NetworK ezine Issue 121. July 2025
Totally Devoted to Carnival Glass
A warm welcome to all readers of our Carnival Glass NetworK ezine - it’s our tenth anniversary!
We are delighted to share with you that this issue marks exactly ten years since we started our free, digital Carnival NetworK journal. More about that, and the decades that led up to it, at the end of this issue.
Let’s begin with a fresh look at an elegant pattern; Westmoreland’s Corinth.
The Power of Twelve
Corinth is possibly most familiar to Carnival collectors in the vase form. In a sea of ribbed vases, which are often difficult to differentiate between, Joan Doty points out that Corinth has the distinction of being the only vase possessing “twelve actual ribs”.
Above: Westmoreland’s Corinth vase in a variety of amazing colours. Photo courtesy and copyright Joan Doty.
Joan explains that “most Corinth vases are 8.5 to 10 inches tall and are either straight or jack-in-the-pulpit, with base diameters of just over 3 inches”.
Joan explains that “most Corinth vases are 8.5 to 10 inches tall and are either straight or jack-in-the-pulpit, with base diameters of just over 3 inches”.
Whilst the vase form is the most familiar shape that Corinth is known in, bowls and plates were also made. They too can be easily recognised by those distinctive twelve ribs! Shown below, right is an extract from the 1909 Butler Brothers wholesale catalogue featuring an assortment of Westmoreland’s Carnival, including a Corinth bowl in the centre of the top row (count the ribs … twelve).
Above: the items in the photo, courtesy of Joan Doty, are all Westmoreland’s Corinth. They are, (left to right) plate, straight version of the vase and a vase in the JIP form (jack-in-the-pulpit). Joan reports that “all are fashioned from the same mould and all are in amber.”
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Above: extract from the 1909 Butler Bros. catalogue.
A Corinth bowl is in the centre of the top row (and yes it has 12 ribs). The other pieces in the assortment are Smooth Rays bowls (ruffled edge, top left; smooth edge, bottom right) and Pearly Dots bowls (ruffled edge, top right; smooth edge, bottom left), and a Louisa bowl (centre, bottom row). |
A beautiful example of Carnival in the Corinth pattern was shown in our Facebook NetworK group recently, courtesy of Tony Meyer and Brandy Hoff. We feature Brandy’s lovely photos of the item below.
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Four pictures of a marigold Westmoreland Corinth bowl.
All pictures are courtesy and copyright Brandy Hoff. The twelve ribs can be clearly seen on the base (marie) piece shown top right. |
The questions being asked in our NetworK Group were … what is the shape called and what would this item have been used for.
In fact, as with all mass-produced glass, there were many possible and indeed "named" uses for this shape. The easiest term that fits the shape is "two-sides up", and the pictures clearly shows why. However this is a collector term, and is not the original name that the maker would have called it.
We searched old Westmoreland catalogues from 1905 to 1924 to see what the maker called this shape, and the one that fits the best was Celery Tray. That is the exact shape. However, we were surprised and intrigued to see Chas West Wilson (in "Westmoreland Glass" 1996, on page 164) showing this exact piece (in the exact same shape) and explaining that Westmoreland called it a "Flat Spoon" (his source was several early Westmoreland catalogues). We also noted in Westmoreland’s catalogues, that this shape, when on a stand or pedestal, was described as a fruit or banana stand.
So ... to sum up ... today's collectors use the term "Two-sides-up" and also "Banana Bowl Shape". Westmoreland themselves called this exact shape a "Flat Spoon" (obviously for spoons at the table) and a "Celery Tray". So, take your pick of all the names, but we rather like the idea of a flat spooner, placed on the table to hold the cutlery.
In fact, as with all mass-produced glass, there were many possible and indeed "named" uses for this shape. The easiest term that fits the shape is "two-sides up", and the pictures clearly shows why. However this is a collector term, and is not the original name that the maker would have called it.
We searched old Westmoreland catalogues from 1905 to 1924 to see what the maker called this shape, and the one that fits the best was Celery Tray. That is the exact shape. However, we were surprised and intrigued to see Chas West Wilson (in "Westmoreland Glass" 1996, on page 164) showing this exact piece (in the exact same shape) and explaining that Westmoreland called it a "Flat Spoon" (his source was several early Westmoreland catalogues). We also noted in Westmoreland’s catalogues, that this shape, when on a stand or pedestal, was described as a fruit or banana stand.
