NetworK ezine Issue 106. March 2024
Totally Devoted to Carnival Glass
A warm welcome to the March issue of our Carnival Glass NetworK ezine. In this issue we investigate some more fascinating patterns from Lancaster; we also continue the story of what happened when Verlys of America launched some of their own designs that Fenton went on to make in stunning Revival Carnival Glass. But first, we focus on Imperial as we sort out some long-standing conundrums.
|
Punch or Fruit? Some collectors may disagree over whether the above picture illustrates a punch bowl and base, or a fruit bowl and base. It’s a question that perplexes collectors and the answer often quoted is that if the top is not ruffled, then it’s a punch bowl – and if it is ruffled, then it’s a fruit bowl. Most catalogues show and describe them as such. The logic usually quoted is that the liquid would pour out of the ruffled bowls. But is this correct? It depends on how much liquid you put into the bowl, of course! If it’s not filled to the brim, then it should be just fine. However, the glass companies were, of course, in business to sell, and multi-use meant more sales. |
Fashion punch bowl and base, in marigold.
Courtesy Seeck Auctions. |
Above: extract from the 1912 Imperial catalogue showing the ruffled Fashion punch bowl and the geometric base.
Catalogue extract courtesy Glass Paper Fanatics. |
Look at the 1912 Imperial catalogue ad above, right. That bowl is ruffled. Note that the page is headed Iridescent Punch Sets, yet Imperial described it as a “footed punch or orange bowl”, demonstrating the multi-use aspect of Carnival. It was what the customer wanted it to be used for – either a punch bowl or fruit bowl – "mix and match".
"Mix and Match" Bases
Did you know that some Imperial geometric-style bases were designed to mix and match with several different bowl tops? The first one – dating from 1909 -
|
is very familiar, as it is seen paired up with the Fashion bowl.
In fact, it was intended to be used with three different bowl tops! Hobstar, Royalty and Fashion - the same pedestal base being used for three different Imperial punch bowl tops. These combinations were shown in Imperial’s 1909 catalogue of crystal glass (not Carnival), at a time when they were concentrating strongly on geometric, imitation-cut designs (a legacy from the cut glass era). These mix and match, bowl and base duos worked so well because each of the patterns relied heavily on hobstars, diamonds and file. So, they made one generic base for three different bowl patterns. Also - and crucially - the size of the maries on each of the bowls and the base, were made to fit together exactly. |
Imperial 1909 catalogue - a composite image created using images in the catalogue.
|
Two more geometric patterned bases
Imperial came up with two more familiar, geometric bases that they used to produce several winning combinations. For ease of identification, we have added the "B1" and "B2" notation - neither base was given a pattern number or a pattern name in Imperial catalogues. Extracts from Imperial’s 1910 catalogue used here are courtesy Glass Paper Fanatics.
Imperial came up with two more familiar, geometric bases that they used to produce several winning combinations. For ease of identification, we have added the "B1" and "B2" notation - neither base was given a pattern number or a pattern name in Imperial catalogues. Extracts from Imperial’s 1910 catalogue used here are courtesy Glass Paper Fanatics.
|
|
Above left is the B1 base. On the right, in Imperial's 1910 catalogue, it was offered with a Twins punch bowl.
This familiar combination is shown in marigold Carnival, courtesy Seeck Auctions.
This familiar combination is shown in marigold Carnival, courtesy Seeck Auctions.
|
|
Above left is the B2 base. On the right, in Imperial's 1910 catalogue, it was offered with a Long Hobstar punch bowl.
This familiar combination is shown in marigold Carnival, courtesy Seeck Auctions.
This familiar combination is shown in marigold Carnival, courtesy Seeck Auctions.
Now here’s the surprise.
Both of these generic geometric bases (B1 and B2) were also illustrated in Imperial’s catalogues with yet more punch/fruit bowl tops. They were mixed and matched with other patterns by Imperial. The B1 base, frequently seen with the Twins bowl, was also intended to be used with a Wheels bowl. The B2 base, frequently seen with the Long Hobstar bowl, was also intended to be used with Imperial’s #404 aka Thunderbolt. Note that #404 / Thunderbolt is so far not known in Carnival. All three generic geometric bases shown above (B1, B2 and “Fashion”) are seen matched with other bowls too. The diameters of the marie on the bases and on the bowls were designed to fit together. It’s likely that most Imperial large 10-11” bowls would have fitted any of those three, generic, geometric bases.
