Fenton's Revival Carnival using Verlys Moulds
G&S Thistlewood, January-March 2024.
Fenton Revival Carnival and the Verlys Connection.
This article - now expanded - was originally written over four Issues of our (free) NetworK ezine, in which we explored some of the items that Fenton made in Revival Carnival using moulds that they had acquired from Verlys of America in 1966.
This article - now expanded - was originally written over four Issues of our (free) NetworK ezine, in which we explored some of the items that Fenton made in Revival Carnival using moulds that they had acquired from Verlys of America in 1966.
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The unlikely story behind the beautiful "Les Chardons" No. 925 vase (translated from French as "Thistles") shown above, right begins around 200 years ago, when a French physicist called Augustin Fresnel invented a ground-breaking lens (later named after him) that would be used worldwide in lighthouses.
Some 60 plus years later, another French scientist called Andre Blondel, took the Fresnel Lens one stage further by inventing “prismatic glass moulding” which was patented under the name “Holophane” (from the Greek “holos” meaning whole and “phane” meaning light). That patent was purchased by Otis Mygatt who established the Holophane Company in three worldwide locations, France, the USA and the UK – lamp globes, shades and lighting (including street lighting) were the main products.
In 1920, Holophane set up a glassworks ("verrerie") at Les Andelys in Normandy, France. It was at this glass factory - Verrerie des Andelys – that the Verlys brand of decorative glassware was begun, a few years later. The name “Verlys” was derived from the name of the glassworks. VERrerie des AndeLYS - Verlys.
Verlys
Verlys items echoed the elegant style of the era, and are comparable to items from Lalique, Sabino, Jobling and Barolac (Inwald/Jenkins). We have studied two Verlys catalogues from 1933 and 1934 and we use some of the original illustrations from them in this article. Both Verlys catalogues bear the name and address of the parent company, Holophane S.A., informing that their head office/showrooms were on Boulevard Haussmann in central Paris – a chic and prestigious location that would have attracted a good clientele.
Some 60 plus years later, another French scientist called Andre Blondel, took the Fresnel Lens one stage further by inventing “prismatic glass moulding” which was patented under the name “Holophane” (from the Greek “holos” meaning whole and “phane” meaning light). That patent was purchased by Otis Mygatt who established the Holophane Company in three worldwide locations, France, the USA and the UK – lamp globes, shades and lighting (including street lighting) were the main products.
In 1920, Holophane set up a glassworks ("verrerie") at Les Andelys in Normandy, France. It was at this glass factory - Verrerie des Andelys – that the Verlys brand of decorative glassware was begun, a few years later. The name “Verlys” was derived from the name of the glassworks. VERrerie des AndeLYS - Verlys.
Verlys
Verlys items echoed the elegant style of the era, and are comparable to items from Lalique, Sabino, Jobling and Barolac (Inwald/Jenkins). We have studied two Verlys catalogues from 1933 and 1934 and we use some of the original illustrations from them in this article. Both Verlys catalogues bear the name and address of the parent company, Holophane S.A., informing that their head office/showrooms were on Boulevard Haussmann in central Paris – a chic and prestigious location that would have attracted a good clientele.
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Around 1935, Verlys of America, located in Newark, OH, began to produce some of the Verlys line in the USA. Shown below is an ad in the 1936 "Washington Post" for Verlys Glass. It explains that, although French moulds were used, American artisans made the actual glass. The Les Chardons / Thistle vase in the ad was made by Verlys of America at Newark, OH. 
Ad in the 1936 "Washington Post".
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Above, left: “Les Chardons” vase (meaning Thistles) in the October 1933 Verlys catalogue, “Verrerie d’Art” courtesy Dieter Neumann and Siegmar Geiselberger.
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The Verlys designs before the 1940s had been mainly French, but in the 1940s, some magnificent designs were the work of American, Ted Mehrer, and were patented and produced by Verlys USA c. 1940s. Image, right, courtesy of Dino Capra.
Some twenty years later, Heisey leased some of the Verlys moulds and then in 1966, Fenton purchased all the American Verlys moulds (around 60 in total) and began using them in 1968, but not initially in Carnival. From the 1970s on, Fenton marked those items with their Fenton oval logo.
Reference: Information on the origins of Holophane courtesy of various Holophane (Acuity Brand) websites
The Verlys designs before the 1940s had been mainly French, but in the 1940s, some magnificent designs were the work of American, Ted Mehrer, and were patented and produced by Verlys USA c. 1940s. Image, right, courtesy of Dino Capra.