So ... to sum up ... today's collectors use the term "Two-sides-up" and also "Banana Bowl Shape". Westmoreland themselves called this exact shape a "Flat Spoon" (obviously for spoons at the table) and a "Celery Tray". So, take your pick of all the names, but we rather like the idea of a flat spooner, placed on the table to hold the cutlery.
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A Deeper Dive into Westmoreland ... Sugar, Spice and … Glass!
Founded in 1889 and known as the Westmoreland Specialty Co., of Grapeville (in Westmoreland County, Pennsylvania) the names most closely associated with the company are the West Brothers (Charles and George). Westmoreland produced a wide range of glassware, and as the name suggests, they also had a particular reputation as a maker of novelty goods and glass containers. Some of these glass containers, such as the Strutting Peacock and Basketweave items, were originally filled with mustard. But did you know that Westmoreland processed their own vinegar and mustard on site? And candy too? Read on for the revelations … Chas West Wilson, in his 1996 book “Westmoreland Glass” revealed fascinating insights into the diversity of the glass works in its early years. Initially, the company was described as manufacturers of “pickles, mustard, sauces, etc., also glass vessels for packing same and for other purposes”. In an intriguing “aside” West Wilson describes the extensive and successful “Vinegar Operation” which was housed in the Corn Vinegar factory a few hundred feet away, just across the rail line from the Glass and Mustard works. The maps featured here show the glass works, with the integral mustard house, and the close-by vinegar factory. So, what was the deal with mustard and vinegar?
Vinegar was not only shipped out and sold, it was also used on site in the preparation of Westmoreland’s own mustard. And so, where did the prepared mustard go? It was packed into the glass containers that Westmoreland had made, of course. And the clever twist was that the items that held the mustard would have a use when the condiment was finished. Little sugar and cream jugs were a preferred choice – just the right size and naturally, the customer would want to purchase two to make a set. Carnival patterns such as Shell and Jewels (OMN Victor), Strutting Peacock, plus the less-often-seen Basketweave and Cable (OMN No. 50) sugar and creamer duos, were sold with mustard inside them. |
Above: Sanborn Fire Insurance Map, 1910, showing the Westmoreland Specialty Co., building in Grapeville. Note the Mustard House (centre, right)!
Below: Sanborn Fire Insurance Map, 1905, showing the West Brothers Vinegar factory in Grapeville, PA. Both images are Public Domain. 
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Above: Westmoreland’s Basketweave and Cable lidded sugar and creamer that originally contained mustard. On the base is the Westmoreland Prepared Mustard label – a scarce find indeed. Apparently, Westmoreland called this iridescent colour “champagne lustre”.
Photo courtesy and copyright Dan Ruth.
Photo courtesy and copyright Dan Ruth.
We are grateful to Dan Ruth for the wonderful image of this label. Note the delightful line “Prepared Mustard – not injurious to health”. The ingredients listed on Westmoreland’s mustard labels are mustard seed, vinegar, salt, starch, spices flavoured and colored with turmeric. And at the bottom it reads Westmoreland Specialty Co.
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Above left: Westmoreland’s Shell and Jewels sugar and creamer in teal Carnival – originally mustard containers. Courtesy Burns Auctions.
Right: Westmoreland’s Strutting Peacock sugar and creamer in amethyst Carnival – also originally mustard containers. Courtesy Seeck Auctions.
Note that the lids of these sets were not iridised.
Right: Westmoreland’s Strutting Peacock sugar and creamer in amethyst Carnival – also originally mustard containers. Courtesy Seeck Auctions.
Note that the lids of these sets were not iridised.
