Chalet “Does the Twist”
The Chalet “crystal twist” (Chalet inventory V32) vase is possibly the most iconic and recognized of all the Chalet forms. A monster “crystal twist” was the Chalet that triggered me from “decorating with” Chalet to “seriously collecting” Chalet. Before I found this piece on a hunting trip in “the Wild,” my passion was kicky vintage tea pots – but that became a thing of the past very quickly.
It is a massive piece – 16” and 17 pounds. To date, it is the largest “crystal twist” of which we know. Etched “Chalet Canada.”
V32, although a production form (produced from 1962 right through to the company’s closure in 1975), is one of the most sought after and highly collectible Chalet pieces for collectors. Most collectors have this vase in more than more colour and height.
As with many of the forms on this page, the “crystal twist” saw an evolution in style. A later production/inventory sheet.
Foreshadowing the importance of the V32 piece to the Chalet bottom line, it is fitting that Chalet owner Angelo Tedesco (on right in photo) celebrated the Cornwall factory opening on September 14, 1962, by “raising this glass” with William Anderson (left) from the Cornwall Industrial League – the organization that made the company relocation possible.
This Standard-Freeholder newspaper photograph from the archives of the Cornwall Community Museum.
50 Shades member Jack Sibbers follows their example and celebrates the group’s second year anniversary in 2021 Chalet “crystal twist” style!
And then another member followed suit during the group’s 2024 celebration! All I can say – hope Jack and Kevin dusted first!
These excited vases doing the “Chalet twist” courtesy of Jeremiah Shaver.
Enough toasting - getting back to the glass. No matter what the year of production, the V32 was produced in the typical 5-colour Chalet palette.
Gina Daneli, 1971, Chalet Artistic Glass factory (Cornwall) during the filming of the National Film Board’s ‘Here is Canada.’
Colour shades from the typical colour palette.
Some amber examples.
Some blues:
A look at some olives:
Now some Chalet oranges:
Some reds – last but not least! Red “crystal twists” are the least seen colour from the typical palette.
Some atypical, and delightful exceptions to the usual colour palette.
Note the extremely unusual colour placement in the cranberry purple/blue vase on left. From the collection of Dustin Rusnell. Gorgeous vase at right from the collection of Chris Billo.
Blue/green beauties:
Photograph in middle courtesy of Cathy Antonyshyn.
A very unusually coloured purple/olive “crystal twist”:
Photograph courtesy of Cindy Bishop-Laughlin.
Beautiful red/orange:
Extremely rare amber/blue:
The “barely there” coloured vase on left receives dusting from Kevin Hall and at right – another unusual piece in the collection of Cindy Bishop-Laughlin.
Stunning orange/yellows:
Vase at middle, lower left from the collection of Albert Mann.
Some rare colour “solids.”
These amazing vases (from left to right) from the collections of: Jonathon Tremblay, Lauree Johnson, and Laura Zamos.
And an amazing lack of colour example! Clear crystal V32s are exceedingly rare.
The “crystal twist” was not shown on the catalogue page for Chalet’s “cranberry in crystal” line.
However, there are V32 “cranberry in crystal” vases.
From the collection of Jonathon Tremblay.
This 10” vase from the collection of Jo Highland.
A one-of-a-kind Chalet “ribbon” V32.
To date, only one other multi-coloured “ribbon” has been found – a Chalet bowl.
Photograph courtesy of Jeremiah Shaver.
At time of writing, no “fire” uranium Chalet V32 vases have been discovered but we have found a handful of “ice” uranium “twists.”
This vase lights up the collection of Cindy Bishop-Laughlin.
Another two.
Two V32s have been found with the corroso finish. One is badly damaged. This one is intact.
Some very interesting Chalet “crystal twist” seconds.
The V32 cranberry-coloured “pink and purple ” Chalet seconds:
Photograph of V32 on left courtesy of Karin Martin. 10” vase at right from the collection of Carol Lincz.
Top left - outer from the collection of Jo Highland and middle Cindy Bishop Laughlin. Bottom row middle from the collection of Wayne Kaiser and at bottom right, Jonathon Tremblay.