Some twenty years later, Heisey leased some of the Verlys moulds and then in 1966, Fenton purchased all the American Verlys moulds (around 60 in total) and began using them in 1968, but not initially in Carnival. From the 1970s on, Fenton marked those items with their Fenton oval logo.
Reference: Information on the origins of Holophane courtesy of various Holophane (Acuity Brand) websites
Thistle Vase (original Verlys name, "Les Chardons" / No. 925).
Shown below is an amazing pair of Thistle Vases in Sea Green Satin Carnival, made by Fenton from the Verlys mould (photo courtesy Dino Capra.) The Thistle Vase was featured in Fenton’s 1998 Life Styles catalogue; it is an elegant beauty, as you can see. We are also able to show you a photo of the actual Verlys mould for the Thistle vase, thanks to the Fenton Family. Note that the number shows on the Fenton inventory image is 925. That is the original Verlys number for their “Les Chardons” (Thistles) vase, which you can see for yourselves in the 1933 Verlys catalogue image above (at the top of this article).
Shown below is an amazing pair of Thistle Vases in Sea Green Satin Carnival, made by Fenton from the Verlys mould (photo courtesy Dino Capra.) The Thistle Vase was featured in Fenton’s 1998 Life Styles catalogue; it is an elegant beauty, as you can see. We are also able to show you a photo of the actual Verlys mould for the Thistle vase, thanks to the Fenton Family. Note that the number shows on the Fenton inventory image is 925. That is the original Verlys number for their “Les Chardons” (Thistles) vase, which you can see for yourselves in the 1933 Verlys catalogue image above (at the top of this article).
Fenton Thistle vases in Sea Green Satin Carnival, made by Fenton
from the Verlys mould. Photo courtesy Dino Capra. |
The “Les Chardons” / Thistle vase Verlys mould No. 925.
Courtesy of the Fenton Family and Fenton Art Glass Company. |
Alpine Thistle Vase (original Verlys name, "Les Chardons des Alpes" / No. 1245).
The thistle motif featured on another Verlys vase - No. 1245 called “Les Chardons des Alpes” – Alpine Thistle.
The thistle motif featured on another Verlys vase - No. 1245 called “Les Chardons des Alpes” – Alpine Thistle.
Above: extract from the 1934 catalogue “Les Verreries d’Art Verlys & des Hanots”, S.A. Holophane, Paris. Courtesy Michael Siscoe
and Pamela Wessendorf. |
This beautiful Alpine Thistle Vases was made in red Carnival in 1993
as part of Fenton’s Family Signature Series. |
Alpine Thistle Vase in red Carnival by Fenton from the Verlys mould. Courtesy Seeck Auctions. Fenton reshaped the mouth of the vase (by hand, after pressing).
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Above: the Verlys mould No. 1245 for the “Les Chardons des Alpes” vase.
Courtesy of the Fenton Family and Fenton Art Glass Company. |
To make their 1993 Signature Series, Fenton used an intriguing mix of moulds; some were entirely new designs and shapes (made in Fenton's own mould shop, or bought in), some were Fenton's moulds from earlier glass production, and others were moulds - such as the Verlys mould - that they had acquired over the years from other glassmakers.
We have a full catalogue page of Fenton's Signature Series pieces here: Fenton Signature Series 1993
To make their 1993 Signature Series, Fenton used an intriguing mix of moulds; some were entirely new designs and shapes (made in Fenton's own mould shop, or bought in), some were Fenton's moulds from earlier glass production, and others were moulds - such as the Verlys mould - that they had acquired over the years from other glassmakers.
We have a full catalogue page of Fenton's Signature Series pieces here: Fenton Signature Series 1993
Vessel of Gems Vase (original Verlys name, "Les Cabochons" / No. 1157).
An unusual addition to the line of vases from Fenton was called “Les Cabochons” by Verlys back in the early 1930s. Translated as gems or gemstones, Fenton subsequently called this vase “Vessel of Gems”.
An unusual addition to the line of vases from Fenton was called “Les Cabochons” by Verlys back in the early 1930s. Translated as gems or gemstones, Fenton subsequently called this vase “Vessel of Gems”.
Fenton’s superb red Carnival Vessel of Gems vase stands just under 7 inches in height.
