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Nothing to do with PV but books in general; if you can, get it edited and proofread by someone with excellent English skills who is prepared to challenge you (not your nearest and dearest because they won't). Professional editing is expensive (even at mate's rates) and all editing and proofreading are time-consuming but vastly improve any book. It is practically impossible to edit and proofread your own work.
Thanks Mike, that is very helpful.

To briefly address those

Are in the same ballpark and require a proper understanding of why items were registered. Few were "I've thought of this neat design". The majority were copying / following trends / innovations allowing new shapes to be made. On the design to product, there is little info from the Victorian era. The best resource for that one is poster James Measell who knows more about mould production than anyone here, he has posted some useful stuff on facebook about moulds. I have consulted with James on a few things.

Colour ranges tend to be narrow unless an item was hugely popular, like the Derbyshire lion or the Burtles Tate swan, both of which are in the region of 15 colours. Full colour ranges per item will never be known with certainty as there may be few or no survivals of rare colours. You may note from a few of my recent posts that I have viewed the spoil from the PV archaeological dig, this showed some colours which were otherwise unknown from their regular production, I will be covering that.

There are some reports of work inside a Victorian glass factory in Manchester and Warrington, though PV was not one of those covered. They tend to be concerned with government reports into child labour.

It is known that Molineaux Webb purchased the PV moulds after the factory shut.

There are few surviving adverts and 80% of them cover known registrations. I do have permission to show some catalogue images which will more than suffice. I've actually collected more unregistered pieces than registered. I showed a rather routine one in a post a while back, of an 1880s unregistered butter dish. If there is a concern on coverage, it is that about 40% of registered designs have no surviving examples. Some of these will never show, such as railway carriage lamps, or liquor barrels for pubs. It is a dilemma whether to show the original design registrations in a book, as many have been covered by Jenny Thompson and it is possible to post any of them on here with a copyright watermark. All registrations will be catalogued though, with rarity estimation and colour range where known.

British & Irish Glass / Re: What do you want to know about Percival Vickers?
« Last post by mikenott on Yesterday at 09:14:00 PM »
Ok. Here's a few points from me.

1. What designs were shared/stolen with other manufacturers?
2. Comprehensive list of known colours
3. What was it like to work in a PV factory?
4. What other manufacturers carried on PV designs?
5. Although costly, as many photos as possible including any adverts showing items
6. How designs changed to reflect trends e.g. high Victorian, Greek key design, art nouveau etc,
7. The process from design idea to finished product.

Realise these may not fit in with your thoughts and some are more general than PV specific, but a starter for ten!
British & Irish Glass / What do you want to know about Percival Vickers?
« Last post by neilh on Yesterday at 02:28:24 PM »
Hi folks,

I am about 6-9 months away from starting the first draft on the first of two books on Manchester glass. The plan is to write one on Percival Vickers first, and then a wider one on the rest of Manchester glass second.

This begs the question, what do you want to see?

I have asked this of a few collectors who have been helping with the book, and the most frequent response is: "Write what you like but don't charge me more than 50 quid"

So I'm starting this thread in case anybody on the GMB has any input on this matter, it could help influence the text.

By way of random factoid, I am including the image below. This shows a well known Percival Vickers registration from 1891. On the right you can see it used on a very effective light shade, I have that piece on duty in the living room as a ceiling light. On the left a piece of the same pattern which you might think was also a light shade. But it should be the other way round - it's a flower dome which was usually placed in an electroplate three legged stand.
Glass Paperweights / Re: New to this: Is this millefiori style weight genuine?
« Last post by Ivo on Yesterday at 12:16:04 PM »
I visited the Dalian light industries stand stand on the 1999 Messe in Frankfurt and this was their main production.
That would have to be done with the glass cold, so it would be blown then cooled then painted and then heated again before the red could be added. A lot of complication along with the risk of reheating, I can't see that, it does not account for the depth of the letters either.
It looks to me as though the lettering has been drawn by hand, rather than using a stencil or mould. For example, if you compare the H in whiskey on the two jugs, they are different, the one on the Highland Special example has a sloping horizontal. Also the lettering looks to be different heights and sizes, even from one letter to the next in places. I dont think that would be accounted for by distortions when making it if printed or using a mould or stencil etc, it looks freehand to me.
It is Chinese but it is quite old and not modern, perhaps 1950s
Glass / Bonbonniere - pate de verre or something else
« Last post by flying free on Yesterday at 12:01:19 AM »
Resurrecting this piece I posted on Ivo's thread here:,51120.msg289741.html#msg289741

Bonbonniere shown here:,51120.msg289840.html#msg289840

No idea whether my box is pate de verre but looks as though it could be.  Also looks as though it could have been blown into a mold (lid and base) then cut from the rim then the surface matt treated somehow.  Just adding some info for future reference:

1) I've come across this listing for a base of a lidded box.  It looks to have been made in the same process as mine, same shape box base as mine, different colourway. Owner says it's by Andre Delatte and the signature came off when  owner cleaned it.

2) The seller of this Berluze vase says it's by A Delatte and to me it looks as though it's signed with what looks to be something which could conceivably come off when cleaned I think.

Just in case I finally get an identification of A Delatte for my bonbonniere :)

Glass / Re: Water jug - Teachers Whisky promotional - who and how did they do that?
« Last post by chopin-liszt on September 26, 2022, 08:01:09 PM »
They look just like finger drawings in coloured frit. Which is exactly what they are.  ;)
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