This “smoked” vase was “overcooked.” Meaning, the glass was exposed to excess heat in the furnace or kiln. This extreme temperature literally burns out or alters the expected colors, causing the piece to lose its natural transparency and turn cloudy, heavily tinted, or completely opaque.
Piccoli “crystal twist” have also been found. The V32 Chalet “mini me” versions range from 6-8 inches. The 8 inch “minis” are the most frequently discovered.
8-inch cuties:
Blue vase in middle is from the collection of Pina Pina.
Olive vase from the collection of Deborah Patterson. Plum piece from the collection of Craig Brunetti.
Two gorgeous 2-tone minis. Both are eight” tall.
The smallest “crystal twist” minis are the 6-inch clear crystal.
In all Chalet forms, variation in colour tones, dimensions, and styling is typical from one form to the next – even in the same design. Let us examine this in more detail with regard to the “crystal twist” vases. Both early and later form designs feature in the following galleries.
As the preceding colour galleries showed the variations in colour tones, I will not repeat myself there. However, along with tonal differences, placement, and density of colour also shows variation. Delightful differences.
Even within the same “colour family,” some “crystal twist” vases are much more saturated with colour than their relatives.
From the collection of Jonathon Tremblay.
Others are very translucent while their counterparts are opaquer.
While some vases have the same level of colour intensity throughout – others do not.
The later production sheet shows V32 only being produced in two heights – a 10” and a 12”.
However, we know that it has been found in a wider range of heights. If you own this vase, grab a measuring tape and determine the height of the V32s in your collection. While you may find that yours are the 10” or 12”, it is very likely that your pieces will not conform to the sizes listed in the production sheet. I presently have three in my collection (all etched with the “Chalet Canada” signature). Not one of them “conform” to the production sheet with regard to their height. The clear crystal “mini” is 6”, the sapphire blue 10 ½” and the amber vase is the whopping 16 incher.
Please also note the variation in the shape of the crystal twists or wings. In addition, the sapphire has a very narrow diameter while the mini is delightfully “chunky.” More details and examples of colour, height and styling variation will follow.
The three photographs immediately following are of twists that I have had over the years. These groupings are great illustrations of size variation. None are smaller than my clear crystal mini “twist” 6” or taller than my 16” monster shown above but range between the two. There are many V32s in 8”, 9”, 10”, 11” heights. Fewer in 12” and 14” with a handful of 15” examples. Heights for many others fall somewhere in-between. The most commonly seen height is the 10” V32.
From 8 to 16 inches and everything between!
Olive is 12 inches, orange is 10 inches and gold is 9 inches.
All 10-inch heights.
Groupings from other collectors:
A 10 and 8-inch olive “twist.”
6” to 12” (third row) vase grouping
Two 8 inchers flank a 9-inch V32.
10-inch vase in middle. From the collection of Jo Highland.
This glorious grouping of 10 “twists” from Wayne Kaiser. For size context, the large orange vase in the rear is 14 1/2 “ in height.
It is clear that all vases in the photos in this article are the same form – verified Chalet V#32 vases. While they share similarities, they are also all distinctive. This was Chalet’s goal. When we disregard the obvious height differences to look at the other styling differentiations, these are easily identifiable.
For example, the diameters are not consistent. Some “crystal twists” have more slender, elongated bodies than others.
Bases can be more pointed or rounded. Crystal casing at the base differs in height and thickness.
Turning our attention to the side “wings” or “twists,” it becomes apparent that these features also show wide variation. Some are lower than those of their neighbours, others more pronounced.
The vases’ tops as well are distinctive one from another in that none of the triangle points are the exact same shape – some are more rounded and gentler than the others. Also, some throats are wider than others.
Others are more heavily cased in crystal overall so obviously they will weigh more even if the height difference is not pronounced. In fact, a shorter vase can weigh more than a taller if its diameter is wider and/or if its casings are thicker.
Looking at some specific examples. Let us start with an examination of the differences between a few early production vases.
Early production V32 “crystal twists.”
None of these vases are at all similar to either my blue or each other.
Next – later production forms.
There is visible variation between the size, angle, and placement of the crystal “wings.” Some are “droopy drawers” while others are angled sharply from the vase body. Both pointed and rounded triangle points are seen. Bases range from almost flat to more distinct. Two of the vases in the gallery compilation (the orange and red in top row) have a more pronounced “twist.”
