NetworK ezine Issue 111. August 2024
Totally Devoted to Carnival Glass
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Dating Classic Carnival
A defining characteristic of original Classic Carnival Glass is that it was mass produced, as well as being hand-made and hand-finished. It was made in vast numbers to satisfy a huge growing market, and it was also produced over many years. Some of the most popular patterns and shapes were in production for several decades. Because of this, it is rarely practical (or possible) to name one specific year in which a pattern or piece was made. And yet, we are seeing more questions about specific dates of production – usually with people asking for the “year of production”. And frequently we see answers that appear to offer a spurious accuracy. So, are there any ways that we can safely attribute a date or date range? In this Issue, we take a look at one interesting aspect - the colour of the glass. In future issues we’ll consider some of the other ways of dating Carnival. Popular colours like marigold were utilised over several decades, but some base glass colours were used at specific times. Let’s look at the “Big Five” Classic Carnival makers in the USA and see what we can learn about some of their distinctive colours that we can attribute dates to. Imperial In their early years of Carnival production, Imperial had four main Carnival colours: Rubigold (marigold), Azur (amethyst/purple), Helios (green with silver/gold iridescence) and Old Gold. The last one – Old Gold, added in 1911 – was what Carnival collectors call Amber. |
Above: a fruit filled display of Classic Carnival.
A green Millersburg Cherries ice cream shaped bowl behind four tumblers. They are (left to right), Fenton Apple Tree, blue; Fenton Blueberry, blue; Millersburg Cherries, green; Northwood Peach, blue. |
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Imperial described Old Gold as “real amber glass with a deep, rich, gold iridescent covering, which sometimes had beautiful warm tintings of red”. Shown below is the marie of the Hattie chop plate shown on its right. Courtesy Seeck Auctions.
(As an aside, the complex Hattie design features needlework-inspired motifs and stylised floral motifs – brought together in a geometric unity possibly inspired by mosaics. See our NetworK #32)
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Imperial’s Hattie chop plate in amber, courtesy Seeck Auctions.
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However, Imperial discontinued the production of Old Gold (amber) in around 1916-1917. How do we know this? On the right is an extract from Imperial’s catalogue 103B (c.1917) which showed the colour had been dropped. The word “Dropped” was written across the description in the catalogue and “Our R Glass” is struck through. Indeed, all the way through that catalogue, the Old Gold line is noted as “dropped” and it was not included in the price lists. The reasonable assumption from this is that Imperial’s Amber Classic Carnival was in production from c. 1911 to c. 1917. We also see that a new colour was added shortly after, in the c. early 1920s – Imperial's "Peacock" colour, which is known to collectors as clambroth! We can date the introduction of Imperial’s “Peacock” colour by the appearance of a report in the 1922 “Crockery and Glass Journal” describing the “Peacock line” as “a new and exceedingly rich effect.” In Imperial’s First Bargain Book their Peacock glass is referred to as “new but already famous”. Specifically, in a Supplement to the Bargain Book (early 1920s) we see Peacock glass described as “brilliant iridescence but the effect is not loud … every color of the rainbow is represented, a golden yellow predominating”. This is undoubtedly what collectors call clambroth |
Imperial’s catalogue 103B (c.1917), courtesy of Glass Paper Fanatics.
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Above: Imperial’s Pansy in their Peacock iridescence known
to collectors as clambroth. Courtesy Seeck Auctions. |
Read more about Imperial’s Peacock Carnival (clambroth) and the associated Rainbow line, on our website here: Imperial’s Peacock and Rainbow Glass
Northwood
An early colour/iridescent effect from Northwood is a combination of green base glass and marigold iridescence – often with parts of the green glass showing through as they were (intentionally) not totally covered with the iridescent spray. It is often termed “Alaskan” by Carnival collectors. This was promoted in the trade press c. 1909-1910 and we feel it can safely be considered an early product of Northwood’s.
