Fenton Art Glass Burmese Basket with Hand-Painted Roses

This is a decorative art glass basket produced by the Fenton Art Glass Company, featuring a classic Burmese glass palette consisting of a creamy opaque yellow-white body that transitions to a delicate salmon-pink blush at the ruffled rim. The basket features a bulbous, melon-ribbed body with a significant cinch at the neck, blooming out into a six-point crimped or 'crested' rim. A distinctive clear glass twisted 'rope' handle is applied to the sides, arching over the vessel. The body is adorned with hand-painted floral decorations, specifically soft pink roses and green leaves, accented by small lavender clusters and light blue shadowing near the shoulder. The piece appears to be in excellent contemporary condition, retaining its original 'Fenton' hangtag and a gold oval foil label on the upper body. This item exemplifies the mid-to-late 20th-century craftsmanship of American pressed and blown glass, specifically the hand-painted 'Artist Signed' series which was a staple of Fenton's production in Williamstown, West Virginia. The presence of the hangtag suggests a later production date, likely between the 1970s and 1990s, when Fenton heavily marketed these hand-painted collectibles.

Upon visual examination of this Fenton Art Glass Burmese Basket, I find the piece to be a classic example of the company’s late 20th-century production. The Burmese glass—a uranium-gold heat-sensitive glass—exhibits a successful 'blush' transition from the characteristic pale yellow to a soft salmon pink at the crimped rim. The application of the clear twisted rope handle and the melon-ribbed body appear consistent with factory standards. The hand-painted roses are characteristic of Fenton’s 'hand-painted' series, likely signed by the artist on the underside, which adds moderate value to collectors. The condition appears excellent, with no visible chips, cracks, or heat checks at the handle attachment points. The presence of the original foil label and hangtag suggests 'new-old stock' or collector-kept condition, which places it at the higher end of the secondary market price range. However, the market for Fenton has stabilized significantly since the factory's closure; while Burmese remains a sought-after treatment, mass-produced floral patterns from the 1970s-90s are relatively common. Final authentication via digital imagery is limited. I cannot verify the presence of the 'Fenton' logo mold mark or the artist’s signature on the base. Furthermore, I cannot definitively test for uranium glass content using a UV light source, nor can I tactilely inspect for 'flea bites' or internal stresses in the glass. For a definitive valuation, I would recommend a physical inspection to confirm the signature and ensure no restorations have been made to the crimped edges.