Imperial's Four Seventy Four - The Story Behind The Glass
Glen and Stephen Thistlewood
A Pattern of Many Names
Did you know that Imperial gave this pattern the delightful Original Maker's Name (OMN), “La Rochelle”?
Imperial's Four Seventy Four (often simply referred to as #474) is a familiar pattern among Carnival collectors, recognised by its unusual combination of stylised floral and geometric motifs. In Carnival it is known in a number of shapes including punch set (bowl, stand and cups), water set (pitcher - 2 sizes, and tumbler), milk pitcher, cordial, goblet, wine, vase, and comport. Also, there are gas and electric shades, which were shown in a 1911 ad placed by Imperial's New York agents, Cox & Lafferty.
As we show below, the "tea set" items in the Four Seventy Four / La Rochelle pattern were being made in crystal (clear) glass from 1910 and clearly the press coverage was highly favourable towards them. So, it is a mystery why - having gone to the expense of making superb moulds for these items (butter and cover, sugar and cover, spooner and creamer), they were not - so far as we know currently - made in Carnival Glass. Carnival Glass was already in production at Imperial in 1910 - in fact, as we discovered, Imperial was making Carnival Glass from as early as 1908.
So why no tea sets / table sets in Carnival? Maybe some day we'll discover the answer ... or an iridised table set item will be found!
Above: some superb Carnival Glass items in the Four Seventy Four / La Rochelle, all courtesy of Seeck Auctions
Left to right: punch set in emerald green (rare), water pitcher in purple and a 12 inch vase in emerald green (the only one known).
Left to right: punch set in emerald green (rare), water pitcher in purple and a 12 inch vase in emerald green (the only one known).
The fascinating information about Imperial's OMN for this pattern - La Rochelle - was shared with the glass world by Imperial researcher, Kathy Conn Turner, and was recently explained and documented in our “Carnival Glass NetworK” Group on Facebook.
The name La Rochelle was given to the pattern range originally in 1910, when it was first introduced to the glass trade, in "rock crystal" (that is clear, crystal glass). The two extracts below from the July and August, 1910 Crockery and Glass Journals, explain the context. Note the reference to “the metal” in the lower 1910 extract. "Metal" referred to the glass batch itself, and it was clearly saying that the glass was good quality. |
Above: Imperial's 1911 Catalog.
Courtesy Kathy Conn Turner. The items illustrated are a “tea set” (Carnival collectors usually call this a table set) in the “La Rochelle” pattern. None of these shapes have yet been reported in Carnival.
As an aside, it’s interesting that Imperial marketed this glass as “rock crystal”. True rock crystal is a form of quartz, while glass described as rock crystal is generally etched or cut. In this case, it was likely intended to suggest a pressed glass design made to look like high quality cut glass. |
A further snippet in the August 1910 Crockery and Glass Journal stated that: “All buyers who have called to see this line have placed nice orders and predicted it the selling pattern for this Fall”. Clearly it was destined to be a popular line. Cox & Lafferty were New York Representatives for Imperial Glass, and they extensively advertised Imperial's Carnival Glass in the Pottery, Glass and Brass Salesman Journal. The glass itself was generally shipped to the buyers directly from Imperial's glass factory at Bellaire, Ohio. Cox & Lafferty placed this ad on the right for the new “La Rochelle” vase *, in the August 1910 Crockery and Glass Journal. On the far right is a beautiful marigold example of this graceful vase, courtesy of Seeck Auctions.
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We have several Cox & Lafferty Carnival Glass ads for Imperial assortments in our Sell It To Me! feature.
* the vase was made in three sizes (shown in Imperial's 1911 catalogue): 8 inch (catalogue #4741), 10 inch (#4742) and 12 inch (#4743). All three sizes are known in Classic Carnival, although the 12 inch is extremely rare (only one reported which is in emerald green).
* the vase was made in three sizes (shown in Imperial's 1911 catalogue): 8 inch (catalogue #4741), 10 inch (#4742) and 12 inch (#4743). All three sizes are known in Classic Carnival, although the 12 inch is extremely rare (only one reported which is in emerald green).
It might be expected that, having given such a beautiful pattern name to their No. 474 line in 1910, Imperial would continue to use the “La Rochelle” appellation. But curiously, it was not the case.
