NetworK ezine Issue 61. June 2020
Totally Devoted to Carnival Glass
Today marks the fifth birthday of our free Carnival Glass ezine, NetworK.
We hope you have enjoyed receiving it – and judging by all the wonderful emails we receive, you certainly have been loving it.
We hope you have enjoyed receiving it – and judging by all the wonderful emails we receive, you certainly have been loving it.
Many people have also told us that they have found comfort and enjoyment in the A to Z of Patterns that we have been running in our Carnival Network Facebook Group. Here is a small taste of some of the thousands of pattern images shown in the A to Z feature in our Facebook Group during May.
Many people have also told us that they have found comfort and enjoyment in the A to Z of Patterns that we have been running in our Carnival Network Facebook Group. Here is a small taste of some of the thousands of pattern images shown in the A to Z feature in our Facebook Group during May.
On the right s a blue Kaaro vase by Riihimaki, and on the far right we have a Northwood pumpkin marigold Poppy Show plate. Below is a purple Quill tumbler by Dugan. |
Running the A to Z of Patterns has certainly helped many of us to get through some difficult days, and turn our thoughts to lovely glass.
In fact, many of us have taken the opportunity to reorganise and dust our collections, while taking photos to post in the Group. Over the past month there have been many hundreds of wonderful Carnival Glass pictures, and 116,600 posts, comments and reactions in our almost 9,500 strong group. If you are not already a member, you can join easily using the link at the foot of this e-zine. |
Embroidered Mums
The inspirations behind many Carnival patterns are known – general artistic and design influences such as the taste for all things Oriental (including peacocks!) or
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Of course, adding the encircling Greek Key into his Embroidered Mums pattern was the masterstroke that linked the whole design together – something that Harry Northwood was brilliant at doing.
Above: details of the chrysanthemum design to be worked in embroidery stitches, as illustrated in the 1907 newspaper article.
Right: a close up of the chrysanthemum motif on Northwood’s Embroidered
Mums pattern and right, Glen's line drawing of the same motif. The stitches (as portrayed) appear to be shown as satin stitch. |
We have a major three part Feature here on our website which explores in fascinating detail the many and varied Carnival Glass patterns that were inspired by embroidery and needlecraft stitches. Here is the link: The Inspiration of Embroidery and Needlecraft
We have a major three part Feature here on our website which explores in fascinating detail the many and varied Carnival Glass patterns that were inspired by embroidery and needlecraft stitches. Here is the link: The Inspiration of Embroidery and Needlecraft
Imperial Carnival in London, 1912
The UK agent for Imperial’s glass in the early years of Carnival was Markt & Co., based in London. On the right is a 1912 ad in "The Pottery Gazette". It shows two examples of items being sold in “Iridescent Glassware”. Today, we know them as the Three-in-One bowl (left) and the Pansy pickle dish. Imperial's Three-in-One pattern was one of Imperial’s oldest patterns (dating, in crystal glass, from 1904). Actually, it was their pattern Number 1, as shown in this clip below from Imperial's 1909 catalog. |
Shown below is a larger (7½ inch) Three-in-One berry bowl, which was in Imperial’s 1912 catalog.
Also in the 1912 Markt ad was a Pansy pickle dish. Like Three-in-One, the Pansy pattern had a long production span, from the old Classic production (here, below in marigold, courtesy of Seeck Auctions), through to Contemporary pieces made in a range of colours.
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Above: two sizes of the Three-in-One bowls. These have been ruffled
after they were removed from the mould. Courtesy of Seeck Auctions. Note the distinctive top edge - long scallops and pointed flutes. The edge shape is clearly illustrated in both of the Imperial catalogue images. The 1912 catalog refers to this item being available in three of Imperial's four iridescent colours, Rubigold, Azur and Helios (Old Gold is not included) - more about Imperial's Classic Carnival colours later. Imperial used their Three-in-One pattern again in Contemporary Carnival. Below, we show a cracker jar with lid, made in the late 1960s / early 70s in Azure Blue (ice blue, although frosting is not really evident).It is marked "IG". It's a hard-to-find shape, and of course it was not a shape made by Imperial in old, Classic Carnival. The picture is courtesy of Seeck Auctions.
Another Contemporary Imperial Three-in-One shape is the toothpick, which is marked "IG" or "LIG" / "ALIG". |
"Buyer's Notes" This was the title of an interesting section that was run monthly in the Pottery Gazette, and in it, there are important (and informative) details to be discovered. Connected to the 1912 ad shown earlier was an in-depth look at the London agent, Markt & Co., describing them as “American merchants” with “large, lofty and well-lighted show-rooms”. The reporter went on to say that: “the department which interested me most was that devoted to glassware. Markt & Co. deal only in specialities. They do not touch the ordinary descriptions of table glass, but show a useful assortment of fancy articles in iridescent glass, presenting some beautiful colour combinations”. The detailed comments that were reported on the colours and shapes are most interesting … “Green and silver, blue and green, and a rich orange appropriately named “amber-flame” are amongst the most effective. There are plaques, vases, jugs, bowls and fruit stands, and a great variety of dishes, with embossed grapes and other designs.” Imperial’s own 1912 catalogue set out the four iridescent colours they were promoting at that time. These were: Rubigold - what we know as marigold, Azur - “purple or amethyst colored glass with iridescent effects of red and green and blue and even yellow", Helios - described as “green glass with silver iridescent tints”, |
Above: Imperial's images of their four iridescent colours, shown in their Catalog 103B. Courtesy of Jon D Bartell.
