Moonstone by Anchor Hocking

Anchor Hocking is one of America’s oldest glass producers, and we are delighted to receive an expansive set of mint-condition artifacts in our available collection. When discovering more about the history and creation of this set, we reached back decades farther into history than usual and found some surprises along the way.

Anchor Hocking, the glassware manufacturer we know today, has a long history. It first came into existence in 1905 when Isaac J. Collins and six friends raised $8,000 to buy the Lancaster Carbon Company in Lancaster, Ohio.

We know that Anchor Hocking did not invent Hobnail glass. We have found that the hobnail style of glass manufacture was originally produced and popularized in the Victorian Era (the Downton Abbey 1830s to about 1900). Most agree that it was developed by an artist at Hobbs Brockunier and Co. in West Virginia in 1886 by first pressing glass into a mold with hobnails all over it and then hand-blowing and shaping the piece. This early form of hobnail glassware was known as Dew Drop Glass. Sometimes the tops of the "dew drops" were made opalescent by reheating the surface of heat-sensitive glass near the furnace, aka "glory hole." It was commonly made into pitchers with matching drinking glasses for elegant ladies' luncheons and picnics. 

Anchor Hocking moonstone original sticker circa 1942-1946

Nearly 100 years later, during the great depression, Hocking set out to democratize the dew drop glass style and introduce hobnail to Americans outside of high society. Bright colors like pink, clear with red trim, and some pieces in ruby were providing a sense of luxury and cheer in hard economic times. It was nearly 10 years after they began producing hobnail glass that they began manufacturing their own Moonstone opalescent hobnail glass. This decade was needed for Anchor Hocking to develop a way to mass manufacture that elusive opalescent tipped look. A triumph in American manufacturing, the first pieces of Moonstone arrived in 1942, just after we marked the end of the Depression and the beginning of WW2.

With the war on an upswing, a large majority of American men were drafted to serve, and the remaining workforce was primarily comprised of women. It is not a far stretch to imagine that the hands that worked the glass pressing machines would have been women, quite a different scenario to the pink pieces manufactured just a decade earlier. These pieces are from an era prior to the significant post-war economic and style shift.

Anchor Hocking ruffled edge Moonstone Bowl and Dinner Plate circa 1940s

The Moonstone pattern, made from hobnail molds, features primarily transparent glass bodies with white opalescent glass highlights on the tips of the hobs and edges of each piece, sometimes reflecting shades of blue or amethyst. It took many forms, from traditional dinnerware pieces like plates and cups to impressive serveware, accessories, and table decor. Several of these pearlescent pieces, especially the tableware, host hyperfeminine ruffled edges, making for a striking display when a place setting is stacked. As was popular in the era, several serving pieces were divided to carry several small treats, and it was common for use with sweet and savory offerings. Large punch bowls were made for social gatherings, and though it was a century after the first hobnails came to be, elegant ladies still used matching pitchers and drinking glasses for luncheons and picnics. This time, though, they were catching daylight on their tables in the twinking opalescent glow of Moonstone. 

Hocking continued production through 1946. A short run, making these particular pieces rare and collectible.

Opalescent hue shows and glows with different angles and light.

Artist Highlight: Jim McBride

Salishan and Ptarmigan pattern dinnerware circa 1970s.

Salishan cups, saucers and creamer designed by Jim McBride for Fabrik.

While working as a pottery apprentice at Pottery Northwest, Jim McBride dreamed of opening his own factory. In the 1970s, he saved up enough money to purchase some secondhand mass-production equipment and opened his own doors under the name Fabrik at 701 6th Avenue, North Seattle, Washington. 

Jim developed a distinctive dinnerware line, including plates, cups, and some serving pieces. The pieces are heavy, molded, and glazed with smooth matte finishes in simple overlap/interface patterns in varying combinations of earth tones. The hand-crafted work is known for its ram-pressed clay construction, outward slanted rims, and unusual handles. Plates stack into each other, creating a space-age flying saucer silhouette; salt and pepper sets are sculptural blocks with perfectly circular center-punched holes that pair nicely with the perfectly circular handles on the tea and coffee cups. 