Photo courtesy Michelle Bezenar. |
Above, left to right:
- ad in the 1936 "Washington Post" for Verlys’ “Les Cabochons” vase (no name was shown for it). It would have been made by Verlys of America at Newark, OH. - extract from the 1934 catalogue “Les Verreries d’Art Verlys & des Hanots”, S.A. Holophane, Paris. Courtesy Michael Siscoe and Pamela Wessendorf. The vase (No. 1157) was called “Les Cabochons" - extract from Fenton’s 1994 catalogue featuring the vase in red Carnival. Fenton called it Vessel of Gems vase. Courtesy of the Fenton Family and Fenton Art Glass Company. |
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Butterflies bon bon / covered box (original Verlys name, "Les Papillons" / No. 1130).
Verlys made some exquisite covered boxes/ bonbonnieres – a shape that several other makers such as Lalique and Inwald/Barolac were also producing. Here, on the far right is an extract from the October 1933 Verlys catalogue, “Verrerie d’Art” shown courtesy of Dieter Neumann and Siegmar Geiselberger, which featured the bonbonniere No.1130 “Les Papillons”. The Verlys mould for the “Les Papillons” bonbonniere was subsequently used by Fenton to make their own Butterflies bon bon (or covered box). Shown on the immediate right is the top view of the lid on the Sea Green Satin Carnival Butterflies bon bon. The Verlys design is perfect – a true masterpiece – and the mouldwork on the glass is top-notch. Photo courtesy Dino Capra. |
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The Flowers Planter Bowl aka Chrysanthemum.
Above: this is the actual drawing for U.S. Patent Design 118,384, filed in 1939 “for a vase” and granted in January 1940. The inventor (designer) was Ted Mehrer, New York – assignor to Verlys of America Inc.
Below is the design that was put into production (image courtesy of Burns Auctions). You can see how close it was to the original Patent Design on paper, and also how some elements were adapted for transferring the design into a metal mould. 
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Ad for Verlys from a 1947 “House and Garden” magazine, courtesy Glass Paper Fanatics. Depicted are the "Mandarin" Vase and the "Flowers" Bowl in crystal glass (the latter is known to Carnival collectors as the Chrysanthemum planter).
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Although the Flowers Bowl was designed in 1939, and sold in crystal by Verlys of America during the 1940s, there’s no doubt that it had its “day in the sun” when Fenton launched it in 1973. Here on the right is an extract from their 1973 catalogue showing the 8226 Planter Bowl. "CN" was Fenton's product code for their "Original Fenton Formula" amethyst Revival Carnival.
The Planter Bowl was one of the earliest items in Fenton’s Revival Carnival, appearing in their 1970 Catalogue Supplement. It has become known as the “Chrysanthemum Planter” amongst collectors. Looking at the photo used in Fenton’s catalogue, with the planter filled with yellow chrysanthemums, makes one wonder if that’s how the item earned its “Chrysanthemum” prefix. 
This is the Verlys mould used by Fenton.
Image courtesy of the Fenton Family and Fenton Art Glass Company. |
Extract from Fenton's 1970 Catalogue Supplement.
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Mandarin Vase.
This beauty was also designed by Ted Mehrer and the patent was granted in the U.S. in 1940. Initially it was made in crystal glass by Verlys of America in the 1940s, in the hands of Fenton, it took on a magnificent beauty when it was produced in Revival Carnival.
This beauty was also designed by Ted Mehrer and the patent was granted in the U.S. in 1940. Initially it was made in crystal glass by Verlys of America in the 1940s, in the hands of Fenton, it took on a magnificent beauty when it was produced in Revival Carnival.
Above left: Our Fenton’s Sea Green Satin Carnival Mandarin vase was issued in 1998 as part of their Historic Collection “limited to one year production”. Seen in the late afternoon light of a February day, with a background of hellebores, the colour has a wonderful intensity.
Right: This splendid Teal Marigold Carnival was produced later by Fenton – the rich colours and the iridescence are absolutely superb. Courtesy Marty Seufer. |
Above: Mandarin vase patent as shown in the U.S. Patent Office digest for 1940.
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And here is the amazing Verlys mould that Fenton used to make this spectacular vase. Image courtesy of the Fenton Family and Fenton Art Glass Company.
Love Bird and Pigeons (original Verlys names, "Les Pigeons" / No. 1287 and "Les Moineaux" / No. 1284).
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The two items shown in the extract on the right were originally called jardinieres, but when Fenton made these items in the Revival era, they referred to the larger one on the left -" Les Pigeons" - as either a vase or a bowl, and the smaller one - "Les Moineaux" - as a vase.
