The Chalet Christmas Trees

The “Decorator Spruce” trees (as described by US Chalet distributor Riekes Crisa) or, as Chalet aficionados call them, the Chalet “Christmas trees” are pieces that are on pretty most every collectors “I Want” list. However, to clarify and before we get into more detail about this form, it is necessary to point out that Chalet produced a second type of tree – the “Spruce Jewelry Tree” or as commonly referred to by collectors – the Chalet “ring tree.” Let’s briefly review the differences between the two forms before we concentrate on the “Christmas” trees.

There are very clear differences in form that distinguish the “ring” trees from the “Christmas” trees. Most notably – the “branches.” The ring tree “branch” pulls are out and have a markedly upward curl to serve their function – to hold jewelry. The “Christmas” tree “branches” have no upward curl at all in any of the styles. The overall form of the ring tree is more tapered and more slender. They have only 3 horizontal rows of pulls with pronounced flat areas interspersed between each row while the Christmas trees have six or eight. Each of the horizontal rows has a line of four vertical pulls from tree-top to base. The “Christmas” trees also have vertical rows but the number of pulls varies. To date, we have only found “ring” trees in clear crystal with the exception of one non-production tree in “slag.” The “Christmas trees” were produced in clear crystal, emerald-green, blue in crystal and “slag.” The “ring” trees have only been found with the ball shaped base while the “Christmas” tree form was produced with more than one style of base. And lastly, the Riekes Crisa catalog lists the “ring” tree in only an 8-inch height while the “Christmas” trees were made in four production heights.

A trio of trees! The emerald and large clear crystal trees (left and back) are Chalet “Christmas” trees and the “slag” tree on the right is a Chalet “ring tree.” Notice the very pronounced difference in the shape and direction of the pulled “branches.”

We are very fortunate that Chalet artist Roberto De Marchi has provided us with some “time and place” details about Chalet production of the “Christmas” trees. Specifically, they were made in a team of three glass blowers – one to make the base, a second to create the body and, at finish, the Maestro to add a final layer of crystal “ice” and to examine the piece for imperfections. The “Christmas tree” team that Roberto worked on was most often comprised of himself, close friend and fellow artist Giovanni Voltalina and Maestro Giulio Gatto. Production started in September each year and ran for three weeks. Approximately 200 were made each day so output for the season was roughly 3,000 pieces. Paolo De Marchi remembers seeing the trees in quite a few Cornwall jewelry, department, and gift stores. They were also sold at the Chalet factory and Roberto recalls the Chalet factory prices ranged from $8.00 for one of the smallest to $15.00 for a larger. I used 1970 as the point of reference translating those prices into 2023 prices as that is the year Roberto started at Chalet Artistic Glass. He had worked at Lorraine Glass Industries before Angelo Tedesco persuaded him to relocate to Cornwall. So, 1970 $8.00=$62.16 2023 and 1970 $15.00=$116.54 2023. the general average minimum wage in 1970 was $1.65 hourly. So a small tree would have taken a week’s wages and a large - two weeks! I addition, today’s collectors’ desire to own a Chalet “Christmas” tree has certainly driven their value significantly higher than this strict retail dollar to dollar comparison.

An 8” tree that Roberto, Giulio, and Giovanni made together. It is still in the possession of the De Marchi family.

A brief summary regarding the “Christmas” trees:

:they have been found in four distinct styles, to have two different shaped bases and were produced in a range of heights.

:variations between trees of the same style in the pulls and points, the thickness of the body or the base shaping are the norm. These are hand blown not machine made.

:they were typically produced in clear crystal and emerald-green. Some atypically coloured and exceedingly rare trees have also been found – “slag” and a blue imbedded in clear crystal. A few very large, non-production height trees have also been found.

:Chalet did not produce trees in cranberry, opaque “frosted” trees or trees with millefiori, gold, or silver fill. Chalet did not produce bullicante or pulegoso trees either.

:they were marked with different brandings and were carried by several distributors. Chalet also sold them directly to the public in Cornwall.

:it is not uncommon to find damaged or rough pulls.

