Contemporary Octagon - The Story Behind The Glass.
Copyright G & S Thistlewood
In Part One of this Story Behind The Glass, we explored the early production of Imperial's Octagon pattern, originally called The Bellaire, No. 505. It was introduced by Imperial in crystal glass in 1913, when it was described as "the pattern of 1913", it survived the Great Flood in the same year, and it was later made in Classic Carnival Glass. We also looked at how it featured in Imperial's own catalogues, in wholesale catalogues and in promotional offerings from mail order businesses of its time.
Here, in Part Two, we look at the revival of the Octagon pattern by Imperial, when - from the 1960s - they reissued it in Contemporary Carnival. We look at the "imposters", patterns that closely resemble Octagon but were made by other glassmakers.
Let us first remind ourselves that the pattern became know as "Octagon", only in 1961, when it was so-named by Marion Hartung in her Second Book of Carnival Glass. Around the same time, Rose Presznick named this pattern “Princess Lace” (Imperial Lace), which is arguably a better description of the pattern. However, Octagon was the name that stuck and became commonly adopted by collectors for the Classic old Carnival production.
Contemporary Production
A large number of No. 505 shapes were also reissued from the 1960s onwards in clear glass, which was called “Collectors Crystal", as shown on the right, and also in several other non-iridised colours. The image on the right is an extract from the 1982-83 Imperial catalogue (when Imperial was operating as ALIG - Arthur Lorch Imperial Glass) where it was not actually given a name, only a functional description and a catalogue number for placing orders. Imperial also reissued its No. 505 Octagon pattern in Contemporary Carnival Glass. However, they dropped their original Bellaire name, referring to it simply by its pattern number. Note: all the re-issues should be marked " IG " (or LIG / ALIG for any later production). When, in the 1960s and 70s, Rose Presznick wrote about Imperial's Contemporary reissues of their No. 505 line, she used her original choice of name for this pattern - “Princess Lace”. Despite the fact that Imperial themselves did not use this name, it can often be seen in use today. |
The No. 505 compote in the approx. 7” size was one of the first items to be reissued in Contemporary Carnival – in Rubigold (marigold) and also in Peacock (smoke) in the 1960s-early 70s.
Above, left is an extract from Imperial Catalog 100A (c. 1913) showing the No. 505 7 inch "footed bowl" in clear glass, courtesy Jon D Bartell.
Next to it is a 1960s catalogue image when it was reissued as "505A Tall Compote" in Rubigold (marigold) Carnival. To its right is the compote, which is marked " IG ", courtesy Seeck Auctions. On the far right is the "Tall Compote" when it was reissued in amber from the 1970s - in this catalogue, this piece was listed without the 505 notation, being referred to as 42734.
Next to it is a 1960s catalogue image when it was reissued as "505A Tall Compote" in Rubigold (marigold) Carnival. To its right is the compote, which is marked " IG ", courtesy Seeck Auctions. On the far right is the "Tall Compote" when it was reissued in amber from the 1970s - in this catalogue, this piece was listed without the 505 notation, being referred to as 42734.
The smaller 4½” version of the compote / comport, originally referred to as a "jelly", was also re-issued in several colours, including Aurora Jewels (blue) and white. It was also offered with two differently shaped tops - straight sided, and flared/crimped, as shown below.
Above, left to right: an extract from Imperial Catalog 100A (c. 1913) showing the No. 505 4½ inch "footed jelly" in clear glass, courtesy Jon D Bartell.
In the centre is an extract from Imperial's Aurora Jewels catalogue showing the two shapes that were produced, and
on the right is an example of the flared shape which is marked " IG " and has a paper label, courtesy Seeck Auctions.
In the centre is an extract from Imperial's Aurora Jewels catalogue showing the two shapes that were produced, and
on the right is an example of the flared shape which is marked " IG " and has a paper label, courtesy Seeck Auctions.
Other favourite shapes reissued by Imperial in Contemporary Carnival included toothpick, oil/cruet, vase, and salt and pepper shakers.
Other favourite shapes reissued by Imperial in Contemporary Carnival included toothpick, oil/cruet, vase, and salt and pepper shakers.
Above, left is an extract from the Imperial catalog 100A (c. 1913) showing in clear glass the toothpick separately and also as part of a condiment set, courtesy Jon D Bartell. The condiment set comprised the oil bottle, salt and pepper and the toothpick holder. In the centre is a pair of toothpicks in Peacock (smoke Carnival) - they were made by Imperial in 1965 for Brockway Glass, and are shown here courtesy Mary Pedano. Imperial reissued the toothpick holders in various colours of glass, as well as Contemporary Carnival. On the right is the Contemporary reissue of the cruet (oil bottle)
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in amber, courtesy Seeck Auctions; it is marked " IG " and also has a paper label. Note: the stopper is different to the original early 1900s version.
Between 1974 and 1976, Imperial reissued the No. 505 cruet and stopper (oil bottle), the small 4½ inch compote, the salt and pepper shakers, and a large 10" bowl (not shown above) – all in white Carnival and marked " IG ". The white footed compote, front left in the above catalogue extract, is Imperial’s No. 212 pattern.
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Between 1968 and 1973, Imperial reissued this 8" footed vase in a colour they called Sunset Ruby - a red/amberina colour. They are marked " IG ". It was also later made in Pink Carnival. The extract from Imperial's Catalog 100A (c. 1913) showing the No. 505 vase - which they called a "bouquet" in clear glass, courtesy Jon D Bartell.
