NetworK ezine Issue 83. April 2022
Totally Devoted to Carnival Glass
Welcome to our April edition of
Carnival Glass NetworK. A Fenton Catalogue Devoted to Classic Carnival Glass Unusually and very significantly, this eighteen-page Fenton catalogue was devoted entirely to iridescent glass – Carnival. Here on the right is the front cover page, which is actually very important for several reasons. The colour illustration of the Grape and Cable fruit bowl is remarkable in itself, and coupled with the statement “A World Product” indicates that Fenton was a very confident company. The list of Branch Offices and Sample Rooms is incredibly revealing. Not only did Fenton have agents working for them throughout the USA, from coast to coast, but also all around the world. It explains why Fenton’s Carnival is found in so many countries; England, South Africa, Australia, New Zealand, South America and more, including China. |
Above: the front cover of the Fenton Catalogue, and below, a note "To The Trade". Courtesy Glass Paper Fanatics. A reprint of the catalogue is available from the West Virginia Museum of American Glass
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Note the proud claim "To The Trade" on the second page of the catalogue (right) which was also translated into Spanish and French on subsequent pages. “We are the originators of Iridescent ware and make the largest and best line anywhere”. Fenton noted the colours of their iridescent lines: Golden (which we know it as marigold), Royal Blue, Violet (collectors usually call this amethyst or purple), Green and Pearl (which was surely white Carnival). Note also that written large on the cover was the claim “For Home Decoration”. This demonstrates very clearly that Fenton were not simply promoting their iridescent Carnival for practical table use. It was being advertised and endorsed as a decorative product – to adorn the shelves and cabinets, to be shown-off to guests. Carnival was beautiful and Fenton endorsed it accordingly. |
The date of the catalogue? Unfortunately, the catalogue is not dated, and because many of the pieces shown in it had relatively long production runs, it is hard to date it precisely, ... but there are some clues that help us. Firstly, the Charterhouse Street address of the London agent, Charles Pratt’s National Glass Co. (which had no connection with the National Glass Co. of the USA.), dates the Catalogue to after c. 1910. Secondly, the round bases on the hat shaped “bon bons” seen in the Catalogue emphasise this, pointing to 1912 or later (we explain this in more detail below *). Thirdly, the reference to "Pearl" in the range of colours (implying white Carnival) suggests c. 1913 as this is when Fenton is thought to have introduced this colour. Then, as WWI began in mid-1914, it seems unlikely that the International aspects of Fenton's sales outlets would have been so heavily promoted after that date. Our "educated guess" is that 1912-1913 was the most likely publication time. Update: subsequent research for NetworK #86 has now pinned the publication date down to 1913. |
Left, Fenton’s Mikado (Fenton's #919) in blue courtesy Burns Auction Service.
Right, extract from the Fenton Catalogue showing a “crimped” (ruffled) example. Three hand-finishings of Mikado – crimped, flared and shallow - were illustrated in the catalogue, which described them as a “High Footed Orange Bowl Assortment”. |
* Our earlier reference to the hat shaped "bon bons" was about a number of pieces that Fenton made in this shape: Pepper Plant / Holly, Peacock Tails, French Knots and Blackberry Banded. The earliest Carnival versions of these hat shaped pieces had an 8-sided (octagonal) ground base (as they were made by the "stuck-up" method). Subsequently, Fenton realised that they were easier to make with a collar base which did not need to be ground flat (the snapped up method), and the moulds were changed. The change took place during 1912 - 1913: this image below shows how the so-called Pepper Plant hat in 1912 (octagonal base) became the Holly hat (round collar base) by 1913. The significance of this change is that the Holly hat is shown in our Fenton Catalogue and it has the round collar base, supporting the likely date of the Catalogue to around this period. |
You may be interested to read our research - dating back to 1996 - on the Pepper Plant / Holly pattern here: On the Pepper Plant Trail
Ever heard of Fenton's "Eleven Twenty-Four" Pattern?
Probably not! But if we use the collectors' pattern name - Butterfly and Berry - the answer is most certainly "Yes!" Here is a Classic covered butter in blue.
We realised that Butterfly and Berry must be one of Fenton's most enduring and popular patterns, with production taking place from the early days of Classic Carnival, right through to Revival pieces being made more recently.