The four styles of clear crystal Chalet “Christmas” trees:

Jonathon Tremblay, a member of 50 Shades, has quite an extensive “Chalet forest.” We all need to take a breath here … and wait for it – 28 Chalet trees! Do I know how to pick an article partner or what! He has been very insistent about the need for this article for quite some time because as his collection grew, he noticed quite a few differences in styling outside the obvious colour, height and base variations. And no one, me included, seemed to be consistently addressing the differences when identifiers for and characteristics of the Chalet “Christmas” trees were discussed. Therefore, to begin, a quick overview with regard to styling and height before a more detailed examination of each style of trees is presented.

The photograph gallery immediately following shows the four design variations. Jonathon and I have determined that two styles of the trees are the ones most often found. Roberto has no precise information dating each styles but as three of the four styles are found in both the 1976 and later undated Riekes catalog, it is safe to assume that more than one style was being produced at the same time. When asked about this, Roberto replied that he personally had only ever worked on teams that produced the narrower “spruce” tree style with the more pointed “branch” tips. However, he also said that two or three teams worked on these forms each day during the three-week production run. He said it is likely that different teams produced different trees and that the Maestri could also have been given some “creative leeway” to make some of the rarer and Chalet “exception to the rule” trees that collectors have found.

The four styles of the Chalet “spruce Christmas” tree. The two styles most often seen are the trees on the outer left and right. These photographs are courtesy of 50 Shades members (left to right) Ella Hanks, Deborah Patterson, Jo Highland, and Gionny Gueli.

I am going to start with the “bushy” little tree second in from the left. To date, this is the only one of its style that we have found. I believe it is the “spruce” in the earlier 1976 Riekes catalog – the 6” #7237-69. Seen second from the left on the catalog page below.

As stated above, Chalet trees’ interiors are without inclusions and are never bullicante or pulegoso. The top of this tree is relatively long and broadens as it descends into the body of the piece. Its pulls are very “globby” and organic looking and point straight out from the body of the piece without a discernible downward tilt. There are 8 horizontal rows of “branches” after the “tree-top.” Please note, this is different from the other styles of Chalet “Christmas” trees which have 6 horizontal rows of “branches.”

Vertically, there are 4 “branch” pulls and then 5 pronounced “branch” pulls in alternating rows. This is another difference from the other “spruce” styles.

The base of this earlier style of “spruce” is not the lower, flattened “ball base” seen in the later trees (following immediately below) but the higher, softened triangle pedestal. It was made in four production heights but remember variation. You will see a height range in the production run “Christmas” trees from 6” to over 13” and everything in between.

This is the “spruce” tree listing shown in the later, undated Riekes catalog. One of the two styles most frequently seen. Note that while these trees have the same inventory numbers and production heights as in the 1976 catalog, their appearance has definitely changed. They are not as “bushy” and their “branches” end in points not rounded tips that now have a definite downward cant.

This nine inch “spruce Christmas” tree is from the collection of Jonathon Tremblay.

As in the earlier “spruce”, this later style has no interior inclusions and is never bullicante or pulegoso. However, the top of the tree is even longer before broadening and it now has 6 horizontal rows of “branches” after the “tree-top” instead of the 8 in the “bushy” style seen above. Vertically, there can be either 4 or 5 pronounced “branch” pulls in each row. If there are 4 rows, near the tree-top are small globby, “branch wannabe’s” as 50 Shades member Gionny Gueli calls them or, “nubbies” to use my term. The pronounced “branch” pulls are quite long and pointed. And, while they do point downward, at their end, there is a slight upward lift. Production heights still ranged from 6 inches to 12 inches.

As Jonathon Tremblay explains; “Think of the tree as having the shape of a tiered wedding cake.”

Same height trees. However, the tree on left has 5 vertical rows of pronounced “branch” pulls. The tree on right has 4 vertical rows of pronounced “branch” pulls with “nubbies” up near the top.

The following two trees are both 6” later “spruces”(6 not 8 rows of 4 pulls) but notice how different they are in body shape. As stated above, variation is the norm. This is because different artists on different teams worked this form by hand.

The tree on the left is from the collection of 50 Shades member Gionny Gueli.

The 6-row Chalet “spruce” tree bases are typically “ball” shaped. There are slight variations from one tree to another with some being slightly wider and flatter and not as high as the one that comes next. Expect to see some differences.

Chalet “spruce Christmas” trees from the collection of 50 Shades member Ella Hanks.

To compare, the two different designs of “Decorator Spruce Tree” with the downward pointed “branch” pulls as shown in the two different Riekes catalogs.