The artisan pieces are thick, substantial, and highly striking yet made to endure daily use and provide functionality to the modern home of the 1970s. Every piece was manufactured to be used in the oven, table, freezer, or microwave.

September 7th, 1980. Chicago Tribune.

To celebrate the home pride of the man and the company, all of the colorway names were regionally inspired. 

Agate Pass; a high-current tidal strait in Puget Sound connecting Port Madison and mainland Kitsap County in Washington.

Verticle tri-color dipped design in deep brown, gray, and buff.

Salishan; a tribe indigenous to the PNW. 

Vertical stripe in buff, cream, and beige.

Spokane; The name “Spokane” is often translated as “children of the sun,” most likely stemming from the name of a chief, Illim-Spokanee, first encountered by fur traders, whose name was translated as “Son of the Sun”. Spokane is now the name of a town 4 hours outside of Seattle.

Buff with brown fleck surface and brown banding.

Ptarmigan;  A bird found in the Cascades from Wahstington’s Mt. Adams north to the U.S.-Canada border.

Plain body with brown flecks.

Foxfire; the phosphorescent light emitted by certain fungi on decaying timber.

Verticle stripe in grey, beige, and sandstone pink.

The company did manufacture custom work and some limited colorways, so some rare-to-find pieces are out there. Some known short-run colors of the original Agate pass vertical stripe designs are known to exist in raspberry and dusty pink, and in navy and cornflower blue. We also see a version of Ptarmigan in a brown body with speckles.

The unique style was met with great appreciation, and at its height, Fabrik could employ more than 15 artists to manufacture pieces for distribution nationwide. We know that there was a waterfront restaurant featuring Jim’s pottery near the factory and that The Bon’s in Southcenter’s china and gift department offered children’s own hands to be printed permanently on the stoneware to be hand finished and hand glazed for pick up as personal keepsakes in time for Fathers Day. Several shops provided Fabrik designs for wedding registries.

The raised “F” signature makers mark is found on the bottom of every Fabrik piece.

Fabrik logo on the underside of an Agate Pass pattern saucer.

Fabrik pieces appear in boutique catalogs and advertisements, which are heavily concentrated in the Pacific Northwest but also highlighted in a few key areas across the country. Regionally, they sold at The Country Corner in The Marketplace in Fairhaven Village. We also see Fabrik sold at all of The Bons locations. In Washington, we see Bon’s ads in Tacoma Mall, Bellingham, and Southcenter. Bon’s had locations throughout Montana, including cities like Missoula and Great Falls. Bon’s also listed Fabrik in Coos Bay, Oregon, and in Twin Falls and Boise, Idaho. 

For cities outside of the PNW, we see several ads for Fabrik concentrated in the West but reaching key locations as far as the East Coast. In the West, we see listings at American Furniture and Jans Pan-tree in Albuquerque, New Mexico; La Boutique in Carlsbad, New Mexico; Tabletop in Tuscon, Arizona;  and several Macy’s in Northern California. In middle America, we see listings for Yes, Virginia in Bismark, North Dakota; Marshall Fields in Chicago; Ben Simon’s in Omaha, Nebraska and Bin & Barrel, Corpus Christi, Texas. In the East, we see  Elegant Accents in Tampa, Florida, and Scan Design at the Carriage Gate Center in Tallahassee, Florida. This is not a comprehensive list of locations where Fabrik was distributed but it gives collectors an idea of where to look to find more pieces by Jim McBride.

Concentration of known Fabrik ads published throughout history.

May 9th, 1975. The Bellingham Herald. Mary McBride makes an in store appearance.

