Whitefriars Glass Forum


« Reply #15 on: October 27, 2008, 07:15:25 PM »

First of all Emmi thanks for starting this I have found it really useful.

Please could anyone post a picture of golden amber FLC  next to the copper brown?

I have a 9.5 inch swan I think is the copper colour but can't get a good picture of it next to my 10 inch footed golden amber FLC swan to put on here.

I would appreciate it to see the difference with the 2 colours together.

Liz :D  :D

« Reply #16 on: October 27, 2008, 07:41:21 PM »
Here is one picture

and another close up to the bodies of the swans

Not sure if the one is copper, because I have never seen it ,or whether it is just a very dark amber.


« Reply #17 on: October 27, 2008, 08:10:28 PM »
The "brown" looks like an older elegant swan.  A Copper Brown one would be footed.

Vidfletch :lol:

« Reply #18 on: October 27, 2008, 08:22:02 PM »
Here is the base


« Reply #19 on: October 27, 2008, 08:44:38 PM »
OK here come the questions!

I do have a Kingsware swan in blue - but I knew it was not Whitefriars through those "little" differences. Did Kingsware improve their technique so that they became more like Whitefriars as the brown coloured one does look very like my earlier Whitefriars swans in shape and weight?

 I have compared the base of this swan with others of different colours. It  does not appear thinner, looked at from the side it has that thickened area of glass that rises up into the body of the swan (that is the best way I can describe it) . - see here.

Sorry Emmi have got off the track of comparing colours, but it is still a learning curve for me.


« Reply #20 on: October 27, 2008, 08:44:53 PM »
Hi, Copper brown swan.............

« Reply #21 on: October 28, 2008, 12:48:21 PM »
It's Green cased in clear crystal from the sixties. It's all in the catalogues.

Vidfletch :lol:

« Reply #22 on: October 28, 2008, 12:52:05 PM »
The middle beaked vase is NOT Aqua.........WHY? because it is cased in clear!

It is probably Deep Green, which did sometimes have an Aqua type hue about it,and this colour never photographs well,I have a tricorn in the same cased green . And I am sure this vase was discussed on IS IT? a while ago regarding colour.

« Reply #23 on: October 28, 2008, 01:01:08 PM »
As Emmi said, it can't be AQUA! It's cased in clear crystal! Additionally Pattern 9566 was only made until 1973 so it could never be made in Aqua! I really don't see why this causes confusion.

Vidfletch :lol:

« Reply #24 on: October 28, 2008, 01:37:58 PM »
Essentially the same questions keep getting asked in the same posts! From 1975 to 1980 there were three Full Lead Crystal Colours, Gold, Aqua and Sky Blue (ignoring Copper Brown as being a needle in a haystack). They are ONLY in the 1978 & 1980 catalogues. They are ALL ONE COLOUR. NOT cased in clear crystal, ever!!!

There, crystal clear!   :roll:



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« Reply #25 on: October 28, 2008, 07:09:12 PM »

To answer your question regarding whether the molten glass was just used for ducks,swans etc.

You may have started the shift making swans and that could have been it for the day.

If the glass became bad with either stones, blisters or cord you would be swapped to another pattern. Most likely one of those terrible textured things. If these required gathering more glass you would put a blower (like a large hairdryer) in the pot to cool it down to the required tempeture.

If it was a smaller pattern you would put a blanking plate in to get the glass hotter.

The cooler the glass the more you could gather, the hotter the less.

Different sized collars were put in the mouth of the pots once the required tempeture was acheived to maintain it.

Being piece work you would book stand down time for this.

You could have been moved to another pot of glass which meant moving everything, chairs, marver, irons, buckets, all this was done at a fast pace so as to start earning again.

The glasshouse was about the size of a football pitch. There were three large furnaces A,B & C. A & C having ten pots and B, 8.

The thermometer tubing tower  was adjacent to B.

There was another small furnace here where the where the white enamel  and blue glass was contained in skittle shaped pots. They also used these pots for different colours for the millifoire cane and stained glass boxes.

On the other side there were four lehrs, two each for soda and FLC as they are cooled at different rates.

There was also a number of glory holes scatterd around, these were used to reheat the glass so as you couldn work it and to finish off tops of vases like the bricklayers, banjo's etc.

Hope this has helped some and that I haven't rambled on.



« Reply #26 on: October 28, 2008, 10:15:49 PM »
Hi Nashy

As Leni says, feel free to ramble on with any other memories  and thanks for this insight to the factory.

After Seeing things done at the Whitefriars day earlier this year it makes alot of sense.

Makes a realy bad at work better just reading about it did I say day make that week .... :roll:  


« Reply #27 on: October 28, 2008, 10:42:26 PM »
Hi Nashy,

Do you recognize this furnace ????????


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« Reply #28 on: October 29, 2008, 12:31:14 PM »
Hi Patrick

This is C furnace, this was at the top end of the glasshouse. Beyond the furnace was the area where the large wooden barrows of the glass mix  was kept prior to refilling the pots. The equipment for changing the pots was also kept here.

The corrugated sheets were placed against the furnace to try and deflect the heat.

The fellow on the right is Jimmy Grout, looks like he's doing nothing (about right for Jimmy).

The fellow in the centre of the picture is Neil Edwards gathering some glass.

The big fellow on the left with his back towards you could well be me!

In front of me is one of the blowers I'd previously mentioned, these were also used to cool the glass down quicker when it needed to be cased, ie after being dipped in the dimple mould.

The pallet thing laying against it was used to transfer the finished item to the lehr.

The tripod thing next to the fellow sitting is a gas ring with a thick metal plate on top, you used to tap the glass on this before going into the mould thereby getting a nice flat base before blowing. It needed to be hot o prevent the glass cooling too quick.

I have today just photocopied an article from Inhabit magazine of January 1974 after they'd visited the factory.

There's a number pictures including Ron Slaney, Jimmy Dyer, Harry Dyer,

Ronnie Peterson and the fellow that came from a glassworks in, I think Edmonton. Sure his name was Ivor. There's another of the POTS with someone finishing one of so you'd get an idea of the size of them.

If anyone would like a copy please PM your address and I'll gladly send you one.

I'll take some to Gaydon so if your going you can get one there.



Just noticed that in front of the fellow thats seated you can see a mould open, you can just make out one half of it and the handle.

« Reply #29 on: October 29, 2008, 12:44:44 PM »
Cross fertilising threads here but as I reckon this thread is going to be a long lived one I thought I'd post this here as well.

Golds (L-R)

Golden Amber, FLC Gold, New Studio Golden Amber (?), Copper Brown