NetworK ezine Issue 105. February 2024
Totally Devoted to Carnival Glass
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Welcome to the February, 2024 issue of our Carnival NetworK journal – totally devoted to Carnival Glass. We are delighted to share with you that we now have over 15,300 members in our Carnival NetworK Facebook Group. Our members come from all over the world; in fact, our membership encompasses 101 different countries (as per our Facebook statistics). We don’t include any form of buying or selling, nor do we permit any values or pricing. Our group is all about education, learning from each other, and appreciating the beauty of the glass. Many members tell us that they want to join to learn about Carnival and because they love looking at it. Over fifteen thousand members, worldwide! That is a ringing endorsement for the magic of Carnival Glass.
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Apply to join us here: Carnival Glass NetworK
We love to share our information but we do request that the source is acknowledged. It’s all a question of ethics and courtesy. We name and attribute our sources wherever possible, but sadly it’s clear that others don’t have the same professional code. If you see our info on other websites without acknowledgement, please do let us know.
In this Issue, we explore two fascinating topics - the Carnival Glass output of the little-known Lancaster Glass Company (including an attribution that might surprise you), and moulds previously used by Verlys being "re-purposed" by Fenton to make some amazingly beautiful Revival Carnival Glass. There's also a little extra - two shapes that you would not want to confuse, especially the intended contents! – plus an interesting Revival pattern with a long history.
We love to share our information but we do request that the source is acknowledged. It’s all a question of ethics and courtesy. We name and attribute our sources wherever possible, but sadly it’s clear that others don’t have the same professional code. If you see our info on other websites without acknowledgement, please do let us know.
In this Issue, we explore two fascinating topics - the Carnival Glass output of the little-known Lancaster Glass Company (including an attribution that might surprise you), and moulds previously used by Verlys being "re-purposed" by Fenton to make some amazingly beautiful Revival Carnival Glass. There's also a little extra - two shapes that you would not want to confuse, especially the intended contents! – plus an interesting Revival pattern with a long history.
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The Lancaster Glass Company
The Lancaster Glass Company is not one that Carnival Glass collectors tend to be very familiar with. Their iridescent Stretch Glass lines, in shapes such as comports, candies and bonbons, dating from the 1920s, are known to many. Their novelties, such as the splendid bulldog Toby, are perhaps a little less familiar. 
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Illustration from The Lancaster Glass Co. catalogue.
Courtesy Glass Paper Fanatics. Left: 1915 ad, Crockery and Glass Journal for "Toby" (*) A similar novelty bulldog, just under 3 inches high, was also made by Westmoreland and Fenton (a few years later). Scarce examples of the early novelty bulldog are reported in marigold. Revival era versions are also known in a variety of Carnival colours. |
In this article we take a close look at Lancaster and some surprising items that we can confirm they made in Carnival Glass dating probably from c. 1910-15. - but before we reveal more about Lancaster's Carnival patterns, let’s take a brief look at the fascinating story behind the glassworks itself … and we start with a log cabin.
Martin of Martins Ferry
In 1791, Ebenezer Martin was born in a log cabin above the banks of the Ohio River opposite the town of Wheeling. His family were early settlers in the region and young Ebenezer was destined to make his own mark in the area. The local town – known as Jefferson – was redesigned by Martin in a grid system, and became known as Martinsville. Soon after, due to the fact that Ebenezer Martin operated a popular ferry (a flatboat propelled with oars or poles) the town became known as Martins Ferry. Ebenezer fathered seventeen children, the youngest of which was called Lucien.
Glass historian, Minnie Watson Kamm wrote (in the late 1950s) that “Lucien started his career as a salesman for Hobbs Brockunier and Co., soon becoming its star salesman.” In 1887 Martin was co-founder of The Fostoria Glass Co., moving on later to the National. Then, in 1908, Lucien Martin founded The Lancaster Glass Company with his son, Philip. The local area was a good choice for glass making as it had much natural gas and plentiful local sand.
Lancaster’s Carnival Glass
The January 9th 1909 edition of “China, Glass and Lamps” featured a line of vases by Lancaster in “Crystal, Iridescent, Lustre and Ruby” (**). It’s evident from this that iridescent glass – Carnival – was in the line at Lancaster in 1909, however very little about it is documented or recognised. We feature several Lancaster patterns in this Issue, along with the catalogue evidence of their manufacturer. Our readers will be able to spot these items should they come across them in future.
