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Cosmos Variant
COSMOS VARIANT
10 1/2 inch diameter flat plate. 3 3/8 inch base. (marie) -- no stippling!
6 ruffles, 10 1/8 inch diameter & 3 7/8 inch base - (marie).
10 ruffles, 8.75 inch diameter and 2 5/8 inch base - (marie).
Smooth exteriors - COSMOS Vt. Bowls.
The original basic article appeared on the Nov. 3, 2014 www.carnivalglass.org site. With no viable proof of production for the pattern available until 1922, we are left with speculation as to who “may” have owned the mould prior to being marketed by Diamond Glass Co.
The stippled version discovered by Galen & Kathi Johnson while on a trip to England in the Fall of 2014, leads to another question about who may have produced this “STIPPLED COSMOS VT”?
As compared to some of the more prominent designs, COSMOS VT. does not present itself very often. Marion Hartung and Sherman Hand were early writers of the pattern. Wm. Heacock describes the pattern in his 1978 book as “purely speculative Fenton” in origin!
Carl Burns’ Dugan-Diamond book published in 1999 verifies production from a photo discovered in a mid-winter 1927 Butler Bros. Catalog. It is displayed with a Double Stemmed Rose bowl. As one of Diamond’s later carnival creations, its first appearance in wholesale catalogs occurred in 1922.
9”-10” ruffled bowls are known in amberina w/streaks, amethyst-purple, blue, marigold, oxblood and smoke. Ice cream shaped bowls are known in marigold, amethyst and cobalt blue. 10”-11” chop plates are scarce and do not appear for sale very often! From 2005-2013, only 4 marigold examples sold at auction. Between 1998 and 2012, 3 amethyst plates sold at auction.
We have owned our chop plate since August 1999. It is 10 ½” in diameter, with a marie of 3 7/8”. It is our “chop plate of the month”, placed in a special viewing area of our large cabinet. We are pleased to share it with all of you! (Note: No sign of wear in the design).
Galen & Kathi owned a 6 ruffle bowl in this pattern for some time before taking their recent trip to England. It is 10 1/8” in diameter, with a base of 3 7/8”. Interestingly, their discovery of the 10 ruffle, 8 ¾” bowl, having a base of 2 5/8”, is the first one reported (in print). The photos displayed here indicate the same # of leaves & flower pods on each variation. The center flower has the same # of petals. Detail on the bowl found in England includes stippling on the leaves, along with 9 “stickers” on each of the pods.
Since preservation of moulds was a key factor in production success, there were wire brushes used to remove traces of glass following each removal of the finished product. Doing so over long periods of re-use, the moulds became scratched and pitted, along with weakening many of the design outlines. This damage instigated the “stippling process” to further lengthen use of the mould.
A couple of possibilities are presented here. We know that moulds changed hands over time. It may have been sold to an English manufacturer who stippled the leaves to create a renewed appearance, differing from the Diamond design? Another possibility is that Diamond applied the stippling, etc., creating a shipment to be sold in England?
Mindful that half a turn would have amounted to only 200 items and a full turn at 400; over time and use of the items, many will have become broken and out of circulation. Along about here, some of you are asking yourselves: “Why are there two sizes in the base (marie)”? So long as the “plunger” fits into the base mould, the size of the base (marie) is of little significance!
Having said all of the above; a more serious and perhaps logical observation is the difference in overall mould-work! In addition to the stippling, the bowl from England displays distinct mould work as seen on our chop plate! Do you think we should conclude that somewhere in time, either in America or England, a new mould was created? Since the earlier mould had been a successful seller, why not give it another opportunity to please collectors?
Dean & Diane Fry, Nov. 3, 2014
Praise the LORD! Praise God in His sanctuary; praise Him in His mighty firmament!
Praise Him for His mighty acts; praise Him according to His excellent greatness!
Praise Him with the sound of the trumpet; praise Him with the lute and harp!
Praise Him with the timbrel and dance; praise Him with stringed instruments and flutes!
Praise Him with loud cymbals; praise Him with clashing cymbals!
Let everything that has breath praise the LORD.
Praise the LORD! (Psalm 150)
The last five songs of Israel’s hymnbook are also known as Hallelujah Psalms,
because each of them (Psalm 146-150) begins and ends with the refrain “Praise the LORD”
(Hebrew Hallelujah).
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