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Old Gold -“amber glass with a deep rich gold covering”.
Matching these with the colours noted in the Markt “Buyer’s Notes” leads us to believe that what they called “green and silver” colour was Helios, and the “rich orange” was marigold.
But what was the colour (or colours) simply described as “blue and green”? Most likely it was purple (“Azur”) base glass with the different iridescent effects that made it appear blue and green.
Old Gold -“amber glass with a deep rich gold covering”.
Matching these with the colours noted in the Markt “Buyer’s Notes” leads us to believe that what they called “green and silver” colour was Helios, and the “rich orange” was marigold.
But what was the colour (or colours) simply described as “blue and green”? Most likely it was purple (“Azur”) base glass with the different iridescent effects that made it appear blue and green.
"Oriental Peacock"
Recently, in our A to Z of Patterns in our NetworK Group on Facebook, Dino Capra sent us some brilliant images of a very unusual footed bowl. We contacted Dino and asked permission to use his photos and the information here, fully attributed.
Dino wrote:
" P ... "Peacock Bowl" in Black Amethyst. I have no clue who made it or when. I'm hoping for some information as I cant find anything on the web or in my books. This is huge - 12" across and 6" tall. The iridescence is rich on this so any help is appreciated.
It has a #2 on the base and I see no reference to any company using that mark. The pattern on the outside I believe is Bamboo, Thistle, Dogwood and Lily.
Here are Dino's superbly clear pictures.
Recently, in our A to Z of Patterns in our NetworK Group on Facebook, Dino Capra sent us some brilliant images of a very unusual footed bowl. We contacted Dino and asked permission to use his photos and the information here, fully attributed.
Dino wrote:
" P ... "Peacock Bowl" in Black Amethyst. I have no clue who made it or when. I'm hoping for some information as I cant find anything on the web or in my books. This is huge - 12" across and 6" tall. The iridescence is rich on this so any help is appreciated.
It has a #2 on the base and I see no reference to any company using that mark. The pattern on the outside I believe is Bamboo, Thistle, Dogwood and Lily.
Here are Dino's superbly clear pictures.
Naturally, this revived our old brain cells (a challenge in itself due to our ongoing "lockdown"), and some distant bells began to ring. A search of our records resulted in our reply to Dino:
"Hi Dino - a version of this design was reported in the early 2000s on a 3-footed bowl in the same dark purple / black amethyst colour, but it was reported as a 7 inch bowl. It has the same design of peacocks interior and a bamboo etc. exterior, and it was said to have the number 5 moulded on the base. It was given the name "Oriental Peacock" and thought to be made in the Far East. It's not a reproduction or reissue, as it is a completely new pattern (albeit that it uses some design elements from old Carnival pieces). Currently, I can't find reference to the larger, 12 inch version that you have shown us, but it does look like a larger version of the 7 inch one."
"Hi Dino - a version of this design was reported in the early 2000s on a 3-footed bowl in the same dark purple / black amethyst colour, but it was reported as a 7 inch bowl. It has the same design of peacocks interior and a bamboo etc. exterior, and it was said to have the number 5 moulded on the base. It was given the name "Oriental Peacock" and thought to be made in the Far East. It's not a reproduction or reissue, as it is a completely new pattern (albeit that it uses some design elements from old Carnival pieces). Currently, I can't find reference to the larger, 12 inch version that you have shown us, but it does look like a larger version of the 7 inch one."
Dino replied with more information:
"Excellent! First thank you for responding so quickly! The feet on my "Oriental Peacock" look very similar to the "Butterfly and Berry" reproduction from AA Imports, making me think Asian import. I don't own a "Butterfly and Berry" repro, but from online pictures I'm making this assumption." Sincere thanks to Dino for his wonderful photos and information on this fascinating item. Update: Here is a paper label that was on a black amethyst fake "Butterfly and Berry" bowl. So, the Asia source is confirmed as Korea (presumably South Korea?) |
A Basket of Glass! Ever wondered how travelling salesmen transported samples of their Carnival Glass all around the country to show their wares to prospective buyers? Well here was one way, in 1912. This fascinating ad for Pearsons’ Basket Factory in Nottingham, England, was featured in the British Pottery Gazette and Glass Trade Review journal, in January 1912. Aimed at the ceramic and glass trades, it was probably intended to hold salesmens’ wares, and possibly also for packing some special goods. Note that the trays inside had padded “movable divisions” to adjust for the size of items. It would have been a way of transporting delicate or expensive items – clearly safer than the barrels and straw packing of the era. |
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We would love you to come and join in the fun, and 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.