ERRATA IN PRINT:
“VASELINE GLASS: CANARY TO CONTEMPORARY”
BY DAVID A. PETERSON
COPYRIGHT 2002 BY ANTIQUE PUBLICATIONS
“THE LOST CHAPTERS”, the addendum to Vaseline Glass: Canary to Contemporary
Self-published, copyright 2004-2005, by David A. Peterson
TOY BUCKET, pg 28: The No. 2 BUCKET was documented that it did not have the word “Patented” around the bottom rim. Both versions exist and neither are a reproduction. The dimension was also listed as 2″ tall. Actual height is 2 5/8″.
MONKEY ON TREE STUMP, pg. 29 REPRODUCTION ALERT: AA Imports has reproduced this piece and it is fairly common in the marketplace. IF an original exists in vaseline, look for well-defined features on the face, and visible fingers and toes. The inside of the rim will have a sharp edge.
CENTRAL GLASS CO.:
FISH CREAMER, pg. 137: This piece was also made in blue. If any Central Glass piece is found in amber, blue or vaseline, it was made in all three colors.
OWL PICKLE DISH: See comments under L.G. WRIGHT (below).
DUNCAN & MILLER:
HORN OF PLENTY, pg. 157: The photo shown in black and white is not THREE FEATHERS and remains unidentified at this time. A correction and correct photo are shown in the addendum: THE LOST CHAPTERS, on pg. 16.
No. 2106/VOGUE boxes: The original text listed only one size known to exist. All three listed sizes have now been found in vaseline glass.
GILLINDER & SONS:
BUDDHA, pg. 169: The original text stated that the Gillinder Buddha came in two sizes: 6 1/2″ and 4 1/2″. The Cambridge Buddha was actually made in these sizes. The Gillinder Buddha was only made in a 5 1/2″ size. The Cambridge Buddha was made in uranium green and vaseline yellow-green during circa 1930’s. The Gillinder Buddha was made only in vaseline yellow-green in the 1930’s. None of the three are marked. Summit Glass made some of the large Cambridge versions during 1998-1999. The Gillinder has never been reproduced. Comparative photos are shown in LOST CHAPTERS on pg. 16 to show the differences between the Gillinder and Cambridge versions.
PAIRPOINT CORPORATION, pg. 200: The text lists a pattern that incorporates butterflies and spider-webs. That pattern has been identified as COLIAS. Color photo #1 in the center of the book also referred to this pattern as COLEUS and should have been listed as COLIAS.
L.G. WRIGHT GLASS COMPANY, pg. 213 (and color photo #894): The owl pickle dish shown in photo #894 is actually an original by Central Glass Company. An erronous comment in the LG Wright chapter mentioned that it has never been found in vaseline by Central Glass. The original is 8″ long from left ear measured to left tail feather. The Wright version (if it exists in vaseline), is 8 5/8″ in length by the same measurement.
COLOR PHOTO CORRECTIONS, C2C:
#1: COLIAS is actual pattern name, not COLEUS
#69-70: (Erronously listed as Val St. Lambert): This decanter and goblet set is Portieux/Vallerysthal and at least one of these pieces had a paper label marked PV FRANCE. The French call this color opaline.
#122: Actual maker was Henry GREENER & CO., Rd. #325539, (not Victoria & Albert by Davidson).
#123: This is a reproduction by Fenner Glass Works, Germany, circa 1907, NOT Lords and Ladies, by Davidson.
#173: Glossary listed accurately as an Imperial piece, but was only made during 1960’s, not 1960s-1970s.
#260: Actual maker was Davidson Glass, and it is a Banana Split bowl (not a relish), pattern was No. 902. It appeared in a Davidson catalog in 1912 (info provided by John Bell).
#285: Add to listed info: Pattern #414: INNOVATION CUT GLASS (properly identified as made by McKee).
#343, 344, 345 & 347: (Originally listed as unidentified): WEATHERFORD BERRY SET by Cambridge Glass, 1920’s.
#496-515: (Erronously listed as Royal Fan: Stevens & Williams): Made by Pukeberg Glasbruk, Sweden from 1915-1930, designed by Harald Notini, original name: “solfjader”, which translates in English to “Fan”. Information came from the factory, which is still in existence.
#537: Not an MMA piece. Actually a “Made in Italy” piece (no other info known – same as photo #906)
#553-557: (Erronously liste as Val St. Lambert): Made by Scailmont Glass, Belgium, circa 1930’s.
#594:(Erronously listed as unknown wineglass): This is a wineglass that matches #846, underplate for a decanter and wine set that was made in France, believed to be 1920’s.
#595: (Erronously listed as vaseline exterior, cut to clear underlayer. This was inspected and tested with UV light personally by the author during the summer of 2006 and found to be a yellow-green (non-uranium) stain over a clear glass layer, then cut through to the clear glass. This piece is in a private collection in Alexandria, VA.
#615: (Originally listed as a Daisy & Button variant): now known to be Central Glass (USGC), Pattern No. 730.
#634: (Originally listed as unidentified): Imperial Glass Co., No. 675: TREE OF LIFE circa 1925-1930.
#635: (Originally listed as unidentified); Sowerby, Rd. 778735, dated 1933, part of a dresser set.
#640: (Originally listed as unidentified): BELLAIRE GOBLET CO., Pattern #600. Ruth Webb Lee called it DAISY & CUBE.