Martin of Martins Ferry
In 1791, Ebenezer Martin was born in a log cabin above the banks of the Ohio River opposite the town of Wheeling. His family were early settlers in the region and young Ebenezer was destined to make his own mark in the area. The local town – known as Jefferson – was redesigned by Martin in a grid system, and became known as Martinsville. Soon after, due to the fact that Ebenezer Martin operated a popular ferry (a flatboat propelled with oars or poles) the town became known as Martins Ferry. Ebenezer fathered seventeen children, the youngest of which was called Lucien.
Glass historian, Minnie Watson Kamm wrote (in the late 1950s) that “Lucien started his career as a salesman for Hobbs Brockunier and Co., soon becoming its star salesman.” In 1887 Martin was co-founder of The Fostoria Glass Co., moving on later to the National. Then, in 1908, Lucien Martin founded The Lancaster Glass Company with his son, Philip. The local area was a good choice for glass making as it had much natural gas and plentiful local sand.
Lancaster’s Carnival Glass
The January 9th 1909 edition of “China, Glass and Lamps” featured a line of vases by Lancaster in “Crystal, Iridescent, Lustre and Ruby” (**). It’s evident from this that iridescent glass – Carnival – was in the line at Lancaster in 1909, however very little about it is documented or recognised. We feature several Lancaster patterns in this Issue, along with the catalogue evidence of their manufacturer. Our readers will be able to spot these items should they come across them in future.
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Kansas pattern – known in marigold in comport, tumbler and bowl shapes. 
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Above: Lancaster catalogue extract, courtesy Glass Paper Fanatics.
Left: Kansas comport, Lancaster Glass Co. Courtesy Seeck Auctions. |
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Lancaster No. 482 aka Yukon Gold aka Kaleidoscope – known in marigold in the bowl shape.
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Above: No. 482 bowl, Lancaster Glass Co. Picture (left) courtesy Seeck Auctions. Lancaster catalogue extract, courtesy Glass Paper Fanatics.
Items in this line were also gilded (“full gold treatment”), which is where the Yukon Gold name came from, as shown in the 1915 Butler Brothers wholesale ad below for this pattern in crystal glass.
Rose Ware aka La Belle Rose – known in marigold in the master berry (8 inch nappy) and individual berry (4.5 inch nappy) shapes.
Above, left: Rose Ware, Lancaster Glass Co. Picture (left) courtesy Burns Auctions. Right: Lancaster catalogue extract, courtesy Glass Paper Fanatics.
The "Fishnet Vases"
These are a trio of cylinder vases in red base glass, each standing around 6 inches high. A floral or fruit pattern is moulded on each, against a “fishnet” or crackle or lattice type of background. They are shown below, left.
Confusingly, the names assigned to them vary - the names that have been given to them are:
Fishnet Grape, aka Latticed Grape, aka Vineyard & Fishnet.
Fishnet Poppy, aka Flaming Poppy, aka Fishnet Primrose, Primrose & Fishnet, aka Poppy & Fishnet, aka #2475.
Fishnet Rose, aka American Beauty Rose, aka Fishnet Waterlily, aka Rose & Fishnet.
These are a trio of cylinder vases in red base glass, each standing around 6 inches high. A floral or fruit pattern is moulded on each, against a “fishnet” or crackle or lattice type of background. They are shown below, left.
Confusingly, the names assigned to them vary - the names that have been given to them are:
Fishnet Grape, aka Latticed Grape, aka Vineyard & Fishnet.
Fishnet Poppy, aka Flaming Poppy, aka Fishnet Primrose, Primrose & Fishnet, aka Poppy & Fishnet, aka #2475.
Fishnet Rose, aka American Beauty Rose, aka Fishnet Waterlily, aka Rose & Fishnet.
A trio of "Fishnet Vases".
Left to right: Fishnet Grape, Fishnet Poppy, both courtesy Burns Auctions; Fishnet Rose, courtesy Seeck Auctions. All in red Carnival. |
1916 Charles Broadway Rouss mail order catalogue extract.
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Writing in a 1986 article on red glass, Carnival Glass Pioneer Don Moore attributed them to Imperial, but we cannot find what information was available to support that attribution. Unfortunately this attribution has been repeated in many references online and in Carnival Glass literature, without further review, but our research shows that they were made by Lancaster Glass.
Our key evidence for this attribution comes from a very interesting 1916 Charles Broadway Rouss mail order catalogue, an extract from which we have shown above on the right. The ad clearly depicts two of these vases – Fishnet Grape and Fishnet Rose. Although the descriptive text suggests that they were being made in Goofus glass at that time, the crucial piece of information is at the bottom of the ad where it states: “Shipped from Lancaster, Ohio” - the location of The Lancaster Glass Company's factory.
