Enjoy it for what it is.
It would be nice to see some of the Dunbar pieces back in production... quality pieces are hard to find and often expense because of the auction setting.
This book is a wonderful source of information on glassware that was poorly documented elsewhere in 1995: crackle glass, all those colorful decanters with pointy teardrop stoppers, cased glass, pinched vases, and oversized bud vases. (Many of these items were not marked, but carried paper labels which quickly wore off.) There is also a chapter on figural glass, featuring the fish, birds, and elephants that were so popular during these decades.
Much of this type of glass is definitely an aquired taste. People seem to love it or hate it: currently it doesn't seem to have the mass following of, say, Depression glass or Fenton. Colors range from the garish (orange) to the gloomy (brown, gray), and items range from the delicate to the downright clunky. Some of the styles are just too recent for people to get too excited about. Having said that, Blenko in particular is seeing quite an upswing in popularity: some of its large decanters--especially amberina--are currently selling for well over $100. And crackle glass has a lot of afficionados. There is no doubt that glass of the 1950's and 1960's will be highly collectible in the near future. This is a unique book, which highlights "a pronounced awareness of color, form, and texture" which took place during these decades.
The collector is provided with basic background historical and biographical information on the Kensington line, Lurelle Guild, and Alcoa. The real strength of this book lies in the lavish photographs of many Kensington pieces.
The book is incomplete in that many items are not pictured. While more complete guides are rumored to be in preparation, this book it is still the first and only guide to Kensington and an indispensible source of information for the art deco, machine age, and aluminum community.
Besides a photo of the radio there are plenty of close-ups of tuning knobs, speaker grills, frequency ranges and each maker has a close-up of their logo. Also included are some period ads from the fifties.
Page 176 shows the front of a Trav-ler 5022 from 1950 and on the facing page is a shot of the back of the set. What a contrast, while the front is the best the marketing/design folk could come up with the back shows a clutter of wires, batteries and evidence of cheap mass production.
Looking at the design of the various models it becomes clear that as these radios all do the same thing it became important to sell the product on other (non-existant) virtues. The names (Wide-fi, Transitone) reflect high technology, big tuning knobs reflect scientific precision, some makers logos are heraldic reflecting snob values, the plastic cases were in bright eye-catching colors.
I think it would have helped if the dimensions of the sets had been included and the photography is very bland with the radios set against insipid backgrounds. Radios can look good, have a look at Philip Collins 'Radios:The Golden Age' and 'Radios Redux', dozens of beautiful shots mostly against a black background which make the radios jump out from the page.
This is a book though that any serious collector and those interested in fifties popoular culture and product design should have.