#671: (Originally listed as unidentified): Vallerysthal Glass Co., circa unknown. Found by a club member with original sticker.
#678-680: The three samovars/decanters could be either Cambridge or Paden City. The only way to tell for certain is to study the etching patterns. The moulds were owned by Century Silver Company and they were the ones who made the metal frames. They moved the moulds back and forth between the two glass companies, dependent on what they wanted to make and who could make it during the time period it was needed.
#703 & #704: (Originally listed as Unidentified): Bryce Bros. catalog, dated 1916, shows this form without handles or molding. This set was made in 1926, according to The TOLEDO MUSEUM OF ART, AMERICAN GLASS 1760-1930 by Kenneth M. Wilson, Vol. 2, pg. 752, illustration #1292 (also shown in color on pg. 767).
#710 & 724: (Erronously listed as Zipper and Finecut): DIAMOND FILE by Brockwitz, Germany, 1920’s (info courtesy G. & S. Thislewood).
#717: (Originally listed as unidentified): Baccarat cologne bottle, part of a dresser set. Flat pieces in this pattern are marked. (info courtesy Jan & Arno Van Male).
#741: (Originally listed as unidentified): Fenton No. 53 Puff Box (source: Early Fenton Rarities 1907-1938 by Thomas K. Smith)
#743: (Originally listed as unidentified): Made by TIFFIN/USGC, 1924-1927, shown in “Tiffin Glassmasters II” by Fred Bickenheuser, c. 1985, original catalog image).
#747: (Originally listed as Spanish Lace, either by Northwood or unknown English maker): This particular shape is not Northwood. It was originally called OPALINE BROCADE, by John Walsh Walsh, who introduced it Nov. 1897 (source: THE GLASS OF JOHN WALSH WALSH 1850-1951 by Eric Reynolds, copyright 1999).
#817: (Originally listed as unidentified): unmarked, but registered pattern 375896, registered on June 25, 1901 by John Walsh Walsh, Birmingham, England (source: THE GLASS OF JOHN WALSH WALSH 1850-1951 by Eric Reynolds, copyright 1999)
#846: (Erronously listed as unknown BOWL): This is a underplate for a decanter and wine set that was made in France, believed to be 1920’s. It is the same pattern as wineglass, photo #594.
#860-862: Imperial No. 320 (aka: PACKARD) console set (Erronously listed as ‘unknown console set). Appeared in catalog 201, late 1920s.
#869-871: (Erronously listed as Made in France): Pukeberg Glasbruk, Sweden 1910-1920, designed by Harald Notini. Information obtained from Ami Fransson from ZERO INTERIOR/PUKEBERG GLASBRUK (Glowing Report, July 2007, pg. 1)
#883: (Erronously listed as toothbrush holder): Now known to be a pocket watch holder.
#906: Not an MMA piece. Actually a “Made in Italy” piece (no other info known – same as photo #537)
#919 & 940: Design registered Feb. 14, 1865 as Rd. 183953 by Alfred Edmund Edwardes, Alver Cottage, Twickenham Green, Middlesex, England. This was registered as a Class I: Metal, Class III: Glass and Class IV: Earthenware, as an “Ornamental Design for a Jar.” (Source: National Archives, UK. Image Cat. Ref. no. BT 43/68, Registration Cat. Ref no. BT 44/8.)
#952: (Erronously listed only as Made in England): Now known to be Davidson pattern No. 269, unmarked Rd. 624743, registered Sept. 5, 1913.
#999-1011: (Erronously listed as Royal Fan: Stevens& Williams): Made by Pukeberg Glasbruk, Sweden from 1915-1930, designed by Harald Notini, original name: “solfjader”, which translates in English to “Fan”. Information came from the factory, which is still in existence.
#1147: listing indicates “probably made in France”. The piece is marked as being made in France.
#1234, 1236: (Erronously listed as made by Williamsburg Glass Co./Glass Elite): Now known to have been made by Intaglio Studio/Levi Art Glass, by Gary Levi.
THE LOST CHAPTERS (ADDENDUM TO C2C):
(Two corrections are needed in the early first edition [copyright 2004] and both have been corrected in the 2nd printing, copyright 2004-2005):
JOHN DERBYSHIRE, pg. 10: Tobacco Jar: This was actually made by Ker, Webb & Co., Manchester, England, and the diamond lozenge registration mark translates to an Rd. #296476. The design was registered on Jan. 3, 1873.
ODDS, ENDS & ETC!, pg. 42, bottom: The two BEER STEINS (CLICK FOR PHOTO) have been identified as being made by Glasfabrik BROCKWITZ AG (Limited Company) and are shown in an original Brockwitz catalog from 1928. The stein was labeled STAMMSEIDEL 1, which loosely translates to a mug with an attached lid. (catalog illustration provided by Siegmar Geiselberger and PRESSGLAS-KORRESPONDENZ). Glen and Stephen Thislewood also contributed information that the pattern is known as STAR & DRAPE to carnival glass collectors. For a long period of time, it was believed that Crown Glass/Australia made this pattern, as it was included in one of their catalogs from the 1930-‘s. The Brockwitz catalog pre-dates the Crown Catalog.
Page 113: Item #20 from page 35; Description says “A creamer, butter and spooner were also made.” Change butter to covered sugar.
Current list of errors as of Jan. 5, 2009. List compiled from Author’s master reference copy.