NetworK ezine Issue 98. July 2023
Totally Devoted to Carnival Glass
Welcome to the July edition of Carnival NetworK, in which we turn the clock back to the dawn of Carnival Glass.
We usually define Carnival as moulded, iridised glass with a (moulded) pattern, but we often omit a crucial term when we use that definition: mass-produced. Carnival was hand-finished, mass-produced glassware. The invention and development of the press-moulding process during the 1800s in the USA, enabled glassmakers to produce their ware in large quantities (although individuality was delivered by hand-finishing the items).
From the mid-1850s, techniques for applying iridescence on glass, were being used in Europe for the first time and then elsewhere (famously by Tiffany). The two processes came together in the opening years of the 1900s at the Fenton Art Glass factory in the form of what we know as Carnival Glass.
The Genesis of Carnival Glass
Although there had been experiments with pressed iridised glass previously, none had reached the crucial stage of mass-production until mid-1907 in Williamstown, West Virginia. In October 1907, the “Crockery and Glass Journal” ran the snippet below, left in their “Around the District” column (a round-up of news among the glassworks etc). It reported that the "Fenton Glass Co." had begun to produce a totally new line called "Iridill" (imitative of Tiffany's iridescent appearance).
Above: October 1907 Crockery and Glass Journal.
It was being displayed and promoted by the agent, W.H. Dunn. Note that the Journal mentioned that it “is very reasonably priced”. A combination of press-moulding and mass-production meant that prices could be lowered, making the new Tiffany look-alike affordable (unlike the expensive, original Art Glass). Just two months later in December another piece (shown below) appeared in the “Crockery and Glass Journal” with a similar theme, stating that Fenton were making pieces in the new “Iridil” (or “Iridill”) glass. Above: a December 1907 Crockery and Glass Journal report.
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Above: Fenton's Peacock and Urn plate in blue
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The shapes mentioned in this second snippet were vases and “fancy articles” but also “gas and electric shades”! That last point surprised us, as none of the early Fenton ads show shades. The first Fenton ad we have seen was September 1908, shown below, right - the shapes were comports, bowls, vases and bon-bons in two predominant patterns, Waterlily and Cattails and Diamond Point Columns.
A Diamond Point Columns vase on the left, and right, courtesy Seeck Auctions, a Waterlily and Cattails violet vase or toothpick on a small dish.
At the dawn of 1908, Fenton had exhibited their iridised glassware at the annual Pittsburgh Glass and Crockery Show, according to the “Crockery and Glass Journal”. Vases, comports and rose bowls were mentioned, and note that the glass was referred to as “Iridie” (not “Iridill” or even “Iridil”). A spelling or typographical mistake perhaps? Above: the January 1908 Crockery and Glass Journal report.
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Above: the first known ad for Fenton Carnival Glass in the September 1908 Butler Brothers catalogue. The mass-production of this glass was evident in that prices were quoted per dozen pieces (with 90 pieces packed in a barrel), and that this was a wholesale catalogue.
The significance of these press reports from 1907 - 1908 must not be underestimated. In their own way, they are iconic in respect of Carnival Glass, especially the very first one from October 1907. This was the very first time that the glass we now know as Carnival was reported in the glass trade press. It marked the genesis of Carnival. |
Puzzles Let’s briefly re-wind and see if we can also answer a few questions that spring to mind. Fenton Art Glass Co. had started up in Martin’s Ferry, Ohio in 1905, initially as a glass decorating business. They moved to Williamstown, West Virginia and began making glass in January, 1907. Clearly Carnival was one of their very first products. We discovered a fascinating article written in February 1907, that explains how Fenton financed the move to Williamstown (which was described as a “bright, busy and braggy” town in the article). Land was sold in individual lots to assist in the purchase, often to “retired farmers, oil well operators and merchants” … ”The wife of most purchasers received a gorgeously decorated water or lemonade set at a cost to the makers of less than fifty cents, but with the ladies happy, what investor would then hesitate about buying a $200 lot”. We have an entire, fascinating article “Fine Financing of Fenton Bros”, explaining how Fenton financed their Williamstown venture, here is the link: Williamstown Welcomes Fenton. Next question - where did the moulds come from that were used by Fenton in those early years? They were mainly made by the Hipkins Mould Company in Martin’s Ferry, who had been near neighbours of the Fenton brothers at their first factory. In the mid-1990s, we were privileged to spend some time with the late Frank M. Fenton, in his office and archives at Williamstown, as we researched for our first book. In Frank’s office we came across cheque (check) book stubs dating back to the early 1900s. The cheques were drawn on the German Savings Bank, Martins Ferry, Ohio and they were all made payable to either S. Hipkins or Hipkins Novelty Mould Company. We spotted a stub dated 1908 for “tumbler moulds” made out for $63 and a 1909 stub for $211.88 for “vase moulds”. |
Above: image is courtesy Fenton Art Glass Co. and the Fenton Family.