Fenton retained the name Pigeons ("Les Pigeons") when they made the larger vase themselves, but the smaller vase was marketed as the Love Bird Vase. It is also referred to as Lovebirds, or Love Birds and as a planter, but we are sticking with Fenton's original name - the Love Bird Vase. Note however that its original Verlys name, Les Moineaux, translates as Sparrows! Not quite as romantic, perhaps, so a good choice by Fenton to change the name. |
Extract from Verlys catalogue c. 1930.
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Although two vases were shown in the Verlys catalogue, it is interesting that Fenton had three moulds; Pigeons #1287, and two Love Bird #1284 (VS and VS-1), all of which we show here.
Although two vases were shown in the Verlys catalogue, it is interesting that Fenton had three moulds; Pigeons #1287, and two Love Bird #1284 (VS and VS-1), all of which we show here.
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Above: the Verlys mould No. 1287, “Les Pigeons” jardiniere/vase. Courtesy of and Fenton Art Glass Company and the Fenton Family.
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The Pigeons vase was seldom seen in Fenton’s repertoire; but it was made in lightly iridised Sea Green Satin (a “soft finish sanded to a low lustre”) in 1998, as seen in the above extract from their catalogue. Courtesy of the Fenton Art Glass Company and the Fenton Family.
The “Les Moineaux” vase is better known to Carnival collectors as Fenton’s Love Bird vase. But note that the vase shown in the Verlys catalogue has a smooth surface above the birds. Fenton used the Verlys mould 1284 VS-1 for some glass production, but not Carnival.
The Pigeons vase was seldom seen in Fenton’s repertoire; but it was made in lightly iridised Sea Green Satin (a “soft finish sanded to a low lustre”) in 1998, as seen in the above extract from their catalogue. Courtesy of the Fenton Art Glass Company and the Fenton Family.
The “Les Moineaux” vase is better known to Carnival collectors as Fenton’s Love Bird vase. But note that the vase shown in the Verlys catalogue has a smooth surface above the birds. Fenton used the Verlys mould 1284 VS-1 for some glass production, but not Carnival.
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Above are both the "Les Moineaux" jardiniere/vase moulds. On the left is No. 1284 VS-1,and on the right is No. 1284 VS which has an added pattern of leaves. Both images above are courtesy of the Fenton Family and Fenton Art Glass Company.
This Love Bird vase, produced in amethyst Carnival (and in some other un-iridised colours), is clearly different in that there is a leaf design and fine hatching on the vase. A mystery remains, however; although Fenton had the mould for this vase with the additional leaf design, this version of the pattern was not shown in the Verlys catalogue. Was the leaf design added to a copied mould by Fenton? Or did Verlys also make a mould with the leaves on it, without themselves producing any items (or any that are currently reported)?
Above: Love Bird vase by Fenton in amethyst, made in 1974.
Right: extract from Fenton’s 1974 catalogue showing the Love Bird vase (centre, #8258) and other popular items. Courtesy the Fenton Family and Fenton Art Glass Company. |
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Orchid Platter (original Verlys name "Les Orchides" / No. 1097).
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Fenton made the Orchid Platter in their splendid Sea Green Satin Carnival, a colour evoking the original era when these items were first made by Verlys. 
Above: Fenton’s stunning Orchid platter, 14” diameter,
in sea green satin Carnival. Courtesy Dino Capra. |
Above: “Les Orchidees” bowl and platter in the October 1933 Verlys catalogue, “Verrerie d’Art”. Courtesy Dieter Neumann and Siegmar Geiselberger.
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Lance Vase (original Verlys name "Les Lances" / No. 1262).
Left: the fine pattern detail in the beautiful Verlys Lance vase (#4559), made by Fenton in cobalt blue. Courtesy Dino Capra.
Right: “Les Lances” vase in the October 1933 Verlys catalogue, “Verrerie d’Art” courtesy Dieter Neumann and Siegmar Geiselberger. |
Fenton’s Carnival versions of the Lance vase in Violet Satin, Sea Green Satin and Cobalt. Courtesy Dino Capra.
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This is the moulded Fenton trademark on the base of the cobalt Lance vase. Courtesy Dino Capra.
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Seasons Vases
The Seasons vases were not part of the early, French Verlys designs, but were added to the repertoire c. 1940-41 under the auspices of Verlys of America. There are two different vases. The designs were created by American sculptor, Carl Schmitz: the first featured Autumn (Fall) and Spring on either side of the vase, while the second featured Summer and Winter. The season were represented by a female figure and iconic motifs that suggested the time of year.
