The Everglade Line
by Phyllis Smith
Issue No. 102 - October 1981
It is evident from our research efforts that the Everglade line was produced by the Cambridge Glass Company from early 1930 until the close of the Cambridge factory in July 1954. The entire line was not produced during much of this time frame. During its twenty-four year lifetime it was introduced and re-introduced by several different names, which we feel should all be included under the general name of Everglades.
To the best of our knowledge, the first introduction of this pattern appeared in the 1930 Catalog of the Cambridge Glass Company under the name "Springtime." This lovely pattern is shown in the NCC 1930-34 Catalog Reprint on pages 64 through 67. This Springtime line was later referred to as the "La Fleur" line in an article appearing in the April 1930 edition of the China, Glass and Lamps publication. This article read in part, "Illustrated and typical of these new things are a bowl and vase. In vases, this assortment presents five different sizes, shapes and patterns in a color selection of Jade, Krystol and Ebony. It is known as the "La Fleur" line, and bears this name as each treatment features a different type of flower. The flowers are raised and in a clear effect which is in pleasing contrast with the frosted body. This idea is carried out also on the bowls which are shown in four different shapes. It might be mentioned here that these bowls are particularly adapted to the Cambridge figure flower holder which is so well known and has become so popular." The photo accompanying this article showed the #1252-10" Case and the #1255-15" Bowl.
From one of their articles entitled "Touch of History" by Jack and Sue Rettig (C.B. #44, pg. 12) we acquired the additional information that these "Springtime" vases were also made in the colors of "Jade, Rose-duBarry, Mystic and other satin finish effects," and that the Console sets could be had in "various colors including Jade, Cinnamon, Krystol, Rose DuBarry and Mystic." It is the considered opinion of many that these fancy color names were applied to the rather plain colors when they were given the satin finish treatment, i.e. light emerald green (Jade), amber (Cinnamon), crystal (Krystol), peachblo (Rose DuBarry), and willow blue (Mystic).
In studying the pages of the NCC 1930-34 Catalog Reprint it becomes fairly easy to piece together the history of this Everglade line. Starting with page 31-8, we find the Candlesticks, Candelabra and Vases which we find later on page 33-22 being called "Leaf Line." Still later on page 33-36 we find these same Candlesticks being referred to as "Everglade." In the May 1933 issue of China, Glass and Lamps we found an article containing a photo of the #1 Bowl and #3 Candelabrum (pg. 33-26) and the following narrative, "This leaf bowl and two way candelabra are shown by the Cambridge Glass Co. The bowl is one of the newest numbers brought out by the firm and was designed to match the candelabra, which were brought out some time ago. The sets are in crystal, amber, forest green, willow blue and carmen (ruby)."
Later in 1933, the October issue of China, Glass and Lamps contained an article complete with photo of the #26 Sugar and Cream, #24 Sherbet and #25-8" Plate (see pg. 33-25 of the NCC Reprint). The article read as follows, "One of the new lines to be brought out this Fall by the Cambridge Glass Co. is their Everglades. The few pieces of this which we illustrate will give an idea of its attractiveness. In addition to the items pictured this line also consists of three or four types of candlesticks, high, low and double candelabra, various bowls of different types and shapes and four different types of vases. It is to be had in colors of crystal, Eleanor blue, Forest green and amber with a few pieces made in Carmen (ruby).
It should be mentioned here that the color Eleanor blue is evidently a light blue. In the September 1979 (issue #77) of the Crystal Ball, page 6, David B. Rankin wrote in great detail concerning "Cambridge Blues." In one paragraph he stated that "Very recently we located an undated Cambridge document confirming that Eleanor Blue is a valid name and is a light blue. Although it was not dated, other information in the document is consistent with the 1933 time frame. Without confirmation of the validity of the China, Glass and Lamps article, until recently, no real research has been performed to discover a means of identifying Eleanor Blue.
To be continued in the next issue.