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It’s fascinating to speculate what those moulds might have been for. Our "educated guess" for the tumblers is this one, below left - Waterlily and Cattails. It first appears in a Butler Brothers / Fenton selection ad in late 1908, which would be consistent with the payment date and, as we know, this pattern featured in Fenton's early Carnival Glass offerings. So, the timing for the tumbler's appearance in ads fits very well. As to the vases ... another best guess based on
the timing ... is they were April Showers and Diamond and Rib.
Another question is, who were W. H. Dunn and Co? It’s not a name we have heard before, yet they were clearly pivotal in the genesis of Carnival, as they displayed and promoted Fenton’s new glassware in 1907. In fact, they were wholesalers with showrooms on Murray Street in Downtown New York. As well as glassware, they dealt in pottery and house furnishings (including tinware and gas stoves) and they also exhibited in Boston. Little mention is made of them in the glass journals of the era, yet they undoubtedly played an important part in those very early days of Carnival.
Final puzzle … what happened to the name “Iridill” that Fenton originally gave to their new glass in 1907? Possibly they chose the name as it had a slightly similar sound to “Favrile” (Tiffany’s expensive iridescent glass) and of course, had a nod to the word “iridescence”. Curiously it doesn’t seem to have lasted very long. Soon, different terms such as “Aurora Iris Iridescent” and “Golden Sunset” were being used instead. Perhaps Tiffany complained – we’ll never know for sure. For whatever reason, Fenton dropped the “Iridill” name and it was consigned to history.
In their 1913 catalogue which we revealed in NetworK #83, Fenton used the simple term “iridescent goods”, and underlined their claim to being “the originators of iridescent ware” (although others such as Zahn’s Zlatno Glassworks, Kralik, Lobmeyr, Webb and Tiffany, might have wanted to have an animated discussion about that). If we add the term “mass-produced” to Fenton’s claim, then surely, we have a winner. Further Reading: Fenton's 1913 catalogue: "A World Product" Leo Valentin Pantocsek: The Father of Iridescence on Glass Was this the first example of press-moulded, iridised, patterned glass? : Tiny Daisy Fenton Press reports, 1907-1911: Fenton in the Press And to close this section on Fenton … a STOP PRESS In our Carnival NetworK Group on Facebook, we have been enjoying a splendid parade of fabulous Classic old Fenton Carnival pieces, as group members contribute to our current July Fenton theme. Some iconic and very beautiful items have been pictured, including this astonishing bowl on the left, that truly took our breath away. It was shown to us by Tim Scott Reaburn, who explained that the pattern is called “Feathered Rays” – he went on to note that it is currently only reported in green and is also known with a 3/1 edge, as well as the typical Fenton scallop and flute edge shown here. Tim added that “the give-away for this pattern are the small bow details in the middle of the feathering.” |
Fenton Feathered Rays bowl in green.
Courtesy and Copyright Tim Scott Reaburn. |
Economical Rubigold
In 1921, Imperial launched a new pattern, giving it the rather devilish pattern number 666. We know it as Flute and Cane – a much nicer name.
Eagle-eyed readers will have spotted that the assortment illustrated above is actually numbered 666½. So, what does the ½ signify? It denoted what Imperial called their “Utility Glass” which, as they explained, was of a slightly lesser quality (and cheaper) than their “Imperial Mirror Glass”.
In 1921, Imperial launched a new pattern, giving it the rather devilish pattern number 666. We know it as Flute and Cane – a much nicer name.
Eagle-eyed readers will have spotted that the assortment illustrated above is actually numbered 666½. So, what does the ½ signify? It denoted what Imperial called their “Utility Glass” which, as they explained, was of a slightly lesser quality (and cheaper) than their “Imperial Mirror Glass”.
Fully explained in their earlier catalogue 100A, Imperial stated that they made two kinds of crystal glass: mirror glass was “melted in our ‘up to the minute’ pot furnaces” while utility glass was “melted in our economical, gigantic tank furnaces.” The utility glass was described as “just as strong and serviceable” … but “occasionally not quite as brilliant and pure in color”. Of course, an advantage of Carnival was that the iridescent effect covered the base glass, thus any lack of brilliance would not be noticed.
Imperial’s Flute and Cane (pattern 666) in a square-shaped,
marigold bowl. Courtesy Burns Auctions. |
Imperial’s 666 pattern, illustrated in Imperial’s Sales Letter, 1921.
Courtesy Glass Paper Fanatics. |
The #666 pattern was launched in a Sales Letter in July 1921, that we have studied, thanks to Jon D. Bartell and the Glass Paper Fanatics. Three lots of “Economical Assortments” were offered for “Special Sales” as well as #666, and one of them was a splendid assortment of marigold – Rubigold.
Economical Rubigold Assortment illustrated in Imperial’s Sales Letter, 1921. Courtesy Glass Paper Fanatics.