Catalog 100A – now it's Just a Number
"La Rochelle" and No. 474 co-existed through 1911-12, but in Imperial’s Catalog 100A (believed to be c. 1913) the table set and pitchers in pint, quart and half gallon pitchers, were featured again, but this time with no name, just the 474 numbering. So, just three years after its introduction, the "La Rochelle" name seems to have gone.
Catalog 100A – now it's Just a Number
"La Rochelle" and No. 474 co-existed through 1911-12, but in Imperial’s Catalog 100A (believed to be c. 1913) the table set and pitchers in pint, quart and half gallon pitchers, were featured again, but this time with no name, just the 474 numbering. So, just three years after its introduction, the "La Rochelle" name seems to have gone.
The Daisy Design
Two years later, and the lovely name “La Rochelle” seems to have been forgotten entirely.
Two years later, and the lovely name “La Rochelle” seems to have been forgotten entirely.
In their 1915 Catalog No. 101B Iridescent Glass Novelties, the punch bowl and cups in this pattern were simply called “daisy design”. It is interesting to note that throughout this catalog, the familiar pattern numbers were not used. Instead, Imperial assigned different numbers with specific prefixes denoting colour. Thus, the 474 pattern number was not included, and instead the items were described by colour as M373 Rubigold (marigold) and K100 Helios. |
Above: extract from Imperial Catalog 101B (1915) showing the familiar
Four Seventy Four punch set described as “daisy design”.
Left: Imperial's magnificent Four Seventy Four punch set in Rubigold (marigold). |
Into the 1920s
The popularity of the pattern continued. In the Butler Brothers wholesale catalogue for August 1920 there was a small ad for Four Seventy Four punch sets and water sets in "Golden Iridescent" (marigold). This is the last ad we can find for this pattern in Carnival - subsequent ads, through to 1929 show only the pitcher, and only in crystal glass.
The popularity of the pattern continued. In the Butler Brothers wholesale catalogue for August 1920 there was a small ad for Four Seventy Four punch sets and water sets in "Golden Iridescent" (marigold). This is the last ad we can find for this pattern in Carnival - subsequent ads, through to 1929 show only the pitcher, and only in crystal glass.
Revival Era (Contemporary) Production
In the 1960s, Imperial re-issued their Four Seventy Four pattern in various shapes, including a covered box, mug and round-footed comport - in both Rubigold (marigold) and Peacock (smoke), as well as green, amber and red for the comport. Their Revival Era production was marked "IG" to distinguish them from Classic items.
In the 1960s, Imperial re-issued their Four Seventy Four pattern in various shapes, including a covered box, mug and round-footed comport - in both Rubigold (marigold) and Peacock (smoke), as well as green, amber and red for the comport. Their Revival Era production was marked "IG" to distinguish them from Classic items.
Here is a picture of a Revival Four Seventy Four mug in Peacock (smoke) Carnival. It was described in catalogues as a "13 oz. Tankard Mug", and in fact is quite hard to find. What is particularly interesting about it is that a new mould was made for this item, and in making it, Imperial decided to add a flourish to their well-known Four Seventy Four design - if you look carefully at the petals of the flower, each has a cross shaped motif in it, whereas the petals in the old design were completely plain. The new style was clearly intended to be part of the Four Seventy Four range, because the catalogue number for it is "474".
Above: a Four Seventy Four mug in Peacock (smoke) Revival Carnival, which was shown on our NetworK Group on Facebook.
The picture is thanks to and courtesy of Brandy Hoff. |
In fact, we are able to show the actual mould that was used to make the mug. It was acquired by Fenton (along with many other moulds) when Imperial closed. You can see from the mould picture that it is a shiny, and relatively new-looking mould. As far as we know, it was never actually used by Fenton - if it had been used, the IG mark in the based would have been replaced by Fenton's cursive "F" mark.
Above: the mould for the Four Seventy Four mug.
Courtesy of the Fenton Family and Fenton Art Glass Company. |
Shown below left is an Imperial Four Seventy Four vase in Sunset Red Revival Carnival, which is sometimes wrongly called "Mayflower" (which is a different pattern). It was made from Imperial's old mould for the "tall celery" that we showed earlier in the story of No. 474. As you can see, the neck of the Revival reissue vase has a straight/slightly curved-in shape which, is different to the flared-out shape of the neck of the "tall celery". To our knowledge, Imperial did not make the "tall celery" vase shape in old, Classic Carnival, but it was made in crystal (clear) glass.