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We believe this is contemporaneous and firm proof that the Fishnet vases were made by Lancaster Glass. A crucial feature of (some) Charles Broadway Rouss catalogues stated clearly where the glass assortments were being shipped from! So, for example, a glass assortment in the Rouss catalogue that we definitively know to be from the Fenton factory stated "Shipped from Williamstown W Va" (where Fenton were located) – similarly, Imperial assortments were described as “Shipped from Bellaire, O” (where the Imperial factory was located). Supplementary evidence also leads us to Lancaster Glass. As shown earlier in this article, we know they made Carnival Glass and would therefore be familiar with the skills and techniques for making this type of glass. Lancaster was not a volume Carnival producer, and the "Fishnet Vases" are known only in quite limited numbers. We also know from this 1921 report in “The Pottery, Glass and Brass Salesman”, (right) that by 1921, Lancaster Glass was making "glassware specialities" in "Ruby and Topaz Lustres" and the company was "strong in vases". Some of these "lustres" may have been Stretch Glass rather than Carnival, but both involve the application of iridescence, and another report also stated that Lancaster Glass was producing glass “in … Iridescent finishes”. |
"The Pottery, Glass and Brass Salesman”, 1921.
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When might the Carnival "Fishnet Vases" have been made? All three vases were depicted in Butler Brothers ads in 1923, 1924 and 1927 (and probably in other years too). The clearest one to view is shown on the right. Given that the iridised examples of these vases are all on red base glass, it seems most likely that the Carnival versions were made in the early 1920s - our ground-breaking research into the making of iridised, pressed red Carnival, revealed that the techniques to produce a consistent cherry red colour came about only with the introduction of selenium into the glassmaking batch in the early 1920s. Here is a link to our article: The use of selenium in red Carnival. Put these pieces of evidence together and the conclusion is that Lancaster Glass was the maker of the "Fishnet Vases" |
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Orizaba / Hobstar Band – attribution uncertain.
This one is possibly a red herring, but we include it here for readers to make their own decision. A handled celery is shown in the Lancaster catalogue with the pattern name “Orizaba”. It is the only shape in this pattern that we have been able to see in any of the Lancaster catalogues that we have studied, so we are unable to confirm any other shapes in this pattern. Readers will spot that Orizaba is similar to the Carnival Glass pattern known as Hobstar Band, shown here for comparison. It has been suggested that Lancaster Glass may be the possible maker of Hobstar Band, but there are significant differences when compared to Orizaba. An obvious difference is the handles; on the Hobstar Band they are facetted and complex while the Orizaba handles are smooth and plain. |
Above, left is an extract from the Lancaster catalogue showing the Orizaba celery (courtesy Glass Paper Fanatics), and on the right is a Hobstar Band celery in marigold (courtesy Burns Auctions).
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In fact, the handles on all of the many examples of tableware and pitchers in the Lancaster catalogues that we have studied were plain and smooth - none were facetted and complex like those on Hobstar Band. Apart from the handles, the Orizaba base is flat, and Hobstar Band has a collar base, and of course there is a wide plain band at the top of the Orizaba that’s missing on Hobstar Band. It is entirely possible that one was a copy of, or was was inspired by the other, and that two different makers were involved. However, based on the evidence currently available, we feel that there are too many differences to claim Hobstar Band as a Lancaster pattern.
Do not miss our full, lavishly illustrated feature about Lancaster Glass. It includes larger sized images of the Lancaster patterns we have identified and shown here in NetworK, as well as full catalogue pages showing all the relevant shapes. Here is the link: Lancaster Glass Company
* A footnote about "Toby": Toby-style dog novelties have had much success over the years. In Carnival Glass, miniature sized versions like the one from Lancaster Glass have been produced by various makers, as has a larger "doorstop" version in the same style.
References:
** Great American Glass of the Roaring Twenties and Depression Era; Measell & Wiggins, 1998.
A Fifth Pattern Book; Minne Watson Kamm, 1st pub. 1958.
History of Belmont and Jefferson Counties, 1880.
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Verlys and the Fenton Connection
In this Issue, we take a look at some of the items originally made by Verlys that Fenton made in Revival Carnival. We will focus on several more in our March Issue. |
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The unlikely story behind the beautiful Thistle vase shown here (far right) begins around 200 years ago, when a French physicist called Augustin Fresnel invented a ground-breaking lens (subsequently 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. |
Above, left: “Les Chardons” vase (meaning Thistles) in the October 1933 Verlys catalogue, “Verrerie d’Art” courtesy Dieter Neumann and Siegmar Geiselberger.