After flourishing for many years, the Fabrik factory lost its way in the early 80s when Jim and his wife Mary, who had been running the business together, filed for divorce. Jim started experimenting with a bold new direction which did not resonate with customers. During this time, Jim created the unappealing American Quilt Collection (1984), whose name refers to a vibrant patchwork of different cultural and ethnic pockets residing within a larger community. It was the only colorway name that was not explicitly representative of the PNW. The collection was buff white with center-stamped navy blue geometric motifs and thin blue banding. Some of the newly developed pieces were unimaginative and tastelessly ornamented with handpainted words. The business rapidly deteriorated to the point of bankruptcy and officially shut its doors in the mid-1980s.

September 12th, 1982. The Journal Times. Ad for American Quilt by Fabrik.

We found the public auction advertisement from James G. Murphy Co. listed in the Spokesman-Review (Spokane, Washington) on March 18th, 1986. The listing provided details on the auction's contents as Fabrik cleared its operation. The auction included ceramic manufacturing equipment, everything from glazing machines to industrial kilns, hydraulic ram presses, pottery wheels, pulverizers, table saws, and the remaining dinnerware inventory. There is a potential that the purchaser of the remaining inventory and original molds tried to continue the brand. In a 1990s message board, one woman mentioned that she discovered a Fabrik website not managed by McBride on a search engine. This, of course, has long disappeared, so clearly, they had no success in continuing the Fabrik legacy.

Example of American Quilt by Fabrik circa 1980s.

Today, the timeless forms and impeccable hand-finished construction of the original 1970s Fabrik by Jim McBride designs are a favorite in functional mid-century collectibles. They are synonymous with Pacific Northwest mid-century design and continue to charm dinner guests across the country.

Why Vintage Glassware is Bursting with Vibrant Colors

Have you ever wondered why vintage glassware is bursting with vibrant colors while modern-day glassware tends to be mostly clear? 🤔 Let's explore the fascinating reasons behind this shift.

In the past, glassmakers utilized various techniques to infuse colors into their creations. They incorporated vibrant pigments like manganese, cobalt, uranium, and even gold during the glassblowing process. These elements created stunning hues, ranging from rich blues and greens to radiant reds and yellows. Vintage glassware truly reflected the creativity and craftsmanship of the artisans behind them.

However, as time went on, the demand for clear glassware increased.

Clear glassware gained popularity due to its versatility. It allowed the colors of the fine wines to take center stage and became preferred for formal occasions and fine dining.

Technological advancements played the most significant role. Developing more transparent glass formulas and refining production techniques made it easier to mass-produce clear glassware. This resulted in cost-effective (cheap!) manufacturing processes and broader availability for consumers.

Still, the allure of mouth-blown vintage glassware remains unparalleled. Especially if you already know the color of your favorite chard pretty damn well. The vivid colors found in vintage pieces add a touch of nostalgia and personality to any table setting. They evoke a sense of history and are cherished as collectibles, reminding us of the unique craftsmanship and design aesthetics of bygone eras and artists.

Raise a toast to the colorful past and the clear future of glassware! 🥂✨

Ceramicist Rupert Deese

Rupert Deese and Madeira, one of his many collections for Franciscan.

Rupert Deese was born in Agana, Guam, where his father served as a Marine Corps officer. After graduation from high school in 1942, he enlisted in the Army Air Corps, serving stateside as a B-17 mechanic. Deese graduated with a Bachelor of Arts degree in 1950 from Pomona College. After graduation, he started working as a ceramist in Claremont, California.

In the mid-fifties, supported by a grant from local art patrons Robert and Catherine Garrison, Deese entered Claremont Graduate School, studying ceramics.

After receiving his Master of Fine Arts in ceramics in 1957, Deese continued making his own ceramics in his studio. However, like many artists, he found it necessary to supplement his income. After graduation, he began teaching ceramics at Mt. San Antonio College in Walnut, California, and remained on the faculty until 1971. 

Deese's pottery gained national recognition in 1960 when his covered bean jar won the IBM sweepstakes prize at the prestigious 21st Ceramic National Exhibition at the Everson Museum in Syracuse, New York.

