disco005 Well, there they are - nice ones too! Looks like an Alley Mountain Dew middle right - that's a good marble.

I don't think it's very common for Heaton to have blue along with the green. For that and other reasons I'm leaning Ravenswood.

@shiroaiko The history is very interesting to me. It's helps put into perspective the beginnings of cat's eye marbles here. As for Seike's marbles, in general, they are intriguing and many are very pretty too. I have collected random swirls, like those produced by various companies in West Virginia (usually referred to as WV Swirls) for a long time. It seems that Seike's swirl marbles span quite a range - from marbles that resemble Alley to others that look more similar to Ravenswood or another WV Swirl maker. Your photos are a beautiful resource. I enjoy looking at marbles, especially those that are new to me. It is fun to compare them with marbles made by American companies.

It is one of my favorites. The base glows nicely too.

I have it with my Raveswoods. They are all Ravenswood.

Just a little WV color.

I certainly didn't intend things to sound this way, Dave. I'm enjoying the discussion too. I never plan to quit trying to identify marbles, especially the ones made by companies I I don't know much about. You feel free to post here and ask whatever you like. I love to talk marbles and I'm happy to give whatever useful opinion I can.

It might just be me, Art. But I have always made a distinction between "seams", which I see as playing a significant role in the marble's design, and "cut-offs" which are more tangential to it. When I think of seams, I think of purposeful construction. Seams essentially divide the marble's surface into two halves that can be manipulated independently. This gives rise to different perspectives. For instance, Some marbles like Vitro Whities appear to have a single color equatorial ribbon, and lots of people, myself included, refer to them as "single ribbon" marbles. This is taking the perspective of a viewer. A producer might see it as two equatorial ribbons, running seam-to-seam, one on each half of the marble I often tend to take the latter perspective. The reason I say this is because I wouldn't refer to a marble like a Vitro Whitie that had a red ribbon on one side and a green ribbon on the other half as a "single ribbon" marble. If it is the same color on both halves of the marble I think we call it a single ribbon from the perspective of viewers. Just look what the possibility of having two independent canvases has given us, everything from bifurcated marbles, to three or more different colors on each half of the marble (6+ total), to single color equatorial ribbons that many would refer to as patches. Cut-offs, on the other hand, I see as almost a necessary evil. It's just a fact of making marbles. I usually associate them with hand-gathered, including transitional, marbles and machine-made swirls. This is not to say that cut-offs play no role in the design of a marble. Pontils and Cat's Eyes are other stories altogether. All of this IMHO, of course.