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The items shown are familiar and of course, they all are marigold (Imperial’s Rubigold), which was described as “a fiery red iridescent glass with flashes of gold in it”. Ripple vases, Imperial Grape and Windmill bowls (plus a one-pint pitcher) are all featured alongside Imperial’s iconic Rose items, Pansy and the Scroll Embossed large comport with Eastern Star exterior. It’s an informative and beautifully illustrated ad – we hope you enjoy studying it. Above: Scroll Embossed large comport with Eastern Star exterior on the left, and a Windmill milk pitcher on the right.
Below: Imperial Beauty Rose aka Open Rose bowl on the left and a Pansy bowl on the right. Pictures courtesy of Seeck Auctions. |
Imperial Revealed
These amazing photos were taken in the summer of 1983 by Ron Miller. We are sharing what we feel are some of the most iconic images of the Imperial Glass factory in Bellaire, Ohio – courtesy of Jon D. Bartell and the Glass Paper Fanatics, from the George Shockley Archive at the West Virginia Museum of American Glass. For those of us who love Imperial’s Carnival, but have never been to Bellaire and had the thrill of seeing the factory, it is magical to see these images. The building was demolished in 1995, and a historical information sign marks its location. Above: a close-up of the Hay Shed sign.
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Above: in the centre of the image you can see the Imperial Hay Shed. Collectors of Revival Imperial Carnival from the 1960s on, may know the name, as the location from which much glass was sold.
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A sign on the Hay Shed had the following information: “Since Imperial’s earliest days, this site has been known as the Hay Shed. The Imperial Glass factory was built in 1904 and the Hay Shed was erected to store hay, then used for packing protection in shipping cartons. In 1962, the Hay Shed was successfully converted to the Old Hay Shed Gift Shop as a retail outlet for bargains in handcrafted Imperial glassware.” In around 1986-87 (after the Imperial factory had actually closed in bankruptcy), four ex-Fostoria glassmakers leased a small area of the old plant and started making glass there, operating as Pioneer Glass Company. The plan was to preserve the plant as a glassmaker and also a tourist attraction. Reportedly they had use of about 40 moulds and were able to melt down and use glass that was left over in the factory. Pioneer Glass was sold on site, in Imperial's Hay Loft Shed outlet store, and also "in local gift shops around Bellaire, Ohio." It was as part of a plan by the "Save Imperial Committee" to rescue at least part of the factory and to turn it into a tourist attraction. |
Take a closer look at the image of the cullet trolley carts shown earlier. Interestingly, one of the carts is labelled "SUN YELLOW". Doubtless, this was cullet from rejected/broken pieces of Carnival made under the ownership of Arthur Lorch.
The last known catalogue produced under Lorch's ownership was published towards the end of 1981, intended for the 1982 - 1983 sales period. Two Carnival colours were included in this catalogue, one of which was called Sunburst, a new line also referred to as Sunburst Yellow. We have a feature article and extracts from this catalogue here: Sunburst Yellow Carnival. The other cart is labelled "EMERALD GREEN", and (more speculation on our part here), it may have a connection to the Hay Shed's final moments of glory. The Hay Shed was used as a sales outlet for Pioneer Glass, and items consigned from Imperial's production, plus new items made by L E Smith (using moulds acquired from Imperial) and Viking. Pieces known to have been made by Pioneer Glass included a 3-Toed, aka Lions Foot creamer and sugar - in vibrant emerald green Carnival! Was this where that cart of Emerald Green cullet ended up? |
Above are examples of the Sunburst Yellow and Emerald Green Revival Carnival.
On the left is an Acanthus Leaf comport (courtesy Seeck auctions) and on the right a 3-Toed, aka Lions Foot creamer (courtesy of Crystal Sheets). |
The story of the efforts by Pioneer Glass to save glassmaking at Imperial is here: Save Imperial Campaign
Czech Lamp
We saw this ad, below left, in the 1927 Crockery and Glass Journal. It was for “Imported Czecho Glassware” being imported into the USA by Louis Wolf & Co. in New York. China as well as glassware was a speciality of Wolf’s lines, although their greater fame was in the manufacture and importation of dolls. What caught our attention was the lamp, shown at the top of the ad, as we have several iridised and enamelled lamp shades that were made in Czechoslovakia, and we were interested to see that some of them were designed to be used in an electric lamp.
We saw this ad, below left, in the 1927 Crockery and Glass Journal. It was for “Imported Czecho Glassware” being imported into the USA by Louis Wolf & Co. in New York. China as well as glassware was a speciality of Wolf’s lines, although their greater fame was in the manufacture and importation of dolls. What caught our attention was the lamp, shown at the top of the ad, as we have several iridised and enamelled lamp shades that were made in Czechoslovakia, and we were interested to see that some of them were designed to be used in an electric lamp.
We had a real surprise when we were able to match the exact lamp shown in the ad with an image of the actual item! Ad in the Crockery and Glass Journal, 1927.
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Above: on the left is a detailed extract from the ad, alongside the real thing - an enamelled / decorated marigold Czech 12” high lamp. Courtesy Burns Auctions.
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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.