|Comments by Alan and Lorraine Pickup
From HOACGA bulletin April, 2002
Westmoreland's glass has attracted our attention in recent weeks. Although it was not one of the major producers of carnival glass, it is listed as one of the "other American companies" that produced some carnival. We find the glass quality and the slightly different approach to how the iridescence was applied interesting.
The basic glass colors trend to be different from the big three carnival producers. Colors like Westmoreland's teal and yellow/amber and this pretty blue opal #270 compote.
The difference in appearance seemed to be attained by the technique Westmoreland made use of in applying the iridescence so that the basic glass color is not lost to the viewer. The blush of marigold on the interior of this compote is an excellent example. The contrast with the opal rim is striking in a pleasing way without covering up the pretty blue base glass color. Although this is a small compote, about six inches in diameter and 2 inches tall, and a very simple pattern, the piece just jumps out from the typical glass crowd. You don't have to pick it up and hold it to a light source to establish the color.
This #270 compote can also be found in aqua, marigold over milk glass, teal, amethyst, a really pretty peach opal and possibly amber. Why it is called the Westmoreland Two Seventy in not clear to us as Dave Doty's book notes that the original pattern number used was #252. And maybe we just missed it, but this blue opal compote doesn't seem to be listed in Opalescent glass books. Maybe to the opalescent glass purist the iridescent treatment disqualifies it from that grouping. Reasonable priced and a joy to behold, this small uncomplicated compote has brightened our collection