Cane Matching

In the weights shown in this article, there are several having canes of a very similar structure to those in this signed paperweight, but unfortunately there are no exact cane matches.

However ...

It is clear that the "open-centred" style of cane seen in the signed weight above is also included in the weight shown on the left. Apart from the slight untidiness of the central four canes in this weight, most collectors would not have been surprised if a "Y" cane had been included - but like many weights of this type, it is unsigned.

Although there are no exact cane matches between this weight and the signed example, there are matches with other items illustrated in books:

In Scottish Paperweights, p. 44, top right, a similar unsigned concentric is shown which has exact cane matches to the first two shown on the left.

An interesting point is that in Scottish Paperweights, p. 51, middle right, a signed concentric weight is illustrated which has canes containing a central quatrefoil element identical to that seen in the second cane shown here.

In Ysart Glass, p. 157, plate 197 / Scottish Paperweights, p. 44 top left, another signed concentric is shown which has an exact match with the third cane listed.

The outer two rows of this concentric weight have canes that are also clearly of the same style as those seen in signed examples.

Ysart Glass, p. 157, plate 197 / Scottish Paperweights, p. 44 top left, show the same signed concentric weight which has a match with the first individual cane shown.

And, in Scottish Paperweights, p. 43, bottom left, is an Upright 3D Flower with a match to the next, complex cane. Upright 3D Flower weights as shown in the book (and elsewhere in this article) are generally believed to be the work of Salvador Ysart.

The Rose cane has not been matched to a signed weight or to one of a type usually attributed to Salvador Ysart. However, it does match canes used in a "Vasart" concentric shown in World Paperweights, p.130, upper right & bottom. Because of its unusual and interesting form, it may be that it was a cane designed and made specifically by Salvador Ysart.

These three canes each appear in both of the weights shown. It may be difficult to see where both of the white-yellow canes are used in the upper weight. In fact, the outer row, although seemingly composed of one type of cane, in fact has examples of the two very similar canes.

Both of the weights have similarities with the signed and unsigned concentrics shown above, in terms of setting and overall structure. Also, note that the upper weight here has a four-cane central motif, which is seen in the earlier unsigned concentric.

The style of canes in these weights is seen in many other items and is, perhaps, a second major type that could indicate work by Salvador. But again, this is not a proven fact, just a tempting conclusion!

The canes appear in each item. In fact, the white-orange cane with the grey quatrefoil centre is clearly seen as a full concentric row in both the ashtray and the paperweight. The blue-yellow cane is a full concentric row in the ashtray and is used as a four-cane central motif in the paperweight.

With the use of two identical rows of canes, it may be reasonably assumed that both of these items were made at much the same time.

Although there are no labels or marks on these pieces, a paperweight sold through the eBay Internet Auction system showed a very similar form to the colouring and working of the weight on the left. The auction item had an etched mark "Ysart Bros Made in Scotland" on the base. Etched marks of that type are occasionally found on general Monart glassware (stating "Monart Made in Scotland") and this form of mark is thought to have applied to some export items.

Again, two weights are linked by two matched canes. The outer row of the upper weight uses the same cane as seen in the four-cane central motif of the lower weight. The inner rows of both weights use the same complex cane.

The upper weight has a row of a complex canes of a type that are often seen in "Vasart" (or early "Monart") Inkwells. As yet, not enough examples of these Inkwells have been photographed for this article and so it is currently not possible to expand on this point.

The central cane of the upper weight is not identical to the canes in the outer row of the lower weight. However, the bold orange and red colouring is a feature that seems to appear quite often in output from Ysart Brothers Glass and later Vasart.

Here is a single cane providing a direct link between two very well made weights. The cane is used in the four-cane central motif of the upper weight and in one of the roundel rows in the lower weight.

In the upper weight, each of the other canes, making up the concentric rows, are quite distinctive and show a different style for each cane. It is unfortunate that, in the selection of items used for this article, those exact canes do not appear elsewhere.

For the lower paperweight, not only is the overall design uncommon, but as with the previous item, the canes are all distinctive. In this example several of the canes are of the type that appear in Inkwells, as commented on earlier. The ground of this item, with its green stripes, is reminiscent of the working of the necks in the Inkwells.

Ysart Glass p. 127, plate 141 / Scottish Paperweights p. 41 (and inside front and rear covers) show a sizeable collection of Vasart canes. These include a match with the complex blue cane on the left, from the concentric weight. The second cane to the left is from the "Roundels" weight and has a strong similarity with one of the set of Vasart canes. The central red and yellow element of that cane is the same quatrefoil motif used in canes in some signed concentric weights.