Above: a Contemporary Imperial Four Seventy Four vase in Sunset Red. It has Imperial's " IG " mark on the inside of the base (so it was on the plunger), and this one also has an Imperial paper label. Note how the shape of the neck differs from the “tall celery” in Imperial’s 1912 catalogue (which was was not made in old, Classic Carnival)
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Other shapes were also made in Contemporary Carnival, in pink and ice blue, by Lennox/Arthur Lorch Imperial, including a salt and pepper set.
But there is another twist to the #474 story!
It found a new owner ... and another name. You might be looking at the vase below, right and thinking it's Imperial's Contemporary Four Seventy Four (as shown above). But in fact it was made by another glassmaker, using the Imperial mould.
But there is another twist to the #474 story!
It found a new owner ... and another name. You might be looking at the vase below, right and thinking it's Imperial's Contemporary Four Seventy Four (as shown above). But in fact it was made by another glassmaker, using the Imperial mould.
When Imperial closed in 1984, their moulds were sold - and guess what - many of their Four Seventy Four moulds were bought by ... Fenton!
Fenton used some of the moulds (adding the Fenton trademark), and gave the pattern a new name, Hobstar and Flower. As you can see from the 2005 catalogue image (immediate right), Fenton's Contemporary version of the vase has a slightly different shape, being flared out at the top in a way that is reminiscent of Imperial's "tall celery". It is reported in red, as shown, and in cobalt blue. Fenton also used the ex-Imperial 474 tumbler mould, making into a basket with an applied handle (far right). This is worthy of a story all of its own - and here it is: Fenton's 2005 Collection. |
Fenton's catalogue, 2005. Four Seventy Four is now Hobstar and Flower.*
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The Four Seventy Four / Hobstar and Flower mould.*
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The tumbler mould with an applied handle. Courtesy Seeck Auctions.
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* Catalogue extract and mould picture are courtesy of the Fenton Family and Fenton Art Glass Company. |
Fenton itself closed in 2011, and all their moulds, including the ones acquired from Imperial, were sold.
Fenton itself closed in 2011, and all their moulds, including the ones acquired from Imperial, were sold.
As we said at the start - this is a Pattern of Many Names: La Rochelle, Four Seventy Four, Imperial's #474 and Hobstar and Flower. Not forgetting the "look-alike" imposters shown below: Mayflower, Imperial's #678 and D'Angelo
Four Seventy Four and the Mayflower "look-alike".
Sometimes the Four Seventy Four, “La Rochelle” pattern gets confused by collectors with a later pattern, Imperial’s No. 678, that is known as Mayflower. This is found as a 1960s water set in rubigold (marigold) and peacock (smoke iridescence). The stylised floral motif is slightly similar but a study of the pictures below shows that many elements of the design are very different indeed to Four Seventy Four. |
Above: Imperial’s Mayflower (#678) pitcher and tumbler shown in their 1960s catalogue.
Left: Imperial’s Contemporary Carnival Mayflower (#678) tumbler and pitcher in smoke (that is, Imperial’s “Peacock” iridescence). Courtesy of Dave Doty (tumbler) and Seeck Auctions (pitcher). |
In fact, Imperial’s 678 has an interesting story of its own to tell. The Contemporary Mayflower #678 pattern is a fully moulded and pressed version of the earlier, original Part-Cut design. It was originally issued as part of Imperial’s Part-Cut Glass line, in c. 1926, with the number 678. A water set is illustrated on the right, available in (non Carnival) crystal, Imperial green and rose marie colours. Part-Cut meant that the basic form was pressed and then sections of the glass (in this case, where the flower petals are and on the hobnails) were left blank and was then wheel cut by hand. It also had a name of its own besides the pattern number 678 – it was called “D’Angelo” (source Weatherman “Colored Glassware of the Depression Era 2”). |
Read more of The Stories Behind The Glass in Carnival Glass Times
Read more of The Stories Behind The Glass in Carnival Glass Times