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The association that Westmoreland had with their mustard has lent itself to an interesting anecdotal tale mentioned by Chas West Wilson in his 1996 book "Westmoreland Glass". Answering a query about Westmoreland’s amber base glass, he wrote: “mustard seed was one of the colorants used” to obtain this color in the Classic Carnival era. It does seem unlikely that vegetable matter would withstand the 1100-1600° C temperatures that the glass batch is heated to. Compounds of elements such as iron and sulphur and sometimes, cadmium and selenium, were used to create amber glass. There is trace sulphur in mustard seed, but the conditions don’t seem right for it to have been used as a glass colorant. As well as mustard, some of Westmoreland’s glass containers were used for candy. Whilst we are not aware of any Classic Carnival that was used for this purpose, there are a number of Westmoreland Revival items that were originally intended as candy containers. And as with mustard, Westmoreland produced the foodstuff “in-house” as you can see by the image (right) of the West Brothers Candy Works, courtesy Jeannette Historical Society. |
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So, the next time you munch on a ham and mustard sandwich, think of Westmoreland.
Sandwiches or Fruit?
Imperial made a handled Sandwich Tray in their Imperial Grape pattern. It’s a familiar piece comprising a very flat tray (plate) with a bark effect upright handle. The shape wasn’t part of the initial Imperial Grape line, but appears to have become popular in the early 1920s into the 1930s.
But, did you know that there was also a different shape made in this handled Imperial Grape design? Instead of being flat, the tray section was cupped up and the piece was called a Fruit Tray.
Imperial made a handled Sandwich Tray in their Imperial Grape pattern. It’s a familiar piece comprising a very flat tray (plate) with a bark effect upright handle. The shape wasn’t part of the initial Imperial Grape line, but appears to have become popular in the early 1920s into the 1930s.
But, did you know that there was also a different shape made in this handled Imperial Grape design? Instead of being flat, the tray section was cupped up and the piece was called a Fruit Tray.
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The Sandwich Tray
Imperial Grape Sandwich Tray, marigold. Courtesy Seeck Auctions
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The Fruit Tray
Imperial Grape Fruit Tray, marigold. Courtesy Burns Auctions
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Clearly the difference was that this cupped-up shape was designed to hold apples, grapes, oranges etc., while the flat tray (and it is very flat) was just perfect for sandwiches.
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Above: extracts from the Imperial Catalog 200 (c. early 1920s)
showing the Imperial Grape Sandwich Tray, No. 714 (left) and the Fruit Tray, No. 7141 (right).
Courtesy Glass Paper Fanatics.
showing the Imperial Grape Sandwich Tray, No. 714 (left) and the Fruit Tray, No. 7141 (right).
Courtesy Glass Paper Fanatics.
Above: extract from 1927 Butler Brothers catalogue showing the two
shapes side by side. Note that the cupped-up shape was called a Fruit Dish (not Fruit Tray) in this ad. |
Above: extract from Imperial's Catalog 200 (c. early 1920s) showing three of their Carnival production colours at that time: Rubigold (marigold), Peacock (clambroth) and Saphire (smoke).
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The three colours noted in the Butler Brothers ad correspond to those shown in the Imperial Cataog 200, but note that Rubigold was referred to as "ruby" and Saphire (sic) had become sapphire (smoke).
Further Reading
Imperial’s introduction of their Peacock and Saphire iridescent colours: NetworK #111
Imperial’s Clambroth – Peacock and Rainbow Glass: NetworK #72
HAPPY BIRTHDAY!
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Ten Years of our NetworK ezine
In June 2015 – just over ten years ago now (in 2025) – we launched the emailed, electronic version of our original Carnival NetworK journal. You can see the header of that first issue on the right. In fact, our original, printed NetworK journal had been launched in 1994, over 30 years ago. Our current Facebook Group – Carnival Glass NetworK – is an extension of our journal and ezine, offering education, sharing and a commitment to accurate information. We hope all our readers enjoy being part of our worldwide Carnival Glass NetworK. Our driving aim has always been to offer education and information about all aspects of Carnival Glass made all around the World. This link is to a feature written in 2019: Our NetworK Story In it we looked behind the scenes of the creation of our first NetworK in 1994, and the agonies, arguments, joys and delights that took place along the way. All the emotions and more, as well as a heart-rending tribute to the late Bob Smith (the greatest Carnival tumbler collector ever). Subsequently, on reaching the milestone NetworK Issue #100 in September 2023, we wrote what was to us, a very necessary and distinctly "therapeutic" sequel about our experiences ... more joy and some very happy times but (perhaps inevitably) there were set-backs, unexpected rivalries, and even petty, and some not so petty, disheartening events. Read it here in Issue #100: NetworK, Our Story: The Good, The Bad and The Ugly. |
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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.