We have written an extensive appreciation of this cleverly designed and appealing pattern, charting its journey from Classic production and advertising in Butler Brothers and how it featured regularly in Mail Order catalogues and offers as "Premiums". |
Above: A full page was devoted to "Eleven Twenty-Four" in the Fenton Catalogue referred to at the top of this Issue, shown courtesy Glass Paper Fanatics. Interestingly, it was said to be "Made only in Golden Iridescent" (that is, marigold Carnival). Study of Butler Brothers catalogues shows that in 1911, Butterfly and Berry was offered in marigold, blue and green, but in 1913, we can only see marigold (Golden Iridescent) on offer.
This adds weight to our Catalogue attribution to 1912-1913. |
Butterfly and Berry was also used as an exterior pattern in combination with pieces that have been named by collectors based on the interior pattern - Panther, Fantail and also Hearts and Trees. We also take a look at how the pattern took on a new lease of life in the Revival era, when two of the shapes (the 3-footed master berry bowl and the tumbler) were re-worked by skilled glassmakers at Fenton. Although the tumbler mould was used to create a regular tumbler shape, it is amazing what variations were achieved! For example, amongst other shapes, it was turned into basket with an applied handle, and also a small vase with a spittoon-shaped top. |
Butterfly and Berry is the exterior pattern on this Classic
Carnival Hearts and Trees footed bowl in marigold. Picture courtesy of Seek Auctions. |
The tumbler mould was used to create this basket with a tightly crimped top and an applied handle. It is in a colour called "cobalt marigold", made in 1986 - 87.
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Butterfly and Berry Fakes
Sadly, the pattern in the 3-footed bowl shape found itself being faked, so don't be taken in by them. The earliest fakes appeared in the 1980s, and more - made in Korea - have appeared recently, causing a bit of a flutter. Here’s an easy and clear way to spot the genuine Fenton article and the Korean fake. We have the late Frank M Fenton to thank for this insight, as back in 1998, he studied the fakes and compared them to the Fenton pieces, and he pointed out this easy-to-spot difference that would identify the fakes easily. Look at the large, central butterfly on the inside of the bowl. The original, genuine Fenton pieces have six dots on the wings of the butterfly - but there are only five dots on the wings of the Korean-made fakes (the bottom dot is missing). There are many other small pattern differences between the fake and the original, but this is an easy “tell” - see Glen's sketch on the right. Note that this applies only to the central butterfly on the inside – the butterflies encircling the exterior are different and are copied better. Our article exploring the Story of the Butterfly and Berry pattern, from Classic to Revival Carnival, is here: The Enduring Butterfly and Berry. |
Above: Glen's sketch to illustrate the difference between the genuine
and fake Butterfly and Berry patterns on the 3-footed bowls. |
Fenton Crimp
This experimental item (below, left) was made by Fenton for the late Howard Seufer. Grateful thanks are due to Howard’s son, Marty, for the photo of this fascinating item and permission to use it. Howard used it as a tutorial piece at one of his many educational seminars, to illustrate the different kinds of crimping carried out at Fenton in recent years.
Some of the crimping was carried out entirely by hand, relying on the skill and expert eye of the glassmaker to ensure an evenly-spaced and regular crimp. However, Fenton also used mechanical crimping tools, some of which they designed or had made to meet their specific requirements.
This experimental item (below, left) was made by Fenton for the late Howard Seufer. Grateful thanks are due to Howard’s son, Marty, for the photo of this fascinating item and permission to use it. Howard used it as a tutorial piece at one of his many educational seminars, to illustrate the different kinds of crimping carried out at Fenton in recent years.
Some of the crimping was carried out entirely by hand, relying on the skill and expert eye of the glassmaker to ensure an evenly-spaced and regular crimp. However, Fenton also used mechanical crimping tools, some of which they designed or had made to meet their specific requirements.
Shown below is one of Fenton's foot-operated crimping tools which ensured a regular and consistent crimp on the item being made. Whilst the jaws are open, and the item to be crimped is still hot and malleable, it is pushed down onto the apparatus. Closing the jaws bring the top and bottom of the crimping tool together and the item is pressed into shape between them ... the result is a perfect and even crimp! |
Discoveries in Brazil
Two charming, little marigold toothpick holders were recently found in Brazil by a friend of Claudio Deveikis.
Two charming, little marigold toothpick holders were recently found in Brazil by a friend of Claudio Deveikis.
The first, named Esberard's Leaf, is shown below left, is very important for several reasons. Firstly, the maker is known, as it appears in the Esberard catalogue and secondly, we see the very first appearance of a trademark for Esberard that we were not aware of – the letter E in a diamond. This is a significant piece of knowledge for glass collectors.