Northwood Lustre Flute bonbon and creamer in what
many collectors call “Alaskan”. Courtesy Seeck Auctions. In December 1911, Harry Northwood was interviewed by “The Salesman” (“Pottery, Glass and Brass Salesman” journal) – he told them that he was thrilled about “some of the new treatments” that were about to be unveiled at his glassworks. The journal was secretive about the new treatments, claiming that they were “not at liberty to describe these in detail, but it may be said that they are light in color and entirely different from anything that has been attempted heretofore in this country”. Harry Northwood’s pastels were about to be launched! |
Above: a spectacular Northwood Hearts and Flowers bowl in ice blue.
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White, ice green and ice blue – these were the Carnival colours that Northwood first produced in 1912, establishing a start date when these characteristic beauties were first seen. Northwood’s original names for these three colours were “pearl” (white), “azure” (ice blue) and “emerald” (ice green).
Read more about these Northwood colours on our website here:
The origin of Northwood's Alaskan: The Great Alaskan Mystery
Northwood’s "ice" colours: Northwood Pastel Carnival: the family story behind the glass
Read more about these Northwood colours on our website here:
The origin of Northwood's Alaskan: The Great Alaskan Mystery
Northwood’s "ice" colours: Northwood Pastel Carnival: the family story behind the glass
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Dugan and Diamond Note: The Dugan Glass Co. became Diamond Glassware Co. in 1913. Dugan made some incredibly beautiful amethyst/purple Carnival, however, they also produced a distinctively iridised line in 1911 (and probably for a year or so afterwards) that was silvery and metallic looking on amethyst/purple base glass. Reported in the 1911 glass journal ("Pottery, Glass and Brass Salesman"), Dugan were said to have introduced a new “tint” that they called “gun metal or steel”. On the right is an extract from the 1911 "Pottery, Glass and Brass Salesman" journal. |
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Moving to the Diamond Glass years, there were two distinctive colours that are quite scarce in Carnival Glass (and were used more for Stretch Glass) - celeste blue, and wisteria. One of those colours has four different names! Today, Carnival collectors simplify it to just celeste blue. It is a sky blue shade that usually has a stretchy iridescence. There are several dates, as well as several names, for this lovely Diamond colour. It was known as Cerulean, Vesuvius and Harding Blue. Cerulean Blue was the name attributed to this colour when Diamond introduced it in late 1916 - early 1917. An apparently similar shade of blue was then called Vesuvius in the early 1920s and this exact iridescent colour from Diamond is often referred to as Harding Blue (source 1922 “Crockery & Glass Journal”). Wisteria is a little easier to pin down and date. In 1916, Diamond introduced their Twilight Wisteria line in a public announcement in “The Pottery, Glass & Brass Salesman” of that year. It’s a delicate lavender-pink shade with much stretch effect in the iridescence - it is very scarce in Carnival.
Moving to the Diamond Glass years, there were two distinctive colours that are quite scarce in Carnival Glass (and were used more for Stretch Glass) - celeste blue, and wisteria. One of those colours has four different names! Today, Carnival collectors simplify it to just celeste blue. It is a sky blue shade that usually has a stretchy iridescence. There are several dates, as well as several names, for this lovely Diamond colour. It was known as Cerulean, Vesuvius and Harding Blue. Cerulean Blue was the name attributed to this colour when Diamond introduced it in late 1916 - early 1917. An apparently similar shade of blue was then called Vesuvius in the early 1920s and this exact iridescent colour from Diamond is often referred to as Harding Blue (source 1922 “Crockery & Glass Journal”). Wisteria is a little easier to pin down and date. In 1916, Diamond introduced their Twilight Wisteria line in a public announcement in “The Pottery, Glass & Brass Salesman” of that year. It’s a delicate lavender-pink shade with much stretch effect in the iridescence - it is very scarce in Carnival.
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Above, left: our Vintage pattern dome-footed bowl in celeste blue, and right, the same pattern and shape in wisteria (courtesy Pat Halliburton).
Both were made by Diamond Glassware Co.
Both were made by Diamond Glassware Co.
Read more about these Diamond colours on our website here:
Celeste blue: Celeste, aka Cerulean, Vesuvius and Harding Blue.
