NetworK ezine Issue 81. February 2022
Totally Devoted to Carnival Glass
Welcome to the February issue of your Carnival NetworK ezine. Spring is just around the corner in the northern hemisphere, so we start with a canopy of wisteria to brighten our day. And it’s not just a whim, there is an important connection to Carnival Glass … read on. |
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Wonderful Wisteria Some thirty or more years ago we spent a lot of time working in the archives of the British Library, researching old issues of the “Pottery Gazette and Glass Trade Review” from the early 1900s. We found a lot of amazing information, including one fascinating 1925 article that referred to celeste blue iridescent glassware being imported through Charles Pratt's London based National Glass Co. Ltd. – shown below. (Note: it had no connection with the National Glass Co. of the USA). Also described in this article was “a wisteria colour … being offered in the same type of ware”. Pratt was importing Fenton’s Carnival into the UK, and undoubtedly, he was responsible for the scarce examples of celeste blue Carnival that turn up in Britain. |
1925 British “Pottery Gazette and Glass Trade Review”
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Until recently, however, we had not seen any examples of the wisteria iridescent glass from Fenton that had been found in the UK. And now here is one perfect example, sourced in the UK, shown here courtesy Pat Halliburton.
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Here it is, Fenton’s Grape and Cable spatula footed bowl in wisteria, with an amazing stretch effect.
The second photo shows the exterior which also boasts a splendid stretch effect. Photos courtesy Pat Halliburton.
The second photo shows the exterior which also boasts a splendid stretch effect. Photos courtesy Pat Halliburton.
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It is interesting to note that Pratt explained that the colours – celeste and wisteria – were new at that time (that is, in 1925). In fact, that is true, but only with regard to Fenton. In fact, both these two colours had been introduced much earlier by Diamond Glassware Co. (previously Dugan Glass). In c.1916-17, Diamond had introduced Cerulean Blue which was virtually identical to Fenton's celeste with its stretch effect that was made later. And in 1916, Diamond had also introduced their Twilight Wisteria line! Here’s their announcement in “The Pottery, Glass & Brass Salesman” in 1916. |
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Shown below are examples of Diamond’s wisteria and celeste blue Carnival colours.
Above and below: a Vintage dome-footed bowl in wisteria by Diamond Glassware. Courtesy Pat Halliburton.
Further reading:
In NetworK #62, we ran a story about a (short-sighted) prediction made in 1916, that Carnival Glass had "run its course" and that its popularity was falling. Fortunately, it proved to be completely false! Read it here: "On its way out...?" Charles Pratt, born in 1871, was connected with the glass industry for most of his business life, and was responsible for the widespread introduction of American pressed table glassware to the English market. |
Above: our Vintage dome-footed bowl in celeste blue
by Diamond Glassware Below: for good measure here is what Fenton's celeste colour looks like in this Persian Medallion bon bon. 
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He founded the National Glass Co. Ltd. in the UK which acted as agent for Fenton and other important US glass factories, importing vast quantities of Carnival Glass to England. (Note: it had no connection with the National Glass Co. of the USA).
Here is the story: Charles Pratt and the Celeste Mystery.
The “Maze of Alice”
Sincere thanks to Sarian Stade for the beautiful photos and information about this fascinating bowl. This wonderful piece of Riihimaki’s Carnival was discovered by Sarian and Esa in Finland.
Sincere thanks to Sarian Stade for the beautiful photos and information about this fascinating bowl. This wonderful piece of Riihimaki’s Carnival was discovered by Sarian and Esa in Finland.
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It was named “Maze of Alice” by them, as a deeply personal tribute. The pattern features a Greek Key design around the exterior and an intaglio fruit pattern on the underside of the base. It’s an exceptional combination of patterns, and the first time we have seen a classical Greek Key motif on European Carnival. The bowl is deep, standing 8.5 inches high (22cm). The base is a little over 4 inches (10.5cm) across, while the top of the bowl stretches to just over 9 inches (23.5) across, including the protuberances. |
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It’s those protuberances – nubs – that make it so curious and fascinating, as they are not pictured in the Riihimaki 1939 catalogue illustration (right).
We are baffled and fascinated by them – we can’t explain them. They are such a major feature of this amazing bowl. The Greek Key motif is a familiar one to Carnival collectors in the form of the Northwood version. We were also struck by the similarity in shape too, to a Heisey version - see far right. |
Above: extract from the 1939
Riihimaki catalogue. |
Heisey design in the Patents section of the
1912 “Pottery, Glass and Brass Salesman”. Did it inspire the Riihimaki version.? |
Our grateful thanks to Sarian and Esa for sharing these images of the amazing “Maze of Alice”.
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Imperial’s Helios
Helios was the Greek god of the sun and one of the mythological Titans (the word “helios” means “sun” in Greek). One might wonder why Imperial selected it to describe their “green glass with silver iridescent tints” (Imperial’s own description). If any colour were to be associated with the sun god, you’d be forgiven for perhaps thinking of yellow or maybe even orange/gold. However, it’s more likely that it was the association with light reflection that inspired the term (as in heliostat) as there’s no doubt Imperial’s helios has a light, bright, almost-reflective, appearance. Helios was Imperials "K" colour. The caption shown below describing the colour is from a 1911 ad for Imperial’s iridescent ware. 
