Maker Unknown Roses & Greek Key Smokey White Plate
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Maker Unknown Roses & Greek Key Smokey White Plate


Description


I have wanted one of these plates ever since I held one at the Sunshine Carnival Glass Club auction back in January of 2009. I remember it well, thinking I would have a chance to buy it but only to find out that was only a pipe dream when the hammer fell. It was way beyond my reach at the time. Jim Wroda was the auctioneer selling the Poucher Collection at the time. The Pouchers had previously purchased it in 2003 at a Jim Seeck auction in Missouri. Dave Doty shows that particular one on his website. He says it has a "smokey amberish iridescence". (Photo courtesy Dave Doty.) I personally would describe it as a heavy marigold iridescence with a smoke iridescence applied over it, in my humble opinion. There is an AMAZING accounting of this plate on Dean & Diane Fry's Carnival Glass 101 ~ Roses & Greek Key that has such great detail in the provenance that it will amaze you. Please don't miss it. It will tell you just how revered this plate has been for all these years. To know it is to love it! Jack Adams used to own it and went back to the 1950's with this Smokey Amber version. It now resides in the late Carlton Tarkington Collection.


I am so glad I got the opportunity to actually hold this second example known of two reported examples, at this time, in 2009. 



Here, above, is the other one, the first one known. This photo is also compliments of Dave Doty, who says it resides in a private collection. At the time he did not know this one also sits in the late Carlton Tarkington Collection. This is a true marigold example. I thought it was nice to see it was different than the other one. Diane Fry of Carnival Glass 101, has traced the ownership back to a woman who purchased it at a Florida auction in 1995 and then sold it to Nola & Keith Schmoker from Witchita, Kansas for $7,000. Nola was skeptical at first until she asked Tom Mordini, during a Witchita convention, if she should buy it for that price. Tom highly recommended she purchase it, promising her he would buy it from her if she decided to flip it. Well she did and Tom purchased it for 20K and promptly sold it to Bev Franzen for $25K. Bev owned it for just a few years when she asked Tom to sell it for her, which he did, to the late Carlton Tarkington.

These were two very exciting pieces of Carnival Glass history. Another famous woman, whose name is coincidentally "Rose" Presznick, wrote about this pattern a very long time ago which dates them to the "late" and certainly not the "comtemporary" category. They are somewhere between the "vintage: and "late" categories; we may never know the maker or when these plates were pressed.

Rose Presznick made a wonderful drawing of the details not often seen on this beauty unless it is observed in one's hand. It is the feeling of holding an ancient Greek scroll in a flower garden, make that a beautiful, lush, rose garden.



Speaking of pressed, I did a survey on Facebook asking people what same main patterns were pressed on the front AND the back of a piece of Carnival Glass. There were only less than a handful that qualified, including Hattie by Imperial and Fenton's Orange Tree for example; and now I find we can add in Roses & Greek Key. 
In looking through mine, I could see that the artist did his best to match up the patterns... not quite exactly but good enough to make it look three demensional! The pattern is raised on both sides.

These plates measure 10 1/4 inches from tip to tip and 8 1/2 inches across. It's height from the table is just under an inch and a half and lower in other places. It has no collar base, having been made in a two-part mould with the seam that runs laterally around the back side about 1/2 inch away from the outer edge. The seam, or mould line, is more like a lip that sits slightly higher than the edge, dropping down like a step onto the 1/2-inch edge of the bowl. Jack Adams said he had never seen another piece of Carnival Glass made this way and that it must have been very difficult to remove it from its mould without damaging it. Much like Northwood's Rose Show pattern, the roses on each corner are incised and the opposite side are impressed from behind. Jack Adams insisted the iridescence is totally different than any other iridescence application to glass, which he verifies was clear and then heavily iridized on one side only. (He could only speak on behalf of the one example he owned.)

Later on, in April of 2017, another one appeared on eBay where the seller had no idea what it was. I believe Father Talley bought it. This one was descriibed as smoke, darker in the middle and lighter along the edges. 



Again, a completely different look than the first two. Here, above, is the eBay photo I saved from that sale. I believe I didn't know about this sale until after it was over, but I did save this photo for a day like today. How wonderful to see this third reported example!

Now on to this fourth one known. Jim Wroda, auctioneer, emailed me to say Mike Clum Auctions had contacted him. He wanted to verify that what they had was a Roses & Greek Key item, sending Jim a few photos. Jim says It was first placed in a box lot until the consignee called to say it was special and needed to be advertised and sold by itself. Jim knew I was looking for one because I had emailed him just a while ago asking about the whereabouts of the one he sold at Sunshine State all those years ago. He said he thought "this one is beautiful and I think it is smoke, though they think white" and he wished me luck. Here is the photo he sent me.



Jim Wroda had also given me Clum Auctions' phone number, the only way I could get a bid in because they don't have online bidding. Laura, Mike Clum's daughter, was so kind and obliging; describing it, searching to make sure it was not damaged, sending me several photos, and being thorough in every detail. A man called me promptly that Wednesday morning, on February 21, 2018, and took my bid and told me at least three other bidders were on various phones; four of us in total. After all the bidding on the house floor was exhausted, the people manning the phones went into action with us phone bidders. It was a fight but I was happy with the reasonable price. Laura told me who the underbidder was although two more people, both from different parts of the country, claim they were the underbidders as well, which they were, all three bidding at the same time on telephones so that no one could see each other bidding. Only in America! I was in first on an odd number bid and the rest of them were on the even number bids.

So, the question is, what is the base color of this plate? Is it white or is it smoke? I sincerely believe it is a clear based glass, which was the case on the other three shown above. After all, to make marigold, clear glass is used, then it's sprayed with a marigold iridescence. Mine is clear as well, but with the iridescence commonly used to make white carnival glass pieces. The smoke iridescence translates to gorgeous purples and blues, and the center was iridized differently with a solution to create a special metallic pink and turquoise iridescence that appears and disappears like magic.



To make it even more intriguing, the back side has also been iridized, unlike the one owned by Jack Adams. There is no marie to look through either. The bottom is basically flat with the rose corners acting like hand grips. The whole plate is like a mood ring of pastel colors, depending on its environment and angle of view. Jack Adams was right when he said no other Carnival Glass was iridized like these plates. It is exquisite!

I was very anxious to see it, and although it took weeks to get here, the reward of seeing it was well worth the wait. It arrived during the third Nor'easter to hit us in the month of March, 2018. I am pleased to see this new find is a very different color than all the rest which makes four unique colors in total. Were they experiamental? With all the different styles of iridescence, they very well could have been. Only time will tell if more show up.

I hope you have enjoyed all the Roses & Greek Key iconic plates. A special thank you to David Doty and Diane & the late Dean Fry, for keeping such good track of these bowls on their sites. Be sure to visit Dave Doty here Roses & Greek Key and a special thank you to the late Rose Presznick for the fabulous drawing of this very intricate pattern.

In closing, I am going to point out how amazed you would be to see how much hard work, talent, and thought went into the making of this plate. People who love Carnival Glass should experience holding this piece. I will be taking it to the 2018 HOACGA Convention in Kansas City, Missouri in 2018 for anyone who would like to see and hold it.

The Christina Katsikas Collection

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