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Another toothpick holder was also found, although this is currently not attributed to a maker – it has been called Coroa, which translates as "Crown". Crown toothpick holder (below), shown courtesy of Versieux Arts antique shop. |
Another Esberard discovery was also made by Thiago Zanette – it is a small, oval dish and it has the maker’s name ESBERARD RIO moulded on it.
This also appears in the Esberard catalogue, on the same page as the Leaf toothpick holder - product number 329 (shown, right), called Bloquinho.
Eye of the Queen Whimsy
And now for a surprise! For the first time, we now see a Carnival Glass whimsy from Brazil. The familiar Eye of the Queen tumbler has been whimsied into a basket, by the addition of a handle and hand-shaping. This is a “first” and a rare item.
Congratulations to the owner, Thiago Zanette, and grateful thanks to Claudio Deviekis for bringing these fascinating items to the attention of collectors worldwide. You can see Claudio’s Blog online here: Claudio Deveikis Blog
Jeannette Revelations
It started as so many fortuitous discoveries do, with something completely different and “out-of-the-blue”. We saw an illustration on Fran Yorke’s FB group that didn’t have any titling or description – it caught our attention and so we contacted Fran who explained that the image was from Tom Felt. We pursued it and now, thanks to Tom Felt (MAGWV) we have access to a fascinating little booklet that was published by Jeannette Glass Co. in 1928. It turns some widely accepted facts and attributions on their heads!
It also provides information and attribution where previously there was (often incorrect) speculation.
It started as so many fortuitous discoveries do, with something completely different and “out-of-the-blue”. We saw an illustration on Fran Yorke’s FB group that didn’t have any titling or description – it caught our attention and so we contacted Fran who explained that the image was from Tom Felt. We pursued it and now, thanks to Tom Felt (MAGWV) we have access to a fascinating little booklet that was published by Jeannette Glass Co. in 1928. It turns some widely accepted facts and attributions on their heads!
It also provides information and attribution where previously there was (often incorrect) speculation.
Booklet clips above and below from Jeannette 1928 Popular Glass Assortments. Courtesy Tom Felt, Museum of American Glass, WV.
The pattern shown in the above clips will be familiar to many as Diamond Point Columns *. Usually categorised as Late or Depression Carnival Glass, this line is widely attributed to Anchor Hocking (and even Iittala in Finland … which it most certainly isn’t). None of the attributions have yet been accompanied by a catalogue image, as far as we are aware. And now here they are!
The pattern was called Diamond Optic, made by Jeannette Glass. It was made in Carnival (marigold “iridescent”) as well as green and pink (not-iridised). Here in the 1928 Jeannette booklet we see the 7-piece berry set as well as the 3-piece table set (sugar, butter and creamer) and the sherbet and plate set. So, strike out the Anchor Hocking attribution – this is a Jeannette product.
* Diamond Point Columns was actually an unfortunate choice as it is the same name, but not the same pattern, as a vase made by Fenton in Classic Carnival.
There was icing on the cake!
Not only can we firmly attribute the Diamond Point Columns (OMN Diamond Optic) to Jeannette, but also, we can solve more puzzles: this little Jeannette booklet offered up solutions to two previous and long-standing mysteries.
The pattern was called Diamond Optic, made by Jeannette Glass. It was made in Carnival (marigold “iridescent”) as well as green and pink (not-iridised). Here in the 1928 Jeannette booklet we see the 7-piece berry set as well as the 3-piece table set (sugar, butter and creamer) and the sherbet and plate set. So, strike out the Anchor Hocking attribution – this is a Jeannette product.
* Diamond Point Columns was actually an unfortunate choice as it is the same name, but not the same pattern, as a vase made by Fenton in Classic Carnival.
There was icing on the cake!
Not only can we firmly attribute the Diamond Point Columns (OMN Diamond Optic) to Jeannette, but also, we can solve more puzzles: this little Jeannette booklet offered up solutions to two previous and long-standing mysteries.
Above on the left, we see an auto vase that is generally known by the name Blossom and Band. In the past it has been attributed to various makers including Hazel Atlas and Dugan-Diamond. We now know for certain it was made by Jeannette in the auto vase and berry set. We also have the original maker’s name – Wild Rose.
On its right is a vase known as Prism and Daisy Band. Again we now see the original Jeannette design name for this pretty little vase – it was called Floral Ribbed. Often attributed to Imperial in the past, we now know this was made by Jeannette in the late 1920s. A full berry set was also made in the pattern.
We have a full article about Jeannette Glass Company, including larger versions of the booklet clips shown here.
This is the link: The Story of Jeannette Glass
If you have missed any of the previous issues of NetworK and NetworK Specials, they are all here: Back Issues.
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