NetworK ezine Issue 107. April 2024
Totally Devoted to Carnival Glass
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Welcome to the April edition of Carnival Glass NetworK. Traditionally the first day of April is “April Fools’ Day” and so we felt it would be interesting (and fun) to look at some of the Carnival Glass world’s April Fools.
Not What It Seems Cuspidors We begin with a look at some items that masquerade as cuspidors when in fact they are something else entirely - perfect April Fool items. Shown on the right and again later, is Brockwitz Tartan in blue (Original Maker's Name Copenhagen). It’s a large, heavy and impressive piece of glass, in production from at least as early as 1915. The diameter of the top rim on this example is 7 inches. So, what is it? What was its function? At a glance, most Carnival collectors would recognise it as the familiar shape of a cuspidor (spittoon). But here’s the thing … the Brockwitz Tartan item is actually a flower bowl (blumenbowle) intended to be filled with flowers rather than anything less delightful. The bulbous shape, the pinch and flare at the top, look like a cuspidor. Known in marigold and blue, these Brockwitz beauties are not easy to find. |
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Above: an extract from our free eBook “Carnival Glass Terms”
which explains the cuspidor and features a Classic Carnival example – Millersburg’s Hobnail Swirl. |
Left, Brockwitz Tartan flower bowl in blue, and right, an extract from Brockwitz 1915 catalogue courtesy Dieter Neumann.
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Riihimaki in Finland made several items that Carnival collectors often perceive as cuspidors, when in fact they are sugar bowls (typically in patterns such as Starburst, Fir Cones and Western Thistle).
Above: a Starburst sugar bowl, shaped like a cuspidor,
shown in Riihimaki’s catalogues. |
Left: a Starburst sugar bowl, shaped like a cuspidor, in iridised caramel slag. Courtesy Roger and Tuula Peltonen.
Right: a Western Thistle sugar bowl in blue, shaped like a cuspidor. |
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Chalices and Giant Tumblers
In early Carnival literature, the Curved Star shape shown below was referred to as a chalice, and the item was named Cathedral Chalice. It was only some years later, as Brockwitz catalogues were discovered, it was realised that the shape was actually intended as a celery vase or to hold grapes (probably in water, so they could be washed at the table). Right: Curved Star celery / "traubenspuler" shown in blue and in marigold.
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Above: two Brockwitz catalogue illustrations
from the 1920s showing the Curved Star (OMN Zurich) celery vase. Note that one shows the item as a “traubenspuler” (for holding/washing grapes). |
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Another misidentification of shape was that given to the "Texas Tumbler", sometimes also called a "Texas shot glass". Although the name was clearly intended as a joke (because everything is bigger in Texas, right?) it wasn’t realised that the item was actually another "traubenspuler" (grape washer). It could of course, also be used as a celery – however all the Brockwitz catalogues we have studied identify this as a "traubenspuler". It was also realised that the pattern is actually part of the Northern Lights range of shapes (OMN Imperat). Right: a Brockwitz Northern Lights / "Texas Tumbler" (OMN Imperat).
Far right: an extract from the Brockwitz 1915 catalogue. |
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Powder Jars and Rose Bowls! Oh No!
The delightful pattern known as Classic Arts was produced by the Czech glassmaker, Rindskopf. Three shapes are known in the pattern, a vase and the two shown below. The covered item is often described as a powder jar while the other is frequently referred to as a rose bowl. In fact both of those functions as incorrect – and could lead to unfortunate and surprising consequences if either item was in use (correctly). The covered item was actually intended as a marmalade pot or covered sugar (best not to confuse it with face powder). The open item was intended to be a finger bowl or an open, low sugar (best not to arrange roses in your finger bowl).
The delightful pattern known as Classic Arts was produced by the Czech glassmaker, Rindskopf. Three shapes are known in the pattern, a vase and the two shown below. The covered item is often described as a powder jar while the other is frequently referred to as a rose bowl. In fact both of those functions as incorrect – and could lead to unfortunate and surprising consequences if either item was in use (correctly). The covered item was actually intended as a marmalade pot or covered sugar (best not to confuse it with face powder). The open item was intended to be a finger bowl or an open, low sugar (best not to arrange roses in your finger bowl).
Classic Arts made by Rindskopf. The covered bowl, above, number 1642 I/1704, was on a catalogue page with items described as covered sugar bowls and covered marmalade bowls.
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The Classic Arts bowl was also offered without a lid, below,
number 1642/I. It was on a catalogue page with items described as finger bowls and low open sugar bowls. |
Flowers or Oranges?