Lastly – examining the differences between an early and later production V32.
This will be easier without the distraction of differing colour. So, a pairing of same colour.
Later production “crystal twist”, right, from the collection of Wayne Kaiser.
The design evolution from early form to later form is readily apparent. The later production vase at right is slimmer in body, the “wings” are more pronounced and angled, the vase throat is much more triangle-shaped, its base is more elevated and twisted. Overall, it is much less ‘organic” looking – a sharper, more defined form.
Through evidence-based research – starting with the two Chalet production sheets featuring the V#32 crystal twist vase, a very wide sampling (136 different vases) of verified V#32 pieces to contrast and compare and a measuring tape, we have established several things as “fact.” Firstly, that V#32 was not only produced in the 10-and-12-inch heights that the second production sheet specified but in other heights, both shorter and taller, as well. Additionally, we have seen that the typical variations among pieces of the same form predicted and expected by the Chalet owners and Maestri exist among V32 vases. We have seen many differences in diameter, casings, twists, styling, colour density, placement, and tones.
To date, most V#32 vases appear to have been distributed through Chalet.
They are typically found with either the “Chalet Canada” signature or large black sticker as the most common marking. Early production “crystal twists” are also often found with the hand engraved Chalet signature “Canada Art.” However, we have found those that were marked with the Chantili distributor etching as well as a few retailer brandings. For comprehensive details regarding Chalet lines, brandings, retailing and distribution, please refer to “Chalet Crystal Clear Continued.”
A “Chalet Canada” etched piece:
The big black Chalet label has script in both silver and gold. Each version is found on the “crystal twists.”
A double marked – etched and stickered.
A “Canada Art” hand engraved vase.
From the collection of Gionny Gueli.
Each of these three vases are etched with the distributor Chantili’s signature:
Gold vase in middle from the collection of Ken Brewer. Orange at right from the collection of Ella Hanks.
A very uncommon find – this vase (from the collection of Jo Highland) retains an exceedingly rare distributer’s sticker. FJN Imported “Cassanova Art Craft” distributed glass from Lorraine Glass Industries as well as Chalet Artistic Glass forms. However, we have not been able to learn anything more than that bare fact about this company. For an example of a Lorraine Glass Industries piece retaining this sticker, please see page 394 in “Chalet Crystal Clear Continued.”
Through newspaper advertising, retailer branding, and boutique stickers, we have identified a handful of companies who carried V32.
National chain store retailers.
From the collection of Karen Jones.
It was also carried by Eaton’s rival chain – Simpsons.
From the collection of Leighton Graves.
And the Hudson’s Bay Company:
The Edmonton Journal, March 24, 1969. Also owned by Postmedia Network Inc.
Regional chain store retailers:
The Chalet “crystal twist” was carried by Woodwards. This was a British Columbia and Alberta department store chain.
1965 and 1969 advertisements in the Edmonton Journal and the Vancouver Sun. Both newspapers are under the umbrella of the Postmedia Network.
Single store retailers.
L. Laniel Jewelers was established in Cornwall in the mid-1940’s as a watch repair store. It expanded into jewelry and giftware and operated until the mid-1960s.
We have found another piece of Chalet that also retains this retailer’s sticker.
As stated earlier, we have proven as fact that variations in the hand worked “crystal twists” are typical and common. Those pieces that do not conform to the production sheet regarding height or are a more unusual shade or shape are the norm. Please be aware that although some V32s may strike you as being “less than typical,” a slight deviation does not justify them being deemed “rare.” Therefore, their monetary value or collectability is generally no more or less than the vast bulk of other comparable pieces. Subjectivity is not fact and marketplace value is fickle. For example, a rarer form of Chalet may often not command a higher price if it is not a desirable shape or colour. Chalet “crystal twists,” although very common, realize a higher price than we see other common and some rarer forms commanding. Why the seeming inconsistency in this case? Popularity of the form.
It is more common than not that “rare” or “unique” benchmark terms are used wrongly by both sellers and collectors in most descriptions and/or evaluations of both collectability and monetary value. In view of this, it is pertinent to review the standards and criteria of what is judged to be necessary to be deemed “rare” or “unique.”