Right: The Thistle vase in Plum Carnival in Fenton’s 1997 catalogue courtesy of the Fenton Family and Fenton Art Glass Company. |
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Around 1935, Verlys of America, located in Newark, OH, began to produce some of the Verlys line in the USA.
On the right 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 Thistle vase in the ad was made by Verlys of America at Newark, OH. 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. Thistle Vase Shown below is an amazing pair of Thistle vases in Sea Green Satin Carnival, made by Fenton from the Verlys mould. The vase was featured in Fenton’s 1998 Life Styles catalogue. Photo courtesy Dino Capra. |
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The Thistle vase 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 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
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
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
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. In the next NetworK ezine we will feature more of the fascinating pieces that Fenton made using the Verlys moulds. |
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Reference: Information on the origins of Holophane courtesy various Holophane (Acuity Brand) websites.
Sugar, Sugar!
Some European Carnival makers (notably Riihimaki in Finland and Eda in Sweden) were exceptionally skilled at shaping and finishing items to add individuality and flair to pieces pressed from the same mould. The items – mainly sugars and vases – were shaped while the glass was very hot, immediately after removal from the press. Vases might be flared widely or coaxed straight up, formed into a tri-corner shape, or pinched in tightly and then flared out.
This latter shaping, used on some vases and sugars, is often described as “spittoon or cuspidor shape” as it resembles the top of a Classic Carnival spittoon (such as the Millersburg Hobnail one). Note we have emphasised the word “shape”. Obviously, the item itself does not become a spittoon and was not intended as a spittoon. It would still be a sugar, albeit with a pinched and flared top, or a vase.
Some European Carnival makers (notably Riihimaki in Finland and Eda in Sweden) were exceptionally skilled at shaping and finishing items to add individuality and flair to pieces pressed from the same mould. The items – mainly sugars and vases – were shaped while the glass was very hot, immediately after removal from the press. Vases might be flared widely or coaxed straight up, formed into a tri-corner shape, or pinched in tightly and then flared out.
This latter shaping, used on some vases and sugars, is often described as “spittoon or cuspidor shape” as it resembles the top of a Classic Carnival spittoon (such as the Millersburg Hobnail one). Note we have emphasised the word “shape”. Obviously, the item itself does not become a spittoon and was not intended as a spittoon. It would still be a sugar, albeit with a pinched and flared top, or a vase.
Above: Riihimaki’s Fir Cones sugar bowl in amber,
with a spittoon shaped top. |
Shown above are two of the eight different shapes of sugars illustrated on the 1929 Riihimaki Kauklahti catalogue page that has Fir Cones sugars and creamers. #6607 has the pinched and flared top typically called a spittoon shape. #6608 is somewhat bulbous, but is not spittoon shaped. (Note that Sokerikkoja and sockerskalar mean sugar bowls/containers, in Finnish and Swedish respectively.)
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Carnival Glass made in Europe is ever-growing in its popularity with its uniquely fascinating patterns, styles and shapes. All you need to know about them is in our eBook “Carnival Glass From Europe” - a comprehensive A to Z Encyclopaedia (and a 2020 update) - the culmination of over 20 years of our collecting, documenting and researching glass made throughout Europe. Almost 300 pages long, our eBook covers an astonishing range of almost 800 Carnival Glass patterns from over 50 glassmakers throughout Europe. Patterns are meticulously identified with photos, catalogue illustrations, the reported colours and shapes, factory attributions and the original makers' name where known. It is a visual delight and comprehensive in its coverage! Available to download in PDF format for just £15, or equivalent in your currency, using PayPal. For full details and to buy it, go here: Carnival Glass from Europe |
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Mosser Glass - Holly pattern
These charming Revival Carnival items – sugar, creamer, toothpick holder and handled basket (made from the sugar mould) – have an interesting back-story. They are derived from an old Dugan pattern known as Erie (aka Beaded Ovals and Sand) later adapted by Diamond to add the holly. Mosser made the items shown here in white Carnival with two options – decorated (painted) holly or plain. For scale, the creamer is just under 5 inches high. Much more to see, including the early Dugan Erie pattern, here: Mosser in the 1990s Right: extract from Mosser catalogue, 1990s, showing
“Holly” (#904) in decorated, white Carnival. |
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We invite you and your friends to join us all on NetworK's fast growing and very active Facebook Group (link is below), and if you have missed any of the previous issues of NetworK and NetworK Specials, they are all here: Back Issues.
