ann

Nothing even remotely like art history feels like work to me! And, yea, the powderhorn nozzle looks a little creepy there . . .

I've never seen any marble evidence from Payne. So personally I've wondered if Christensen Agate existed in Payne only on paper, or if the production there was very limited. I think it moved and settled into production in Cambridge because gas was cheaper there, and Cambridge Glass was there. Does anybody know anything about CAC's first site at Payne? That would be interesting . . .

I've gone around and around myself on this one. When I first started collecting hand-gathered slags I kept mine in three categories -- (1) MFC nines, (2) Somebody Else nines, and (3) swirly with no nines / probably Akro. Time passed. I decided I didn't know enough to divide them that way and put all of the nines together. Time passed. More time passed. I seperated out the nines with the most perfectly-shaped nines and straight cut lines and kept them together for a while. Most recently (Last year? Once I got the MFC book), i mixed all the nines together again and tried to seperate them according to percentage of white to base glass going by what it said in the book about MFC and Akro . . . I don't know what I think about the results of that yet. Still talking to myself about it.

Maybe one of the real Glass People will come back and answer that (I hope so), but just from what I remember from reading about it (from glass books, not marble books), selenium exists in only trace amounts in a few rare minerals, and wasn't discovered until the early 1800s as an accidental red precipitate (I remember the phrase because I liked it!) during the production of something . . . what was it? I think it was sulfuric acid. People started fooling around with it to see what it could do, but it was expensive and difficult to extract. Eventually they discovered an easier way to extract it, at about the time chemists were also finding out it had some weird properties, like being photosensitive, and a good electrical conductor. So it was used first commercially in things other than glass. Apparently its ability to both decolorize and turn glass red just wasn't economically feasible for a while. The glass chemist given credit for producing the first really commercial selenium red glass was Henry Hellmers, Akro's glass chemist, while he was working at Cambridge glass (yes, that Cambridge Glass), around 1930-1931.

Just a nice red slag - - -

My avatar is a Vitro hybrid cat's-eye - - -

HA! I wondered about that . . . .

What a great thread to bump! Gotta figure out my camera. In the meantime - - -

What's the color in hand?

Looks like a melted pontil to me. Therefore, Leighton (or Navarre), or, in this case maybe Barberton, because of the color -- the odd-colored ones (I have a chartreuse one) seem to be Barberton . . . Bubbly glass, yes? (I'm not used to seeing such bubbly glass in these, but hey, anything can happen to hot glass on any given day).

I don't know much about American painting in that time period, so I can't tell you anything artist-wise, but it looks to me like it was painted from life rather than from a photograph, which was sometimes the case with mid-late 19th - early 20th century Indian / Native American portraits. The costume is fairly specific, especially the breastplate and ribbons, so we might be able to figure out a tribal identity from that. I'll drag out some of my old Indian / Native American references and see what I can find.

First one -- If not CAC, then maybe Peltier. A little "feathering" action. And I have a few very small (although not quite peewee) Pelt slags.

And regardless of what you read in books (I can't believe I just said that) you can't always see black filiments in oxblood. But I don't see any oxblood in this pic. When I was first trying to figure out oxblood, someone said to me "Don't worry about it. Once you've actually seen the real deal, there'll be no question in your mind. You'll recognize it from then on." Which pretty much turned out to be true. Anyway, there have been lots of debates and squabbles over the years about what is or is not oxblood, but it turns out there is some variation in it.

What he ^^^^ said. The irregularly-shaped patches (like the red-on-blue one on the bottom right middle) are usually Pelt, while the neat-'n-clean ones -- sometimes with straight lines (like the red-on-whites in the same group) -- are usually Akro.

I wouldn't call myself a Pelt specialist -- maybe devotee -- but I'd like to have that big multicolor up front too. I don't see a lot of big Pelts.

OK, OK, I'm backin' up 15 yards . . .

I get confused when thinking about (1) end-of-day and (2) end-of-cane. I usually have to stop and think about it for a minute. I think it's two cut marks for an end-of-cane marble -- one for where the next-to-last marble was sheared off of the cane, and one for where the last marble was sheared off of the punty, Sometimes resulting in those crazy partial ribbons & latticinios and whatnot as the internal (and surface) design elements ran out. And beginning-of-cane marbles would have one cut or shear mark. At least as I understand it. I also think the end-of-day marbles machinemades is talking about -- marbles made with the leftover scrap glass at the end of the day -- could have either one or two or no cut marks visible, depending on technique . . . for me it's understandable only with contemporaries. Some contemporary artists -- Doug Ferguson comes to mind first -- have made a habit of making end-of-day marbles that are recognizably such, even to me, and I've liked some of them enough to buy them . . . But I've never really visually understood the old Germans that have been labeled end-of-day. Or I've never seen or been shown any good examples.

^^^^^^ One of the marble history nerds

But I'd be interested to hear EOD clearly defined. And why the one shown is one . . .

Me either. I've eliminated the term from my personal marble terminology. Except when referring to the occasional contemporary named an "end-of-day" by the marble artist. But I don't really like it even then. How the marble maker felt at the end of a long day doesn't make a reasonable type-category to me. Just sayin.'

Climax is the name of a small town in southern Georgia. Really. Look it up. Long ago us girls in Tallahassee used to say things like "I'm going to Climax this weekend" just to see what reaction we'd get . . . Sorry. Off topic.

Those get me every time . . .

Wow Bill -- that's a new one on me! How very very very nice! And I just got a new yellow (vaseline) wirepull . . .

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