Therefore:
Rare: apiece that was produced in very few numbers and is seen very seldom. It must also deviate from the norm in a very singular way.
Is V32 a rare Chalet form? No. they are a common production form. But are there rare V#32 vases within this parameter? Yes. Several examples were shown above – the cranberry twists being tow such. Why are they rare “crystal twists?” Because they meet both the standards in the criteria to be catalogued as “rare” within this form (not rare in the overall Chalet inventory), as listed above. How? Their colour is a very significant deviation from the typical Chalet colour palette for these vases. And the use of cranberry colouring in this way is also a singular deviation from the norm. Again, how so? Solid cranberry colouring was not typically used in the larger, leaded hand-worked pieces as it was too expensive. We know (firsthand from the Chalet artists) that when we see a solid cranberry-coloured hand-blown piece, it would have been produced at the end of day and to use up an expensive material. Therefore, it would have been made not in a large run but in very limited numbers. Interestingly, these pieces were considered “seconds” by Chalet. How times have changed!
Other rare ‘crystal twists” are those we see in purple. Because, again, they meet both criteria – low production numbers and a significant deviation from the norm as purple was – to quote the Chalet artists who attended the 2010 Chalet exhibit – “always a mistake.” All pieces in the Chalet cranberry purple were also considered to be seconds. The three uranium V#32 shown here are other rare “crystal twist” vases. The “twist” with a corroso finish is another. As is the “smoked” vase. Lastly, the 2-tones and “minis” also fit into this category.
Now, let us examine what standards and criteria a piece must meet to be judged unique:
So, there are obviously no “crystal twists” that can be deemed one-of-a-kind. Why? Because its form, even with slight or rare variables, is common and was produced in large numbers over a lengthy period. A single deviation from the norm is not enough. Moreover, with regard to the rarer “crystal twist” versions, they have been found more than once.
But Chalet gave a unique “twist” to the “crystal twist” vase.
How so? The company took this vase form and made it into another form - a lamp! They did not do this in any other case with regard to a design. The Chalet “crystal twist” lamp is a definite unicorn for many collectors. As there is already an article on the Chalet lamps, just a quick summary with regard to this form based on what the artists were able to tell us.
: they were production pieces – not special orders.
: they were not done in large quantities or for a long period of time as when the crystal twist vases were drilled for the electrical, too many split or were chipped to make them a viable production piece.
: the vases were not drilled by the glass blowers.
: they were not sold with shades.
: some crystal twist vases were made specifically for use as lamp bases:
Note the vase on right in the photo on left has a much wider throat and wide low crystal side twists – this ensured stability when inverted.
In addition, the “crystal twist” style was made in varying heights. To date, we have found a range of lamps from 10 inches to 15” in heights. And one “mini.” These lamps were typically made in amber, olive, blue and orange. However, a rare purple and a 2 tone have been found. To date, I do not know of any red “crystal twist’ lamps. Some of the vase bases were etched “Chalet Canada” while others were not
Typical colours of Chalet lamps:
Photo of blue Chalet lamp at left courtesy of 50 Shades member Jacques Binette. The 11 ½” amber lamp (left middle) is from the collection of Gionny Gueli. The olive lamp (right middle) belongs to Benjamin Gregoire. The orange 14” lamp at right belongs to Jo Highland. Orange lamps are scarce.
Rare colours of Chalet lamps:
Lamp height is 12 ¾.” Photograph courtesy of Gayle Dodgson Curtis.
An 8 ½ inch “mini” Chalet lamp is shown beside its 15” big sister. These are both the smallest and largest Chalet lamps of which we are aware. Both these pieces from the collection of collector Kim Tremblay.
This rare 2-tone Chalet lamp also lights up the life of Kim Tremblay.
Since it is bad for your health to sit for too long, enough reading. Let’s join in with Chubby Checker and Chalet and “ Do the Twist.”
I needed a break after researching, writing and loading this article. Others from the 50 Shades Admin team needed one too - Aimless Lynn after putting together the video, Gionny Gueli after taking pictures and measuring pieces and Dawn Tolhurst after supervising us all! But Jeremiah Shaver had other plans for us.
