ann

Wow . . .

Me neither

I'd like to add my niiiiiiiiice to Steph's! And I would love it if you could show us your solitaire board with the rose chinas, Hansel -- they just kill me . . .

Uh oh. You asked for it. Buncha people here interested in how the machines worked (or work even today). I'm one. So, in short (or you could read the Peltier patent that's been the subject of discussion here . . .) Those patterns are not random accidents, but they are still very hard to produce because there are so many variables. There have been some threads here about this -- some connected to the production of the Pelt "feathered" slags comes to mind. But I don't know what keyword would get you the best results in a search. Variables can include the slant of the tank's floor; where the additional colors are added into the tank (the side? the top?) and how much; the design of the nozzle mechanism where the glass drains out of the tank (for instance whether or not there's a constriction / bushing built into the nozzle to cause the glass to pile up or layer in it before it exits the nozzle); how much & how fast does the glass exit the nozzle; the distance the glass drops before it gets to the shearing mechanism; whether that distance and the amount of glass causes a whipping or back-and-forth of the glass stream; whether or not there are any drafts of wind hitting the glass stream; or whether or not the stream "hangs up" slightly on the shears as the mechanism is running; and so forth and so on. Even the weather can make a difference (barometric pressure can affect the tank). And some of it -- like barometric pressure -- just isn't controllable. Sometimes I wonder how anyone got any consistency at all, much less some of the incredible flames & swirls on both vintage and new marbles . . . I get tired just thinking about it.

Okee Doakee. One is now mine! Thanks for the heads up, Steph!

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Bronze, green . . .

What ^^ he said. I think it's much better here than it used to be, for a while there. And I have no desire to have a Facebook presence!

For the wearing o' the green . . .

Orange is pretty thin on the ground in my house, too, Bob - - -

What Steph said.

Weirdly, I know the beads but haven't seen the marbles! These are some that are probably Islamic period Egypt that Bert had --

OK, we got her!

Too wispy for a wirepull, but I like it, whatever it is. Very nice green.

Agree with pincer type.

I love irises . . .

You too watched the NFL combine?

"Cyan" was unknown to me until I started collecting Pelt slags . . . Then "cerise" came along . . .

Well. No takers. Even with a "low" starting price.

Pelt's cerises, too - - -

Oh now those are nice . . .

Yellow ones are new to me too. Also not sure I've seen what looks like the reverse of the usual red-based ones -- looks like white-based ones in the bottom row?

I see what you mean, structurally and glass-appearance-wise, but on my computer the color just looks like varying shades of orange. What are the colors like in hand, Marvin? I agree with Alley, anyway.

I have both of these books -- the yellow book on the left is the first book on marbles as a collectible, dates to sometime in the 1960s, before Paul Baumann's first book came out in the 1970s. The orange one on the right is later, early 1980s, and I think it's the first book on marbles that Everett Grist published. He became well-known in the marble-collecting community. The reliability of the information in them is questionable these days, and in some cases flat-out wrong, especially in the yellow one. But both are interesting to people who are into marble history. The yellow one [i think the names are Carl Tierson (?) and Murray or Morrison or something else that starts with an M] is particularly hard to find. Or at least it was for me.