Wisteria and celeste: Twilight Wisteria Line
Fenton
Let’s look at three specific Carnival colours from Fenton that we can give a date range to: red, celeste blue and wisteria. You’re not seeing double – celeste and wisteria were both made by Fenton as well as Diamond. These are three later colours from Fenton that were used by them in c. the early 1920s.
We can date the production of red Carnival to the early 1920s as this was when it became commercially viable in mass-produced, pressed, iridised glass (Carnival). Selenium is used in creating pressed red glass, and this became more widely available c. 1919 onwards. At the same time, the process of making pressed red glass (known as “striking”) became achievable. We have much more about this on our website - the link is at the end of this section.
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Above, left: Fenton Persian Medallion bonbon in red (courtesy Burns Auctions) and right, our same piece in celeste blue.
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Fenton’s celeste blue is virtually identical to the Diamond version that it followed. As we see above, Diamond began using this colour in late 1916 (and then again in the early 1920s). Examples frequently have a stretchy iridescence. From reports in the “British Pottery Gazette”, we know that Fenton’s celeste blue was considered a “new” colour in 1925, that had “a kind of satin sheen finish … with a new style of crinkled edge” (probably referring to the stretch effect). In the 1925 “British Pottery Gazette” we learn that glass from Fenton in “a wisteria colour [was] being offered in the same type of ware” (i.e. Carnival). Fenton’s wisteria is known in Stretch Glass but in Carnival it is very scarce indeed. But here we learn that it was being imported into the UK in 1925. And as proof, we can show this wisteria Grape and Cable bowl by Fenton that was sourced in the UK, courtesy of Pat Halliburton. Read more about these Fenton colours: Fenton's red Carnival: There's no Gold in my glass! Fenton's celeste Carnival: The Celeste Blue Mystery Fenton's wisteria Carnival: Wonderful Wisteria |
Fenton Grape and Cable bowl, wisteria. Courtesy Pat Halliburton.
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Millersburg
The Carnival colours from Millersburg are easy to date, as the factory was only in business for a short time period; Millersburg was founded in 1908 and closed in 1911.
In future issues of the ezine, we will aim to look at some of the other ways that it might be possible to assign production dates to various Carnival patterns.
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Left: detail of cover page of an Imperial Glass Co. catalogue. All extracts from the Imperial "Gazooks" catalogue are courtesy of, and with grateful thanks for the hard work of, Glass Paper Fanatics. |
In NetworK #110 ezine we explained all about Imperial's marketing promotion of "Gazook Lots". We featured two of the four pages from their Gazooks catalogue – “Special Lots for Special sales" that featured Carnival, and now we can show you the other two pages – No. 17 Gazook Lot, Iridescent.
The pieces on offer here (above) are the Heavy Grape large fruit bowl, Imperial Rose (OMN American Beauty Rose, aka Open Rose) large ruffled bowl and a “Tall” swung Ripple vase, 14 to 18 inches,. *
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The pieces on the second page are Imperial’s Four Seventy Four 10 inch vase (OMN La Rochelle), another Imperial Rose (OMN American Beauty Rose, aka Lustre Rose) bowl – this is the footed version that collectors refer to as Lustre Rose, a splendid Tiger Lily large pitcher, and a Fancy Flowers “Crimped Fruit Bowl”.
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* There was a Ripple vase in the Gazook Lot No 16 that we showed in NetworK #110. Both are described as “Tall Vase” but the one above (No. M481/3) has a height shown – 14 to 18 inches, whereas the one in the Lot No. 16 assortment was not ascribed a height. Note also that the one shown here in No. 17 Lot was “packed 2½ dozen in barrel” while the Lot No. 16 Ripple was “Packed 3 ½ dozen in barrel”. Clearly the one shown in the No. 17 Lot was a much larger vase, possibly the mid-size or even the funeral size. The big surprise on this second page (above, right) is the No. M4742 – a 10 inch Vase. It is Imperial’s Four Seventy Four vase (OMN La Rochelle), shown far right, that is seldom seen; indeed it could be called scarce. On balance, the 10 inch version is probably seen a little more often than the 8 and 12 inch versions, but that is probably explained by its appearance here in a special offering.