Note the typographical error! Helios was written as "Helois".
Imperial claimed Helios as (quote) “our own creation” and in truth, no other glass maker produced a Carnival colour exactly like it. It’s interesting to note that all the descriptions of the Helios iridescent effect from Imperial (and other contemporaneous sources) refer to it as a silver green colouring. |
Imperial Tiger Lily water set in helios, courtesy Seeck Auctions.
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Imperial featured their Helios colour from very early in 1911.
Below (left) is an extract of an ad in “The Pottery, Glass & Brass Salesman” of January 19th. 1911. Subsequently, Imperial featured Helios in their May 1911 Catalogue, and another ad, a few months later, featured a Tiger Lily “lemonade set” (known as a water set today) also promoted in Helios. The ad describing it stated: “It is new and distinctive – quite unlike anything heretofore produced – a silvery greenish effect of striking beauty.” Also by this time, Imperial had extended the range of patterns and shapes being made in this new colour, as indicated in this Butler Bothers ad.
At the same time, Helios was being advertised in the Butler Brothers wholesale catalogue - shown below, right from their Mid-Spring 1911 issue.
The ad described “All New ‘Helios’ Ware” declaring that “The beautiful green and silver tints of this ware equal the gloriously radiant hue of our well-known ‘AZUR’ glass. The items in the ad were a 474 punch set (OMN La Rochelle) and a “blown vase” (often called a carafe today) and “lemonade set” (water set) in the Imperial Grape pattern.
Click on the ad above to see it in full, with several other Cox & Lafferty ads, or go here: Cox & Lafferty |
Above: a Butler Brothers wholesale ad in from Mid-Spring 1911.
It offered a range of patterns and shapes, all of them being available in "dark metallic" (which would have been azur/amethyst/purple) and also - if you look at the IC1606 Assortment at the foot of the ad - in "new helios, silver green finish". |
When Imperial introduced Helios, they certainly considered it to be a desirable colour, promoting it clearly as part of their main output of iridescent glassware.
When Imperial introduced Helios, they certainly considered it to be a desirable colour, promoting it clearly as part of their main output of iridescent glassware.
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Our observation of Helios Carnival Glass that we have seen over the years shows that many items have a metallic gold as well as silver iridescence, as clearly seen in this Imperial Grape punch set, courtesy of Burns Auctions. So .... maybe they altered the formula of their iridescent spray over the years? 
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Above : extract from Imperial’s Catalog 103B. Courtesy Jon D Bartell / Glass Paper Fanatics.
It shows their “Four Best Colors in Iridescent Glass”: clockwise from top left: Rubigold (their M glass / marigold), Azur (L glass / purple/amethyst), Old Gold (R glass / amber), and Helios (K glass). |
It's probably fair to say that today’s collectors don’t consider Helios to be as desirable as Imperial’s purple/amethyst (Azur). Perhaps that’s simply today’s taste, and maybe connected with changes in lighting and furniture trends over the century. However, back when homes were less well lit and darker furniture was normal, that bright silvery green would have looked rather splendid against the dark background, in much the same way that marigold shone and glowed. Interestingly, Imperial originally priced Helios items the same as Azur, but more expensively than Rubigold / marigold items, as shown by this extract from Imperial's January 1912 Catalogue (the prices are "factory gate").
Imperial evidently believed that the Helios colour continued to have customer appeal: in the late 1960s Revival era, Imperial reintroduced the colour (and revived old moulds). The new version tends to be a little deeper in colour and iridescence than the early 1911 Classic version, and the Revival pieces will be trademarked IG.
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Classic and Revival Helios Carnival.
The Lustre Rose covered butter, and the Pansy handled nappy are both Revival era pieces and marked IG. The Imperial Grape cup and saucer are Classic, old Imperial. Photo courtesy of Burns Auctions. |
Butter Me Up. Photos courtesy of Sam Miller
Some readers may recall our website feature on butter dishes, that included the explanation of their round shape. In the article we showed some catalogue images of early wooden butter moulds, but now we have a picture of the original items involved (as well as a splendid Northwood Peacock at the Fountain butter dish, filled with the newly churned butter) thanks to Sam Miller.
Some readers may recall our website feature on butter dishes, that included the explanation of their round shape. In the article we showed some catalogue images of early wooden butter moulds, but now we have a picture of the original items involved (as well as a splendid Northwood Peacock at the Fountain butter dish, filled with the newly churned butter) thanks to Sam Miller.
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Sam and his son churned the butter in the glass antique butter churn and then moulded it into the round shape using the wooden butter mould (below). We understand it took quite a bit of effort but this iconic photo shows that it was worth every minute. Our grateful thanks to Sam for his story and splendid photos. Smile
Below is a 1915 ad for the sort of home kitchen butter churn that Sam and his son used. We think that Sam and his son may not fully agree with the comment that: "in one minute it will transform [the milk] into wholesome table butter". We got the impression that the process involved considerably more physical effort than that! 
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If you want to read our article about Carnival Glass butters from all around the world, here it is: Butter Me Up
If you have missed any of the previous issues of NetworK and NetworK Specials, they are all here: Back Issues.
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Privacy and the use of your information: we only use your name and email address to send you your FREE 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]
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