NetworK ezine Issue 104. January 2024
Totally Devoted to Carnival Glass
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Welcome to our first issue of NetworK for 2024. We hope that the New Year brings you health and happiness, much joy and of course, wonderful Carnival Glass.
In this first issue we take a look at peach opal, and in particular, its context and how it was promoted and advertised at the time it was first made. During the course of our research for this topic, we became intrigued by the story behind one particular piece of peach opal – Beaded Panels made by Dugan. As we began to peel back the layers of the story, we were fascinated by what was revealed. And so, we start our look at peach opal with a closer view of the story of the Beaded Panels comport. Beaded Panels (the pattern with many makers and even more names!) Beaded Panels is a charming and familiar item to many – not too hard to find and almost always in peach opal. The shape is usually the tricorner effect, with three sides of the tightly ruffled edge pulled down (as in the picture, right). A first glance usually takes in the opalescence around the lovely ruffled edge, but a second glance is probably at the stem. It’s a masterpiece of mouldwork. Four small, curved, beaded legs – with the space between the legs being totally open. That’s a skilful piece of craftsmanship in many ways. In Carnival Glass, this pretty piece was made by Dugan, but the back-story is complex. Its origin goes back to c. 1899 when it was almost certainly introduced by The Northwood Company at the Indiana, Pennsylvania glassworks. The evidence for this is in a Pitkin and Brooks catalogue where it was referred to as No. 562. |
Beaded Panels comport in peach opal by Dugan.
Courtesy Seeck Auctions. |
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A few years later the mould for this lovely piece was used by Dugan, when they took over the same Indiana PA works. In a 1907 ad for a “Big Variety Opalescent Assortment” of Dugan glass shown in Butler Brothers catalogue, the Beaded Panels comport (probably termed a “footed card receiver”) was illustrated. The item was also illustrated in Dugan’s own catalogue around the same date. Dugan initially made it in “beautiful opalescent and Venetian colorings, assorted blue, green and flint”. It's likely that Dugan's peach opalescent production of this item was c. 1909-12. Most examples have three sides pulled down in the tricorn shape, however some examples are known with six ruffles. Although most Carnival pieces were made in beautiful peach opal, scarce examples are reported in purple Carnival and a curious shade that is described variously as smoke, clambroth or light marigold. |
Above: extract from Butler Brothers 1907 catalogue that featured opalescent glass (not iridised Carnival Glass).
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We searched through mail order catalogues and old archives, but we could not find any ads for glass assortments that included this specific piece in iridescent glass (Carnival) during the Dugan years at the Indiana, PA. glassworks. From 1913 onwards, the glassworks at Indiana, PA became known as Diamond Glass, and it wasn’t until 1930, under Diamond Glass, that Beaded Panels made an appearance again, in the mail order catalogues that we have studied. In a Sommers catalogue (1930) we spotted an “AFTERGLOW ASSORTMENT” line of pale pink and green items (we know these were typically also lightly iridised). You can see this exact ad for yourselves in our Collectors Facts feature on Beaded Panels. More makers and more names! A few gaps in the story remain. There is more to tell … The pattern had two more revivals. Shortly after Diamond Glass produced it in their After Glow line, the factory suffered a devastating fire and Diamond closed in 1931. A few years later, in 1939, Si Wright acquired many of the moulds that were saved from the fire – the No. 562 was among them. It was used to make glass for L.G. Wright in various forms and colours, and it was known as “Beads”. But there was also an epilogue – yet one further production, which may surprise you, as it surprised us – read about it in our Collectors Facts. Then there is the pattern name, which has many frustrating variations. It began with the number 562 in the Pitkin and Brooks catalogue in 1899 (the number was almost certainly assigned by Northwood). |
Beaded Panels comport in purple Carnival by Dugan.
Photo courtesy Seeck Auctions. |
Extract from “Carnival and Iridescent Glass” by Rose M. Presznick.