Later version on left and earlier version on right. From the collection of Deborah Patterson.

This next tree is also listed in with the other “Spruce” as inventory piece #7240-69. However, it is definitely of a different design:

This 6 ¼” “spruce arrow Christmas” tree is from the collection of collector Isabelle Couture.

As in the two “pointed branch spruce” styles shown above, this design also has no interior inclusions and is never bullicante or pulegoso. It also has 6 horizontal rows of “branches” after the “tree-top.” Once again, vertically, there are the same 4 pronounced “branch” pulls in each row as in the other styles. Production heights were also 6, 8, 10 and 12-inches. Also, the bases of these “Christmas” trees are the “ball” base and show slight variations in shape and height.

This lovely set from the collection of Paddy Bailie. His mother, Mavis Clark, worked in the Chalet office for many years. He now lives in Northern Ireland and his trees are a tangible reminder of Cornwall every Christmas.

What are the differences between these Chalet “spruce” trees?

These 2 trees are from the collection of Ella Hanks and illustrate the differences perfectly. Specifically, the shape and angle of the “branch” pulls. In the tree on the right, the tips of the “branch” pulls are not as pointed. They are distinctly wider and flatter – they do actually resemble an arrowhead. They point downward with no slight upward curve that the design of the “pointed spruce” trees display. And the top of the tree is not as long and stretched before broadening into the main body of the piece.

This grouping is from the collection of Jonathon Tremblay.

The fourth production style is not listed in the Riekes catalogs nor do I have any Chalet inventory sheets on which it appears. It is more scarce but not as rare as the early Chalet “spruce” tree. It is a very different design and brings to mind a tree heavily laden with snow after a storm. Instead of 6 horizontal rows of 4/5 rows of vertical individually pulled branches, it has 6 vertical “rudder” shaped solid rows. The edge of the “branches” can either be smooth or notched. The “tree-top” is not long and narrow – it is more implied in its design than pronounced. The base can be either “ball” shaped or the “softened triangle pedestal.” To date, it has been found in 6, 9, 15, 16 and 17-inch heights.

Note the base shape variation from tree to tree. Photographs courtesy of 50 Shaders Deborah Patterson, Jonathon Tremblay, and Jo Highland.

Both of these “arrow” trees are 6 inches in height. However, there are visible differences in the “branches”, body shape and base.

The tree on the left (from the collection of Jonathon Tremblay) has very pronounced vertical linear lines of “rudder branches” that are close to the core of the piece. They are very downward pointing. Its base is quite hidden. The tree on the right (from the collection of Deborah Patterson) has a high pedestal base that is very obvious. The “branch” columns are less linear and with less of a downward slope. The “branch” edges are nicely notched.

This 9” Chalet “arrow Christmas tree” is from the collection of 50 Shades member Liz Tessier.

In summation, this gallery shows the most common styles of Chalet “Christmas” trees. From left to right, the 6 row “pointed spruce”, the 6 column “rudder”, and the 6 row “arrow.” Each of these is a 6” height production piece. From the collection of Jonathon Tremblay.

And again, the rarest – the 8 row “spruce.”

From the collection of Deborah Patterson.

The emerald-green Chalet “Christmas” trees:

To date, the only style in which we have found the emerald-green tree is the 6 row “spruce.” Shown in this gallery from left to right top row are trees from the collection of Deborah Patterson and Chalet artist Roberto De Marchi. Bottom row at left, is a tree from Deborah Patterson.

The emerald-green trees have been found with both styles of bases but most typically, they have the “ball” base. And they were produced in differing heights. However, to date, we have not discovered a large enough quantity to determine the complete range of their height. Presently, I have no photographs on file of emerald-green trees at heights over 9-inches.

You will also note that some of the trees in the photo gallery above are “iced” but that the two on the left top and bottom rows are not.

The Chalet tree on the left that was caught in an “ice” storm is 8” in height and was made by Roberto De Marchi and is now in his son Paolo De Marchi’s collection. The 9” tree on the left, bearing a N.C. Cameron sticker, is from the collection of Deborah Patterson. This tree in her “forest” was not affected by the storm. It is much more typical to see an emerald Chalet “Christmas” tree with a crystal casing of “ice” over the green body. Please also note the two different base styles.