In 1964, Deese accepted a full-time position as a designer in the Franciscan Ceramics division of Interpace (International Pipe and Ceramics Corporation) in Los Angeles. 

For the next twenty years until his retirement in 1984, Deese created shapes and patterns for Franciscan dinnerware, glassware, and flatware. In the evenings and on weekends, he continued to work on his own ceramics in his Padua Hills Claremont studio.

Deese created numerous custom pieces, including a United States Capitol Members' Dining Room planter. His work can be seen in several prestigious museum collections, including the LACMA in California and the Museum of Fine Arts in Boston.

Exploring the Durability of 1960s and 70s Stoneware Dinnerware

Several patterns and shapes of 1960s and 1970s dinnerware

Stoneware dinnerware of the 1960s and 70s is well-known for its durability and longevity. This type of dinnerware is made from clay that has been fired at high temperatures, making it resistant to chips, cracks, and scratches. But what makes stoneware dinnerware from this era so durable compared to other types of dinnerware?

First, we must explore the unique cultural shifts happening around the dinner table at the time because, in many ways, this was the driving force behind many of the changes occurring in the market. By the 1960s and 70s, newer technologies like the microwave oven and the automatic dishwashing machine were commonplace. This encouraged dinnerware manufacturers to innovate as young households ditched mother and grandmother’s delicate porcelains with silver and gold embellishments that could not be microwaved. Another thing to consider is the number of women who had entered the workforce by this time. It was common for children old enough to spend a few after-school hours at home alone. People wanted their kitchens to revolve around ease with minimal clean-up, which introduced an era of extra durable oven-to-table-to-freezer pieces.

So, what technologies and changes were made to accommodate the modern family of the 1960s and 70s? Well, several. 

One reason vintage stoneware is seemingly everlasting is the quality of the clay used. Stoneware clay is naturally more durable than other types of clay because it has a higher firing temperature, which makes it harder and less porous. The stoneware clay used in the 1960s and 70s was typically of a high quality compared to today’s. It was fired at high temperatures, which resulted in a stronger and more durable final product.

1970s Stoneware dinnerware designed by Jim McBride in Seattle for his company Fabrik

Another reason for the durability of stoneware dinnerware from this era is the glazes used. Glazes are applied to the surface of the stoneware to make it smooth and waterproof and to add color and design. The glazes used on stoneware dinnerware of the 1960s and 70s are high-quality, with a focus on withstanding both machine dishwashing and several blasts of 1970s-strength microwave radiation. This particular attention to glazes meant they were less likely to chip, crack, or craze. Crazing is a spiderlike cracking to glazing, which is not structural damage (makes it more susceptible) but can leave spaces for mold and harmful bacteria to fester. You see this a lot in pre-60s dinnerware.

Additionally, stoneware dinnerware from this era was often thicker and heavier than other types of dinnerware, which added to its durability. Though this was primarily an aesthetic choice of the era to emulate a back-to-nature rustic feel, the weight and thickness of the stoneware made it less likely to become damaged, even with daily use.

Ceramicist hand throwing clay at a potters wheel

Finally, the manufacturing process used for stoneware dinnerware of the 1960s and 70s played a role in its durability. Though artisan pieces were still primarily hand-thrown on a potter wheel, larger mass-manufactured pieces were made using slip casting. In this process, liquid clay was hand-poured into individual molds and allowed to be set for an extended period of time. This process ensured that each piece was uniform in thickness and shape, making it less likely to break or chip. Compared to today's speedy machine mass manufacturing, 60s-era slip casting was seen as a very tedious and time-consuming process, but it was cutting-edge technology at the time.

Undoubtedly, stoneware dinnerware from the 1960s and 70s is durable. It was intended to be a long-lasting investment for everyday family use. Pieces were designed to keep up with several modern convenience factors that contributed to its longevity. Today, stoneware is manufactured for different modern conveniences, including low shipping weight and internet trend cycles, making it cheap to produce and quick to replace. Considering its origin and motivations, it's really no surprise that vintage stoneware dinnerware is still an excellent investment for any home all these decades later.