Left: the B1 base with a Wheels bowl in Imperial’s 1915 catalogue.
Right: the B2 base with an #404 / Thunderbolt bowl, in Imperial’s 1909 catalogue. |
A Long Hobstar bowl fits perfectly the "Fashion" base that fits with Fashion and Royalty bowls. The patterns work very well together. Picture courtesy Seeck Auctions.
|
|
There’s no doubt that price was one determining factor; moulds were not only expensive, but also very labour-intensive to produce (it could take around three or four months to make a single mould). In 1915, the Twins top and base were listed at $1.85 per dozen (12) in barrel lots, while the more elaborate Four Seventy Four punch bowl and matching base was listed at $4.00 per dozen. The Twins top on its B1 geometric base was marketed as a cheap item, and was even given away with coupons or as a gift in the premium catalogues. Of course, it is very important to note that Imperial didn’t always use the “mix and match” option. They also made beautiful punch/fruit sets in which bowl, base and cups had the same, unique, matching pattern, for example Imperial Grape, Four Seventy Four, and Broken Arches, shown below in purple, courtesy of Burns Auctions. 
|
Above: this splendid ad for baking powder in the 1911 “Topeka Daily State Journal” enticed the customers with a free gift with their purchase. Note that the item offered was termed a punch bowl and foot. It is, of course, the Twins bowl and that generic (B1) geometric foot!
There is more about this and similar advertising here: Read All About It! |
The Lancaster Glass Company: a further look at more fascinating Carnival from this company.
Carnation
In 1911, Lancaster introduced their Carnation Ware, announcing it in the December 1911 “Crockery and Glass Journal”. This Carnation 11” chop plate by Lancaster Glass in scintillating marigold is a real show-stopper. The pattern is on the exterior of the bowl. Pictures courtesy of Dan Ruth.
Carnation
In 1911, Lancaster introduced their Carnation Ware, announcing it in the December 1911 “Crockery and Glass Journal”. This Carnation 11” chop plate by Lancaster Glass in scintillating marigold is a real show-stopper. The pattern is on the exterior of the bowl. Pictures courtesy of Dan Ruth.
|
This Carnation 11” chop plate by Lancaster Glass in scintillating marigold is a real show-stopper. The pattern is on the exterior of the bowl. Pictures courtesy of Dan Ruth. 
|
|
|
The ad in the centre, above, was in the December 1911 “Crockery and Glass Journal” where Lancaster Glass announced that they would be showing their Carnation line at the 1912 Pittsburgh Glass exhibition. Right: Lancaster catalogue extract, courtesy Glass Paper Fanatics. We understand that the Carnation pattern is also reported in marigold Carnival in the bowl shape. As well as Carnival, the Carnation line is also known in goofus and in clear glass (sometimes with advertising). |
|
Lancaster No. 100 aka Creole
Clearly illustrated in Lancaster’s catalogue is this splendid vase, numbered 100. It’s a large piece, geometric in design, and similar to others such as Cambridge Venetian (which incidentally, was actually the base to a lamp). The shape is called a giant rose bowl by Carnival collectors, on account of the cupped in top – however this logic fails when the item is also seen flared. Perhaps we should stick with the term Lancaster gave it – a vase.
Clearly illustrated in Lancaster’s catalogue is this splendid vase, numbered 100. It’s a large piece, geometric in design, and similar to others such as Cambridge Venetian (which incidentally, was actually the base to a lamp). The shape is called a giant rose bowl by Carnival collectors, on account of the cupped in top – however this logic fails when the item is also seen flared. Perhaps we should stick with the term Lancaster gave it – a vase.
|
|
Left: Lancaster catalogue extract, courtesy Glass Paper Fanatics.
Right: Lancaster’s No. 100 Vase, aka Creole, cupped in (left) and flared. Courtesy Seeck Auctions.
Right: Lancaster’s No. 100 Vase, aka Creole, cupped in (left) and flared. Courtesy Seeck Auctions.
The pattern name Creole was given to it in 2004 by Edwards (seemingly as it had a Hobstar similar to McKee’s rarely seen Orleans pattern); however no maker attribution was given at that time.