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The same number (562) is also shown in the Dugan catalogue for this exact item – perhaps it was stamped on the mould. Early opalescent versions (Northwood and Dugan) are often referred to by collectors using the name “Open Opals” - or indeed "Opal Open" - while the Carnival version (Dugan) is known as “Beaded Panels”. We can also add "Bead and Panel", “Beaded Pearls”, "Beads" and “Beaded” to the list of names that have been used. Finally, it’s important to note that the name “Beaded Panels” is almost certainly a corruption of the first name given to it by Carnival collectors, which was Beaded Panel (singular). We went back to the source of the name, and it appears that it was named by Rose Presznick - as shown on the left. Later, other writers added an “s” and that simply stuck. We reveal the full story of this fascinating pattern, with all its twists and turns, as well as all its different names plus many additional intriguing illustrations and catalogue images, in our Collectors Facts series. Here is the link: Beaded Panels |
The Glory of Peach Opal
Peach opal is clear opalescent glass that has been iridised with ferric chloride (which produces the typical marigold iridescence).
Peach opal is clear opalescent glass that has been iridised with ferric chloride (which produces the typical marigold iridescence).
A slightly swung Lined Lattice vase in peach opal by Dugan
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A peach opal Starfish comport by Dugan, courtesy of Seeck Auctions.
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Opalescent glass has a distinctive pearly white edge, and often also has that same pearly whiteness on the thicker parts of the glass (the high points of the pattern) which enhances the design. You can see that very clearly in the Lined Lattice vase, where the thicker parts of the glass look like snow-capped mountains. The secret to achieving the opalescent effect is a combination of ingredients that are added to the glass mix (the "batch") and the skilled techniques used in the glassmaking process. Bone ash, also referred to as calcium phosphate or phosphate of lime was usually added to the batch as well as ingredients such as cryolite and arsenic. Then comes the critical step in the glassmaking process - the cooling and subsequent reheating (in the "glory hole") that coaxes out the opalescent effect (the process is referred to as "striking").
Several years ago, we wrote a detailed article about opalescent glass and iridescent opalescent glass – opalescent Carnival (which is known in the form of peach opal, aqua opal, vaseline opal and other rarer colours).
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The article explores the skills and techniques of making opalescent glass - "The Fire Within" - by famous glassmakers such as Lalique and Davidson, as well as its later use by Carnival Glass makContents of the article have since been "used" by others, without referencing the original source, but there is only the one place where you can read the full version, here: Opalescent Carnival Glass - The Fire Within
Why do we refer to it as peach opal Carnival instead of marigold opal (which is what it actually is)? It’s that delicious interplay between the heavy white opalescence and the marigold spray – a heavy opalescence often tones down the orange shade, turning it into that delicate peachy effect. Dugan (and later, Diamond) was the "master" of peach opal Carnival. Fenton and Westmoreland also made it in smaller amounts, and there are some scarce items from Northwood and from Imperial. |
Above, left: File and Fan comport, Westmoreland. Courtesy Burns Auctions.
Right: Dragon and Lotus 9" bowl, Fenton. Courtesy Seeck Auctions. Both are in peach opal Carnival. |
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Some of the Dugan items were promoted in mail order catalogues at the time, and we take a look at these fascinating portrayals in this issue of NetworK. 
Above: Dugan’s Swan novelty / trinket tray in peach opal.
Courtesy Seeck Auctions. Right: extract from Kennedy & Wright Premium catalogue, c. 1906-9. Courtesy Glass Paper Fanatics. The Kennedy & Wright Premium catalogue extract is fascinating to study. They used “lady agents” to promote their wares by Premium sales – and in the selection illustrated here the customer would receive vanilla essence, face powder and a stunning opalescent Swan “trinket tray” for just 35 cents.
The artistic representation of the opalescent Swan, which we believe was a Dugan item, is superb. Although it almost certainly wasn’t iridised, the drawing is so beautiful and typical of its era, that we feel our readers will enjoy seeing it. |
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1910 Mongomery Ward catalogue. Courtesy Glass Paper Fanatics. The enticing description delightful: “By a secret process the pure crystal glass is tinted in various rich opalescent hues, very much resembling a shell pearl”.
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Ski Star berry set in peach opal. Courtesy Seeck Auctions.
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Of course, we know the “secret process” was by no means “secret” (we explain it above). In fact, opalescent glass had been in production from the late 1800s. It’s not clear if these items were iridised as well. The ad also refers to the colours being “more brilliant” which does suggest that it was indeed iridised peach opal. The item at the top of the ad is Dugan’s Ski Star berry set (Compass exterior) – the item below is a Smooth Rays interior berry set with Dugan’s well-known Jewelled Heart exterior.