The Comeback of Yellow and Brown in Mid-Century Home Decor

A Look at the Popularity of Warm Tones in the Swinging Sixties

Uncovering the cultural and societal influences behind a popular color trend

In the 1960s, yellow and brown colored glassware was all the rage. From the bright sunshine yellow of the Summer of Love to the earthy tones of the Mid-Century Modern movement, these colors were highly sought after and widely used in glassware production. But what caused their popularity during this time period?

One possible reason for the popularity of yellow and brown glassware in the 1960s was the cultural and societal climate of the era. The 1960s were a time of social upheaval and cultural change, with the counterculture movement and the civil rights movement leading the way. Yellow, in particular, was often associated with the Summer of Love and the hippie movement, which celebrated peace, love, and freedom. The bright and cheerful color was seen as a symbol of hope and optimism in a tumultuous world.

Brown, on the other hand, was a popular color in the Mid-Century Modern movement, which emphasized functionality, simplicity, and natural materials. The earthy tones of brown glassware fit perfectly with this aesthetic, bringing a sense of warmth and comfort to the modern home.

In addition to cultural and societal factors, the popularity of yellow and brown glassware in the 1960s may also have been influenced by technological advances in glass production. The 1960s saw the development of new methods for coloring glass, such as the use of metal oxides and other additives. These advances made it easier and more cost-effective for manufacturers to produce glassware in a variety of colors, including yellow and brown.

Today, yellow and brown glassware from the 1960s remains a beloved choice for collectors and vintage enthusiasts. Its combination of style, cultural significance, and technological innovation make it a unique and valuable addition to any collection. Whether you're a lover of Mid-Century Modern design or simply appreciate the sunny disposition of yellow, vintage glassware from the 1960s is sure to bring a touch of history and charm to your home.

The Art of Handblown Glass: A Look at the Techniques of the 1960s

In the 1960s, handblown glass was a popular medium for creating unique and intricate pieces of art. The process of handblown glass involves the use of a furnace, a blowpipe, and a variety of tools to shape and form the glass. It is a skilled craft that requires a high level of precision and expertise.

To start the process, the glassblower would gather a small amount of molten glass on the end of the blowpipe. Using various tools, they would shape the glass into the desired form. The glass would then be placed in a mold to give it its final shape.

One of the most challenging aspects of handblown glass is the delicate balance between heat and timing. If the glass is too hot, it will be too soft to work with, but if it is too cool, it will be too hard to shape. The glassblower must constantly monitor the temperature of the glass and work quickly to shape it before it hardens.

In the 1960s, handblown glass was used to create a wide variety of objects, including vases, bowls, and figurines. It was also used to create intricate and ornate pieces of jewelry. The popularity of handblown glass in the 1960s was due in part to the fact that it was seen as a high-quality, handmade alternative to mass-produced items.

Today, handblown glass is still a popular medium for creating unique and beautiful pieces of art. It is a testament to the skill and craftsmanship of the glassblowers who continue to create works of art using this timeless technique.

The 1960s Stoneware Craze: A Look at the History and Popularity of this Timeless Material

Discover the versatility and durability of 1960s stoneware, the perfect choice for vintage-inspired home decor

The 1960s was a time of great innovation and change in the world of design, and stoneware was no exception. This durable and versatile material has a rich history that dates back to ancient civilizations, but it was in the 1960s that it really came into its own as a popular choice for dinnerware and home decor.

During this time, stoneware was embraced by designers and manufacturers as a way to create bold, modern pieces that were both functional and stylish. Its versatility allowed for a wide range of design options, from sleek and minimalistic to colorful and playful.

One of the key factors in the popularity of stoneware in the 1960s was its durability. Made from clay that has been fired at a high temperature, stoneware is resistant to chipping, scratching, and staining, making it perfect for everyday use. It's also dishwasher and microwave safe, making it a practical choice for busy households.

