Topic: S. & W. Alabaster

[Paul S.]

Assuming the factory made only the one pink, then according to Charles Hajdamach this is 'rose-du'barry', and might have been made anywhere from the early 1920's until well into the 1930's.            If I'm wrong and this is Richardson or Frederick Carder, please shout.             

If you compare the picture in Charles Hajdamach 'C20 British Glass' with what is presumably the same product in Williams-Thomas, there's a lot of difference in depth of colour - the latter being much paler.           I've tried to keep this one life like, and it does look much more like the Hajdamach picture, although it's just possible he's over-cooked the colour slightly.

Only a tad over 3" (75 mm) tall, and not really sure if it's supposed to be simply a decorative piece of glass or whether it did have a practical purpose, but it shouted at me from the charity shop shelf, so couldn't leave it behind.
I believe some of these S.&W. examples are marked, although there's nothing I can see on this piece.

I have pieces in blue, green and now pink, so only cinnamon and cream to go

[flying free]

might draw your attention to my description of this opaline pink as Rose du barry and the subsequent correction 
http://www.glassmessages.com/index.php/topic,46591.msg263125.html#msg263125

Your pink looks the same as a cordial glass I had which was definitely S&W pink alabaster.  This is quite a difficult colour to photograph.  But in real life is the most gorgeous edible pink.

Also could we please have a side on picture to show where the white stem joins the pink of the bowl.  I'm interested to see if the white is drawn up over the pink where it joins.
many thanks
m

[Paul S.]

nope - I stand corrected then, and obviously, I'd forgotten that previous discussion we had, and was just taking CH comments as being correct.        This colour terminology is all very subjective  -  and I'm in danger of sinking in the mire.

Sorry if I'm being thick  -  do I call this one rose alabaster or rosaline  -  I was convinced it was a piece from the alabaster range.

Construction is in three parts  -  like most wine glasses.........it seems that the bowl, foot and stem were made separately  -  at least it appears so looking at the seams where each section is joined.

[flying free]

  No idea what you call it - I called it pink alabaster and described it as Rosaline but I'm not sure that's it's correct description.  I'll need to try and decipher what the book said.
That's interesting on the foot only because I remember reading something about the difference between S&W and Steuben was the way the white alabaster was drawn up over the pink.  Can't remember which way round though and I have unfortunately deleted my photos to check some of my pieces.
It may have only been in conjunction with the cordial glasses perhaps?
My glass had the white drawn up over the pink - I might have a pic of that somewhere - I'll look now.
m

[keith]

My bowl and teacup are two part construction,similar to Paul's,

[flying free]

how big is your bowl please?
m

[keith]

6.5 inches across and 3.5 high,

[Paul S.]

nice piece Keith  -  I've two bowls, but both missing their lids.                            How tall is your 'cordial' m??

coming back to the attempt to try and define these colours................my goblet, and m's cordial look to be too reddish to be the same as Williams-Thomas 'rose alabaster' -  and since 'rosaline is described as Brigh pale pink, I'm not going with that either.

So that leaves 'Cherry Red' or Dragons Blood..................the book does say that Dragons Blood (a deep rich selenium ruby) was 'sometimes used for cut stemware and for fancies, although appreciate the two pieces in question aren't cut.  

[flying free]

Paul mine was definitely a mid rose pink.  It fits with Rose du Barry in terms of colour I still believe.
m

[Paul S.]

these things have a habit of going round in circles and we get nowhere, so.............

Christine has, quite correctly, already drawn attention to Williams-Thomas' reference to S. & W's. specific use of the colour 'rose-du-barry' - the example he gives in 'The Crystal Years' is the Burmese oil lamp, and nowhere else in his book does he refer to a colour by that name, so seems it was used on Burmese only.     My personal opinion is that Charles Hajdamach has used 'rose-du-barry' in the wrong context completely, and in view of Williams-Thomas close associattion with S. & W., we must credit him with the more reliable information.

I'm still of the opinion that the pieces here are of a deeper and of a richer reddish colour (cranberry) than 'rosaline' (a bright pale pink) or the 'rose alabaster' shown in the book  -  when you look at the list of colours in the book it must have been a nightmare for the workers to ensure they knew which colour they were handling.

We'll have to form the 'alabaster collector's club' and swop notes -  would you like to be in the club.         You, me and Keith.

P.S.    I've forgotten if you have the book or not.