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A clear glass Contemporary Octagon cruet and stopper,. It was hand iridised and signed by Hansen. Courtesy Seeck Auctions.
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The 505 water set was reissued in pink Carnival in the early 1980s, marked ALIG for Arthur Lorch Imperial Glass, and limited in number. It is reported that it was the last water set made by Imperial before they closed.
NOT OCTAGON – the "lookalikes".
Geometric patterns are often hard to recognise and identify – so many hobstars, so little time. But it’s important to put the record straight, especially in respect of a popular Indiana pattern, that often does not get the recognition it deserves.
Indiana Glass 123 Pattern
Made by Indiana Glass (Dunkirk, IN) from 1909, and also known as Panelled Daisy & Fine Cut, this pattern is often mistaken for the later Imperial No. 505, The Bellaire / Octagon pattern. In fact, Indiana's 123 pre-dated the launch of The Bellaire by several years, posing the question, did it inspire Imperial
Geometric patterns are often hard to recognise and identify – so many hobstars, so little time. But it’s important to put the record straight, especially in respect of a popular Indiana pattern, that often does not get the recognition it deserves.
Indiana Glass 123 Pattern
Made by Indiana Glass (Dunkirk, IN) from 1909, and also known as Panelled Daisy & Fine Cut, this pattern is often mistaken for the later Imperial No. 505, The Bellaire / Octagon pattern. In fact, Indiana's 123 pre-dated the launch of The Bellaire by several years, posing the question, did it inspire Imperial
when they designed their version? But crucially, Indiana did not make the 123 pattern in Carnival Glass in the early Classic years. The Carnival production came much later, in the 1970s, when the pattern was reincarnated as Indiana’s Heirloom Series. Indiana did not have a moulded trademark or logo on their glass.
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1909 Butler Brothers wholesale catalogue extract featuring the Indiana 123 punch set in clear glass.
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In the 1970s, Indiana introduced Contemporary Carnival Glass to their product lines, and their 123 Pattern (aka Panelled Daisy & Fine Cut) acquired a new name as well as a new look. Appearing in Sunset (red/amberina) and Iridescent Amethyst Carnival, it was called the Heirloom Series, with the description that “the authentic near cut patterns are reissues of the ones that are treasured heirlooms today.” Confusingly, Indiana – under their “Tiara Exclusives” party plan, also made this pattern in non-iridised colours in the 1970s and 80s, including black – calling it the “Monarch” pattern.
We have more 1970s catalogue images of Indiana's Heirloom. Here are the links:
Heirloom Sunset Carnival
Heirloom Amethyst Carnival
Heirloom Sunset Carnival
Heirloom Amethyst Carnival
After Indiana Glass Company closed in 2002, Fenton acquired a large number of Indiana’s moulds.
In 2005, the familiar form of the 123 Pattern, aka Heirloom, punch set, acquired yet another name and another “look”. On the right is an extract from Fenton’s 2005 catalogue, showing their Hobstar aquamarine opalescent punch set, comprising the punch bowl and base, plus four tumblers. The design is the original Indiana 123 Pattern, that Indiana produced in Sunset and Iridescent Amethyst Carnival in the 1970s under the Heirloom Series title. Shown below are the two actual moulds that were used originally by Indiana and subsequently by Fenton. On the left is the punch bowl and on the right is the punch bowl base (it was pressed upside down in the mould). Both mould pictures are courtesy of the Fenton Family and Fenton Art Glass Company. |
The Thatcher Years
A look-alike of this pattern was made by the McKee Division of Thatcher Glass Manufacturing, Jeannette, PA., in the 1950s and 60s. No Carnival versions were made, instead a milk glass line (called Concord) and a clear glass line (called Yorktown) were produced.
Finally
Here is a delightful 6 inch vase, made in Contemporary Carnival by Imperial in the 1960s in marigold, amber, white and smoke, which often gets mistaken for Octagon. It is a different pattern altogether, but the similarity of geometric motifs can confuse. It is actually Imperial’s No. 536, originally part of their Nucut line. It also gets called Lace Variant.
It is not Octagon (No. 505 Bellaire) and nor is it the Indiana 123 Pattern. It had its own number – its own identity. It sometimes gets called Star & Cane by EAPG collectors. Let’s just call it what Imperial did, No. 536.
A look-alike of this pattern was made by the McKee Division of Thatcher Glass Manufacturing, Jeannette, PA., in the 1950s and 60s. No Carnival versions were made, instead a milk glass line (called Concord) and a clear glass line (called Yorktown) were produced.
Finally
Here is a delightful 6 inch vase, made in Contemporary Carnival by Imperial in the 1960s in marigold, amber, white and smoke, which often gets mistaken for Octagon. It is a different pattern altogether, but the similarity of geometric motifs can confuse. It is actually Imperial’s No. 536, originally part of their Nucut line. It also gets called Lace Variant.
It is not Octagon (No. 505 Bellaire) and nor is it the Indiana 123 Pattern. It had its own number – its own identity. It sometimes gets called Star & Cane by EAPG collectors. Let’s just call it what Imperial did, No. 536.
On the left: an Imperial No. 536 vase in smoke, courtesy of Seeck Auctions.
In the centre: an extract from Imperial's Catalog 100A (c. 1913) showing the vase in clear glass, courtesy Jon D Bartell. Above: the actual mould for No. 536. It was bought by Fenton after Imperial closed. Courtesy of the Fenton Family and Fenton Art Glass Company. |