Various terms were used in contemporary journals and sales catalogues for Dugan’s iridescent glass, including Pearl Iris and Mexican Aurora. It seems likely that these were used for peach opal. The 1910 and 1911 Butler Brothers’ ads shown here are both for peach opal Carnival items. The descriptions are clear, referring to “deep iridescent rainbow hues, pearl edges and undersurface”.
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The 1910 and 1911 Butler Brothers’ ads shown here are both for peach opal Carnival items. The descriptions are clear, referring to “deep iridescent rainbow hues, pearl edges and undersurface”. 
Above: a 1910 Butler Brothers’ ad for Dugan’s peach opal baskets.
On the left, Stippled Petals and on the right, Ski Star.
Right: a 1911 Butler Brothers’ ad for Dugan’s Fishnet epergne in peach opal, and the real thing (image courtesy Burns Auction Service). |
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Dugan’s peach opal was also the perfect background and setting for their delightful decorated designs. Peach opal bowls in various moulded patterns showcased some exquisitely lovely, hand decorated work. Shown in Butler Brothers’ catalogues in 1910 as a “Parisian Art” assortment, these were described as “deep iridescent, aurora tints, pearl edges and undersurface”. The painted designs were referred to as lilies of the valley, forget-me-nots and roses. The two pictures below are of Dugan’s peach opal Single Flower bowl, which is an exterior pattern. Given that the interior is completely plain, it is perfect for an enamelled decoration. The enamelled design here is a “Roses” pattern. The lower picture is a side-on view and it shows the pearly white opalescent edge very well - the deep "three in one" edge is typical of Dugan. |
A 1910 Butler Brothers’ ad for Dugan’s decorated peach opal bowls.
Left to right: Lily of the Valley on Stippled Flowers bowl; Forget-Me-Nots on Stippled Petals bowl; Roses on Cherries bowl. |
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Below is another stunning example of a very unusual edge treatment that Dugan applied to this peach opal Raindrops bowl ... so dramatic!
Above: a very unusual peach opal Raindrops bowl. Courtesy of Seeck Auctions.
Read much more about opalescence – its fascinating back-story, context and the early makers, here: Opalescent Carnival Glass - The Fire Within
This lovely Fenton ad dates back to August 1970, just over six months after Fenton re-introduced their (Revival) Carnival Glass.
Fenton Revival Carnival ad, 1970. Courtesy of Glass Paper Fanatics.
Click on the ad to see it in full size detail. |
The ad notes that Fenton found some of their “original moulds” such as Persian Medallion, Orange Tree and the Open Edge Basket which can be seen in the ad. Some other items - which were not originally made in Classic Carnival - are included in the lovely selection, such as the Alley Cat and the Mermaid Planter. The planter, shown below, was originally a Verlys mould that was acquired (with several others from the same source) and modified by Fenton. The mould detail is exquisite. Image courtesy of Seeck Auctions. 
The footed comport at the bottom right of the ad, is known as Pinwheel (8227) and was made from another mould obtained from the United States Glass Company. The pattern was known there as Comet in the Stars - their 15150.
The plate on the centre left of the ad is a bit of advance advertising, as it is the Christmas 1970 Little Brown Church in the Vale item - the first in the series of "Christmas in America" plates. |
The Alley Cat story is complicated.
The mould for the Alley Cat was purchased from the United States Glass Company by Fenton. (The mould had earlier been designed by Reuben Haley for Duncan & Miller, which became part of U. S. Glass).
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In 1924, the company had illustrated the novelty cat on the cover of their brochure (The Glass Outlook) and described it thus: “This weird feline holding down a front cover position on the Outlook team this month has been christened “Sassie Susie.” …Makes a very efficient door stop. Brightens a dull corner. Sits pretty under a Christmas tree. Never fails to arouse comment when seen for the first time. Strong enough to be used as a means of defense… All in all, “Sassy Susie” has a real job in life cut out for her.” However, in 1963 U. S. Glass Co. were declared bankrupt—later that same year a tornado destroyed the factory premises at Glassport. Frank M. Fenton tells of wading around in the flooded basement of the building after the roof had been ripped off. He was able to purchase some of their moulds including the wonderful Alley Cat, which Fenton first made in Carnival Glass in 1970. Here is the actual Alley Cat mould that was used by Fenton. No ... the picture is not wrongly posted ... the Alley Cat was pressed upside-down (the cat is actually hollow from the plunger). The mould is now being used by Mosser. |
The Alley Cat mould.
Picture courtesy of Fenton Art Glass Company and the Fenton Family. |
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