In addition to its practicality, stoneware also has a rustic, natural charm that made it a popular choice for mid-century modern and bohemian decor. Its earthy tones and organic shapes added warmth and character to homes, and it was often used in combination with other materials such as wood, metal, and glass to create visually interesting and cohesive table settings.

Today, stoneware remains a popular choice for dinnerware and home decor, and its popularity shows no signs of slowing down. Its versatility and durability make it a timeless choice for those who appreciate the beauty and functionality of vintage design. So, if you're looking to add some vintage charm to your home, consider adding some 1960s stoneware to your collection. You won't be disappointed.

The Rise of Pressed Glass in the 1960s and Its Influence on American Home Decor

Discover the history and popularity of pressed glass in the 1960s and learn how it transformed American home decor

In the 1960s, pressed glass experienced a surge in popularity in the United States. This affordable and versatile glassware was prized for its simplicity, elegance, and durability, and it quickly became a staple in American homes.

But how did pressed glass rise to prominence in the 1960s, and how did it influence American home decor?

The story of pressed glass in the 1960s begins with the post-World War II rebuilding of the United States. In the years following the war, the United States was focused on rebuilding its economy and its reputation as a producer of high-quality goods. This included glassware, which had long been an important part of American culture.

As the United States' economy began to recover in the 1950s, glassmakers began to experiment with new techniques and styles. One of these styles was pressed glass, which was made by pressing a mold into hot glass. This process allowed for the production of glassware that was affordable and versatile, and it quickly gained popularity in the United States and beyond.

In the 1960s, pressed glass became a staple in American homes, and it influenced home decor in several ways. For one, it made it possible for more people to afford high-quality glassware, which had previously been the domain of the wealthy. It also introduced Americans to a wide range of styles and patterns, which helped to diversify home decor.

Today, pressed glass is still a popular choice for glassware, and it continues to influence American home decor. So the next time you reach for a glass, take a moment to appreciate the history and influence of pressed glass on American culture.

Shop our collection of pressed glass now and add a touch of history and style to your home.

The Rise of Japanese Stoneware in the 1960s and Its Influence on the American Dinner Table

Discover the history and popularity of Japanese stoneware in the 1960s and learn how it transformed the American dinner table.

In the 1960s, Japanese stoneware experienced a surge in popularity in the United States. This beautiful and functional pottery was prized for its simplicity, elegance, and durability, and it quickly became a staple on the American dinner table.

But how did Japanese stoneware rise to prominence in the 1960s, and how did it influence the way Americans dined?

The story of Japanese stoneware in the 1960s begins with the post-World War II rebuilding of Japan. In the years following the war, Japan was focused on rebuilding its economy and its reputation as a producer of high-quality goods. This included pottery and ceramics, which had long been an important part of Japanese culture.

As Japan's economy began to recover in the 1950s, Japanese potters began to experiment with new techniques and styles. One of these styles was Japanese stoneware, which was characterized by its simple, earthy design and its thick, durable glaze. This stoneware was perfect for everyday use, and it quickly gained popularity in Japan and beyond.

In the 1960s, Japanese stoneware made its way to the United States, where it was embraced by Americans looking for functional and stylish dinnerware. The popularity of Japanese stoneware was aided by the growing interest in Asian culture and design, as well as the rise of the "casual living" movement, which championed relaxed, informal living.

Japanese stoneware became a staple on the American dinner table, and it influenced the way Americans dined in several ways. For one, it made the act of eating and entertaining more relaxed and informal. It also introduced Americans to the concept of using different plates and bowls for different courses, which was a departure from the traditional American practice of using one plate for everything.

Today, Japanese stoneware is still a popular choice for dinnerware, and it continues to influence the way Americans dine. So the next time you sit down to a meal, take a moment to appreciate the history and influence of Japanese stoneware on the American dinner table.

Shop our collection of Japanese stoneware now and add a touch of history and style to your dinner table.