The pattern name Creole was given to it in 2004 by Edwards (seemingly as it had a Hobstar similar to McKee’s rarely seen Orleans pattern); however no maker attribution was given at that time.
|
Basket, aka Rustic Rose The original Lancaster pattern name for this pattern was Basket. As you can see in the catalogue illustration, right, “basket” refers to the basketweave background that dominates this pattern. The charming, little wine in this pattern is known in marigold. The decanter in the wine set has not yet been reported in Carnival, so far as we know. Right: Lancaster catalogue extract, courtesy Glass Paper Fanatics.
Far right: Basket wine glass (aka Rustic Rose) courtesy Seeck Auctions. |
|
Lancaster 502 Line, aka North Star
The 502 Line, aka North Star was in the Lancaster catalogue in the form of this impressive punch set with a matching patterned base.
The 502 Line, aka North Star was in the Lancaster catalogue in the form of this impressive punch set with a matching patterned base.
|
|
Above left: Lancaster 502 Line punch set - catalogue extract, courtesy Glass Paper Fanatics.
Right: Lancaster North Star punch bowl on an Imperial geometric base *. Photo courtesy the late Dave Doty.
Right: Lancaster North Star punch bowl on an Imperial geometric base *. Photo courtesy the late Dave Doty.
* In a delightful twist to our article on Imperial "Mix and Match" bowls and bases in this issue), a marigold, this Lancaster 502 / North Star bowl is shown matched with an Imperial base. The familiar base is the typical geometric B2 base seen under Imperial Long Hobstar bowls, and also paired with Imperial’s No. 404 / Thunderbolt. It’s not known if a marigold Lancaster 502 North Star base exists, but clearly, some generic geometric bases even work well when mixed and matched between makers!
Fishnet Rose
In the previous issue of our Carnival NetworK ezine (#105) we featured three Fishnet vases. We were amazed when we came across one of them in Butler Brothers’ 1914 wholesale catalogue as part of a “Bureau or Dresser Set”, shown below. The vase in the centre of the ad is undoubtedly the Fishnet Rose vase. We have enlarged the image of the vase: note that the reversed position of a motif or pattern was typically, often seen on printed publications.
In the previous issue of our Carnival NetworK ezine (#105) we featured three Fishnet vases. We were amazed when we came across one of them in Butler Brothers’ 1914 wholesale catalogue as part of a “Bureau or Dresser Set”, shown below. The vase in the centre of the ad is undoubtedly the Fishnet Rose vase. We have enlarged the image of the vase: note that the reversed position of a motif or pattern was typically, often seen on printed publications.
|
This pattern is referred to as “Unnamed No. 1” by the Early American Pattern Glass Society, and is attributed by them to Lancaster Glass. The “Crockery and Glass Journal” reported, in January 1914, that bureau (dresser) sets were being exhibited by Lancaster at the Pittsburgh Glass Exhibition – this was almost certainly one of those dresser sets, as it was also being promoted in wholesaler’s ads. Now look again at the ad itself – read the description of the five items that comprised the dresser set. The Fishnet Rose vase was being described as a hatpin holder. Multi-use indeed. This suggests that the other two Fishnet vases (Grape and Poppy) might also have been marketed as hatpin holders at some point. |
Above, left: extract from 1914 Butler Brothers Catalogue.
Right: a red Carnival Fishnet Rose vase, Seeck Auctions. |
Verlys and the Fenton Connection: Part Two
In NetworK #105 we looked at some of the items originally created by Verlys that Fenton subsequently made in Revival Carnival using moulds that they had acquired from Verlys ... and more are planned for NetworK #107.
In NetworK #105 we looked at some of the items originally created by Verlys that Fenton subsequently made in Revival Carnival using moulds that they had acquired from Verlys ... and more are planned for NetworK #107.
|
The patterns shown in Issue #106 were Flowers Planter Bowl aka Chrysanthemum, Mandarin Vase, Love Birds, and Pigeons. Given the significance and beauty of all of these (originally) Verlys moulds and the Revival Carnival that was made from them in the hands of expert glassmakers at Fenton, we decided that we needed to give them prominence on a dedicated, curated web page. |
|
So, rather that repeat them here, all our Fenton / Verlys information is now in one place, here: Fenton and Verlys.
It is a Carnival Glass treat not to be missed!
Privacy and the use of your information: we only use your name and email address to send you your Carnival Glass NetworK ezine. We will not share your name or email address with anyone else, or use it for any other purpose. You can change your mind about receiving your NetworK ezine at any time by clicking the unsubscribe link at the foot of every issue, or by emailing us at [email protected]
Join us on Facebook
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.
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.