Fenton made one single pattern line that collectors call Orange Tree. There are many shapes within this pattern line, including the rose bowl and they are all Orange Tree. Unfortunately, when Marion Hartung wrote her pattern books, she depicted the rose bowl with a different name - Fenton's Flowers - not realising it was the Orange Tree pattern. In fact, Hartung even thought it was like Northwood's Leaf and Beads. She simply didn't realise she was looking at the Orange Tree pattern in a different shape. More unfortunately, some collectors and writers have carried on that mistake.
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Above: Fenton's Classic old Orange Tree
(aka Fenton Flowers) rose bowl in red Carnival. Left: 1912 Butler Brothers wholesale catalogue extract showing an assortment of Carnival from Fenton. Seven of the items are in the Orange Tree pattern. There’s a covered puff box (powder jar), rose bowl, hatpin holder, loving cup, salad bowl, open sugar and creamer.
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You can read about the William Morris inspiration behind Fenton’s Orange Tree pattern in our major feature about "The Story Behind the Glass". The feature also includes fascinating information from the late Frank Fenton, about the pattern, as well as details on the revival of the pattern.
Here is the link: The Story Behind the Glass - Orange Tree
Here is the link: The Story Behind the Glass - Orange Tree
Verlys and the Fenton Connection: Part Three
In previous Issues of NetworK, we have 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.
In previous Issues of NetworK, we have 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.
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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. |
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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!
It is a Carnival Glass treat not to be missed!
Cuspidors
We began this issue of NetworK with cuspidors, so it’s fitting that we end with cuspidors too. Two distinctly different cuspidors are shown below. There is also an “April Fool” aspect to this, as these are frequently confused, conflated and incorrectly attributed or named. Each has a textured pattern, one much stronger and more defined than the other. Both are large items, around 7” across and have a similar, hexagonal shape. Both were in production c. late 1920s, early 1930s. Here we show you the distinct differences between them and crucially, we show you the maker’s catalogue illustrations.
The first is Crackle by Jeannette Glass, c. late 1920s. The pattern is pronounced and clear, as shown in these excellent photos by Kathy Marie.
We began this issue of NetworK with cuspidors, so it’s fitting that we end with cuspidors too. Two distinctly different cuspidors are shown below. There is also an “April Fool” aspect to this, as these are frequently confused, conflated and incorrectly attributed or named. Each has a textured pattern, one much stronger and more defined than the other. Both are large items, around 7” across and have a similar, hexagonal shape. Both were in production c. late 1920s, early 1930s. Here we show you the distinct differences between them and crucially, we show you the maker’s catalogue illustrations.
The first is Crackle by Jeannette Glass, c. late 1920s. The pattern is pronounced and clear, as shown in these excellent photos by Kathy Marie.
Above: Crackle cuspidor by Jeannette Glass, showing the side view and the base. The light showing through the pattern defines it very clearly.
Photos courtesy and copyright, Kathy Marie. |
Contemporaneous catalogue images of
Jeannette’s Crackle cuspidor. Left: a 1927 Butler Brother wholesale catalogue. Right: Jeannette’s 1928 catalogue, courtesy Tom Felt. |
The second is Aztec by Hocking. The shape is similar to Jeannette’s Crackle cuspidor, but the pattern is softer, more like a textured effect. It is shown on a single page of a Hocking catalogue that we have, courtesy Glass Paper Fanatics. The catalogue page is titled “The Hocking Glass Company” indicating that it must have been pre-1937, which was when Hocking merged with Anchor Cap and Closure to become Anchor Hocking.
Above: Aztec Cuspidor by Hocking.
Courtesy and copyright Michael Deptowicz. |
Above, left: Hocking’s Aztec cuspidor as shown in their pre-1937 catalogue.
Courtesy Glass Paper Fanatics. Right: Hocking’s Aztec cuspidor in a light green shade. Courtesy Burns Auctions. |
The cuspidor was called Aztec in that Hocking catalogue. (Note: sometimes, it is referred to as Hobnail Soda Gold or simply Soda Gold cuspidor and incorrectly attributed to Imperial etc).
The Jeannette Glass Company was one of the main manufacturers of Late or Depression Era Carnival Glass, and their contribution is often understated or virtually ignored. We have a major feature on Jeannette Glass: it includes many of Jeannette patterns that are better known, and perhaps more importantly, incorrect attributions, puzzles and mysteries that we have solved.
Here is the link: The Story of Jeannette Glass
Here is the link: The Story of Jeannette Glass
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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.