These vases were made in Fenton’s amazing Favrene. Silver in the Favrene glass batch is coaxed to the surface through careful re-heating, and a beautiful blue is the result. Fenton chose the name Favrene as a blend of Tiffany's FAVrile and Steuben's AuRENE.
The Seasons vases were not part of the early, French Verlys designs, but were added to the repertoire c. 1940-41 under the auspices of Verlys of America. There are two different vases. The designs were created by American sculptor, Carl Schmitz: the first featured Autumn (Fall) and Spring on either side of the vase, while the second featured Summer and Winter. The season were represented by a female figure and iconic motifs that suggested the time of year.
These vases were made in Fenton’s amazing Favrene. Silver in the Favrene glass batch is coaxed to the surface through careful re-heating, and a beautiful blue is the result. Fenton chose the name Favrene as a blend of Tiffany's FAVrile and Steuben's AuRENE.
* The added tree pattern was designed by Martha Reynolds. Images courtesy of the Fenton Family and Fenton Art Glass Company. |
Extract from Fenton’s 2006 catalogue
showing the Summer and Winter vase. |
Fenton’s first Seasons vase, made in 1998, was a limited output of 1350 items – each being “sandcarved with a tree pattern” and the Favrene iridescence was removed from the background to create a matt contrast with the figures, as seen above. However, the production overran a little, and the surplus (over the 1350) was left with the wonderful Favrene iridescence all over the vase, and without the additional tree pattern. These were sold in the Fenton Gift Shop. As luck had it, we were doing research with the help of the late Frank Fenton, at the Fenton factory in Williamstown at the time (in 1998). We purchased one of these amazing “overruns”, not realising at the time how special it actually was.
It is pictured below, and on the right in these images is the actual Patent drawing by Carl Schmitz for U.S. 127,309, for Verlys of America in 1941.
Fenton's 1998 Favrene Seasons vase showing the side featuring Spring.
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The other side of our Favrene Seasons vase showing the Autumn design.
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Fenton’s “companion” piece, the second Seasons vase featuring Summer and Winter, was made in 2006.
As with the 1998 Seasons vase, the production was limited, and this time it was 1000. Again there was an overrun, and some vases were made without the sandblasted “cutback” allowing the full beauty of the magnificent Favrene vase to be seen. Alongside each image below is the Patent drawing by Carl Schmitz for U.S. 127,310, for Verlys of America in 1941.
The Summer design on the splendid 2006 Seasons vase in full Favrene.
Courtesy Dino Capra. |
The Winter design on the splendid 2006 Seasons vase in full Favrene. Courtesy Dino Capra.
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And last, but by no means least, here are the two Verlys moulds owned and used by Fenton to make these amazing Seasons vases. Remember that when looking at the designs on the moulds, you are seeing the reverse of the ones on the actual vases.
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Left is #1180VS, Autumn/Fall and Spring, and right is Summer and Winter #1185VS.
Courtesy of the Fenton Family and Fenton Art Glass Company.
Courtesy of the Fenton Family and Fenton Art Glass Company.
Mermaid planter (original Verlys name "Les Sirenes" / No. 1260).
This was made by Fenton from another Verlys mould, acquired from Holophane. However, in this case, Fenton altered the mould.* In the images below, you can clearly see the difference between the original 1930s Verlys item and the Fenton-made item; there is a much greater clear space at the top of the item on the Verlys original. In amethyst, this piece was one of Fenton's earliest Revival Carnival items; it was shown in a Fenton ad in August 1970.
This was made by Fenton from another Verlys mould, acquired from Holophane. However, in this case, Fenton altered the mould.* In the images below, you can clearly see the difference between the original 1930s Verlys item and the Fenton-made item; there is a much greater clear space at the top of the item on the Verlys original. In amethyst, this piece was one of Fenton's earliest Revival Carnival items; it was shown in a Fenton ad in August 1970.
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A Mermaid planter in Teal Marigold.
Made by Fenton for QVC. Courtesy Burns Auctions. |
* It is possible (but not certain) that Fenton actually made a new mould for this item.
See more Fenton Revival Carnival catalogues, ads and related pattern information.
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We have many more Fenton Revival Carnival Glass catalogues and ads, covering the period from the 1970s through to their closure in 2011.
They are all accessed from our Fenton Revival Homepage. Click on the image on the left, or go here: Fenton Revival Carnival |