In this comparison, the "Roundels" weight features again, giving a further link to another item, this time a "Salvador" upright flower.

The cane is used as both an inner element and a full circle in the "Roundels" weight and as an inner concentric ring in the lower weight. The inner ring in that weight can just be seen in the photo.

Upright Flower weights of this type are generally agreed to have been made by Salvador Ysart. They bear strong similarities to the form of the "Floating Butterfly" weights, which are also agreed to be the work of Salvador. As yet, not enough evidence is to hand in order to determine when the Flower and Butterfly weights were made - were they from the Moncreiff days or just the Ysart Brothers period, or perhaps both?

The cane linking the two weights shown is also seen in a concentric (with multiple cane types) in Scottish Paperweights p. 51, bottom left.

The single cane illustrated links the two weights shown. In the upper weight, it is used as the first element of each group between the spokes. In the lower weight, it appears as a complete second concentric row.

Both of these canes appear in the upper weight shown here. They are also both found in a closepack weight illustrated in Scottish Paperweights p. 48, bottom left.

Incidentally, as is often the case, there are other canes that look very similar but are not exact matches. Item 20 (shown earlier) has "green daisy" canes that are quite similar to those in the the lower weight shown here.

Although these two weights do not have any matched canes, they do have a secondary link via other weights.

Each of these canes are from the upper closepack weight. They also appear in a spoke pattern weight (described as a "pre-1945" close concentric) in Paperweights From Great Britain 1930 - 2000, p. 39, top.

The second cane is found in a spoke pattern weight (described as a spaced concentric) at the top left of p. 42 in Scottish Paperweights. In the same book, p. 48, bottom left shows a closepack with matches to both the fourth and fifth canes above. Then, still in the same book, p. 49, top left is another closepack with a match to the fifth cane listed above.

With a good range of different canes in this weight, it is a little surprising that there are no direct matches to those in other items considered in this article.

However, in Scottish Paperweights, p. 47, bottom left (& p. 37 top left) a "Salvador" Inkwell is illustrated which has a match to the daisy cane shown.

The cane on the left is seen in a concentric (with multiple cane types in the same rows), at the bottom left of p. 51 of Scottish Paperweights. That weight is the same as one referenced for matching with Item 19 above. This essentially gives us a link between Item 19 and the current one, and also back through the chain to Item 02 above. But does this prove anything?

This cane (or one almost identical to it) is seen in a concentric weight in Scottish Paperweights, p. 50, top right, and described as possibly being made by either Paul Ysart or his father, Salvador.

I admit that the match to the cane shown here may not be 100% (even after allowing for distortion in the form of the cane). The central cog of the one shown here has blue flashing whereas in the example in the book, the core seems to be pink. But, because the cane may be quite unusual and there is a striking similarity to the one in the book, I felt it worth discussing.

This cane gives a direct link to a "Salvador" Inkwell illustrated in Scottish Paperweights, p. 47, top left. As stated elsewhere, I have deliberately excluded Inkwells in this article, primarily because I do not yet have enough personal experience (or photos) of them. However, finding a cane match between an Inkwell and a 3D Butterfly weight is quite reassuring - given that both designs are usually attributed to Salvador Ysart.

This cane is used in the Butterfly weight as an outer garland and also for the insect's upper (or front) wings. It is also seen in two other items:

Ysart Glass, p. 157, plate 198 / Scottish Paperweights, p. 51, top left, both show the same "Carousel" weight which, in one reference, is given a possible date of 1930s.

In World Paperweights, p. 131, in the right-hand image of the bottom photo, the cane is clearly seen in the "Salvador" Inkwell.

The cane to the left is from the inner row of the Butterfly weight shown here and is also found in another such item - Scottish Paperweights, p. 45, top left.

Item 07

Finally, I am returning to the Spaced weight, and its particularly bright cruciform cane in white, dark blue and orange. This cane may be quite unusual since it is not seen in many items illustrated, nor have I seen it in many other collectors' weights. But ...

In Paperweights From Great Britain 1930-2000, the top photo on p. 22 shows a weight with two examples of this cane (near the edge at the 1 O'clock position and further in at 6 O'clock). The weight is described as an early Paul Ysart item. Assuming that attribution is correct, perhaps this is yet another piece of evidence for cane sharing (or "borrowing") between the Ysart family in the 1930s or early 1940s, even though the known family rift may have suggested otherwise?