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Imperial’s Four Seventy Four vase (OMN La Rochelle). Seeck Auctions.
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The Gazook Lot No. 17 was 7 barrels of Carnival Glass! That’s 210 items in total (described as 17½ dozen in the catalogue). Six different patterns and 4 different shapes (vase, pitcher, bowls, and the short-stemmed comport, described as a “crimped fruit bowl” ). Including the barrels, the cost of Lot No. 17 was $67.37 - around 32 cents per item. Compared to Lot No. 16, there were fewer items per barrel in Lot No. 17, which was was mainly larger items. This was also reflected in the per item price - 16 cents in No. 16, and double that here in No. 17. |
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A Look at Jeannette
Jeannette Glass Company's catalogue in 1951 featured some lovely decorated marigold (Golden Iridescent) water sets, shown below, left. The text on the catalogue page shown here is interesting, as the sets are described as being “Definitely a ‘must’ for every variety store and carnival jobber”. The first set shown is familiar: usually referred to as Late Sunflower, we see that Jeannette called it White Cosmos. But the other pattern that is shown with white enamelled decoration and purple (brown) enamel is rather unusual, in fact we feel it should be considered scarce. Jeannette calls the patterns White Glass Flower and Purple Glass Flower. Note that all three sets shown here were made in two sizes – the larger water setd and the smaller juice sets.
Read more about these sets and how they were advertised: Late Sunflower/White Cosmos
Jeannette Glass Company's catalogue in 1951 featured some lovely decorated marigold (Golden Iridescent) water sets, shown below, left. The text on the catalogue page shown here is interesting, as the sets are described as being “Definitely a ‘must’ for every variety store and carnival jobber”. The first set shown is familiar: usually referred to as Late Sunflower, we see that Jeannette called it White Cosmos. But the other pattern that is shown with white enamelled decoration and purple (brown) enamel is rather unusual, in fact we feel it should be considered scarce. Jeannette calls the patterns White Glass Flower and Purple Glass Flower. Note that all three sets shown here were made in two sizes – the larger water setd and the smaller juice sets.
Read more about these sets and how they were advertised: Late Sunflower/White Cosmos
Extract from Jeannette’s 1951 catalogue.
Courtesy Glass Paper Fanatics. |
Extract from Jeannette’s 1964 catalogue.
Courtesy Glass Paper Fanatics. |
These other catalogue, above right, was 20 years later in 1961. It shows “Occasional Pieces” - pieces that are frequently seen, but often mis-identified. The 3680A 11” Scalloped Bowl is one that is wrongly attributed to Sowerby from time to time (sometimes erroneously called “Diamond Pinwheel”). But here it is, for proof – 1960s Jeannette Glass (also made and sold a decade or more earlier). Note that these are all shown in what Jeannette called “lustrous amberglo” – a light marigold Carnival. The 7” Clover Leaf Dish” in the middle is a familiar item – we have one with a metal souvenir badge stuck to the handle, for Bridlington (an English seaside resort). They must have been sold in their thousands and subsequently adorned in similar ways, to be offered as souvenirs. The line in the catalogue text “Priced to please the volume market” shows that these were mass sellers, catering for export as well as home sales.
To see these two catalogue extracts in full detail, click on the images above, or here: Jeannette Glass 1951 & 1964.
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Hexie
This delightful little vase was recently discovered by researcher, John Hodgson, who sent us this picture. John named it Hexie after the hexagons (frequently called “Hexies”) used in quilting, which are very often made up of small triangular elements (similar to this pattern). It stands just over 3” high (8 cm), around 2.5” wide (6.8 cm) and has a smooth base measuring a little over 1.5” (4.3 cm) in diameter. John points out that this “smoky-pink” little vase “with a blush of pastel iridescence” was probably blow moulded, and the rim at the top is polished. The glass is “little more than eggshell thin”. John’s research has revealed the maker could be Hortensja, but he notes that this is tentative. Research continues. Grateful thanks to John for showing us this intriguing little beauty. |
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