The AEAA is very pleased to present this next piece of valuable Burmese glass items from the respected Loren (Butch) Morse collection. This lot represents a gorgeous & Limited Edition 1995 Burmese, Fenton hand painted Rose on Diamond Optic Burmese student lamp, with the exclusive Fenton tri-folded and tightly crimped shade rim. Our Ltd. Ed Fenton Burmese lamp was designed by the fabled Martha Reynolds, and masterfully hand painted by W. Dan Anderson. This Burmese treasure was produced specifically for the August 1995 QVC show, and is Fenton Ware #C2793RB. Our beautiful Georgian style brass based lamp, explodes under black light, is in superb condition, weighing 5# 14 oz., and standing 8.5 x 8.5 x 18.5 inches tall, not including the chimney. Loren Morse was a respected family man and Vaseline collector, and his untimely passing a year ago was a blow to everyone. The Morse family gratefully appreciates your participation in this Estate sale. xxxxxxxxxxxxx. The U.S. Hazardous Materials Act of 1942, banned the commercial use of all Uranium, reserving it for the U.S. war effort. From 1942 until 1959, Fenton was restricted from all Uranium Oxide formulas. Fenton produced a myriad of beautiful Topaz, Topaz Opalescent, Topaz Iridized Opalescent items, Burmese and Green Uranium figurines & smalls, from the 1960s, right up until the end.In 1969, xxxxxxxxxxxxx. After many trials, Fenton chemist Charles Goe finally was able to replicate Frederick Shirley's (Mt. Washington Glass) Burmese formula, & it has become one of the most collectible Fenton colors. Burmese contains pure colloidal gold, & careful reheating coaxes the delicate pink shading into existence. The yellow color comes from a small amount of depleted uranium in the batch. Over the years, there has been variation in the color of the yellow from greenish to a cream hue, each with special Fenton line names. Burmese was also supplied in Cameo patterns with Fenton artist Kelsey Murphy at the forefront of the art form. Made with pure gold, Fenton Burmese glass is always a delight to behold, but the first creation for the new Studio Fenton division was a Gauley River Sunrise Vase by Kelsey, and limited to 375 units. The process begins Fenton Burmese glass, carefully chilled and reheated to create an all-over, shiny pink exterior. After the glass is annealed and a special masking agent is taped to the surface, the painstaking cameo carving process can begin. Using advanced vignetting techniques, each vase is carefully carved, by hand, employing aluminum oxide crystals under pressure to take away some of the surface. Great individual skill & experience are needed to control this operation, as a dozen distinct stages of successive cameo carving are required to create the remarkable depth and intricate details you will see in the final product.

Excellent + condition