The Chalet “ Never say Never” exceptions” to the “Christmas” tree rule: “slag”, blue, and very tall non-production height trees:

A very few “slag” (3) Chalet “Christmas” trees have been found. Two of these are the 6 row “pointed spruce” trees with colour in both the bodies and bases.

From the collection of Jonathon Tremblay.

The third tree is a Chalet “arrow spruce” tree with the “slag” colouring limited to its base. Picture quality is poor but this is the only photograph available.

I guarantee this next Riekes stickered pair will be yet another surprise!

A “Never say Never” Chalet colour variation.

An Ottawa gift store chain, Davis Agency (founded 1945 and still operating as Hallmark franchises) mentions “steel blue” in a 1964 Christmas advertisement for Chalet glass. Although no trees are shown, the timing and colour description is intriguing. Could they have been referring to crystal trees with this atypical shade of blue? We will never know for “fact” but it is fun to speculate! And then, “Crystal trees…” are referred to in this Ottawa Citizen (a division of Postmedia Network Inc.) advertisement of Monday, December 16, 1968. More “I wonder ifs!”

I have had two “arrow” trees significantly larger than production sizes – a 16” and a 17” clear crystal. The former is shown directly below. And I know of a third standing 15-inches.

From left to right, the earlier six-inch Riekes 8-row clear crystal pedestal base “spruce”, an eight-inch later Riekes 6-row emerald-green “pointed spruce” and a 16-inch clear crystal “arrow” tree. All from my personal collection.

I have a very special story to share regarding this 17-inch Chalet “Christmas” tree.

To start, presently this 17” piece is the largest tree of any style of which we are aware. I purchased it in Cornwall from the daughter of a close friend of Chalet co-owner and founder Angelo Tedesco. Her father and Angelo were in the Cornwall Rotary Club together. One Christmas Eve, their doorbell rang and they found “Santa Angelo” outside on their porch with a gift he had had his brother *Maestro* Luigi Tedesco make specifically for her father – this incredibly large, heavy, and brilliantly clear tree. A truly non-production piece in every way. It is etched “Chalet Canada” which is also special as this is not typically how the trees were marked. It is shown here with my 6” Chalet tree of the same design.

Chalet distributors of the “Christmas” trees and their markings:

In Cornwall, the trees were sold directly to the public from the Chalet factory every year during the annual Chalet holiday sale that was held the week before Christmas. The trees were also carried in Cornwall jewelry and gift stores. For supply outside of the local area, two distributors that we know of were Chantili in Montreal, Quebec and N.C. Cameron and Sons Ltd. for national Canadian circulation. In the United States, they were carried and distributed by Riekes Crisa. At this point, I do not know of specific retailers that carried “the trees.” I checked all the newsprint and department catalog advertising that I have but found no mention. A “unicorn” to find!

The trees were most typically stickered with the distributor’s branding. Very few Chalet Artistic Glass branded trees, either stickered or etched, have been found. The most common marking is a Riekes sticker – all four of the Riekes labels have been found on the trees. The small Chantili sticker is typically found on the emerald-green trees. We have found two exceptions – a Riekes Crisa green tree (to follow) and an N.C. Cameron sticker was retained on the emerald-green tree with the “triangle pedestal base tree shown above.

From left to right top row: the later Riekes Crisa Canada label, the small Chantili sticker, the Riekes Crisa earliest label. From left to right bottom row: the Riekes Crisa most seen label, the later N.C. Cameron and Sons sticker, the John Riekes Collection label.

To date, we have found no clear crystal trees with Chantili stickers. This is a 6-inch “spruce.”

A Chalet “arrow branch ” tree stickered with the English only artist’s palette shaped label used by Canadian distributor N. C. Cameron and Sons Ltd.

From the collection of 50 Shades member Liz Tessier.

The four different labels used by American distributor Riekes Crisa.

On left top – early Riekes Crisa label. On right top – commonly seen Riekes Crisa sticker. On left bottom – the sticker used on pieces from the John Riekes Collection. On right bottom – rarely seen Riekes Crisa Canada label used after Chalet’s closure.

Trees from the collection of 50 Shades member Ella Hanks bearing the early paper Riekes label (at left) and the commonly seen foil Riekes sticker on the right.

This a Chalet “consistent inconsistency” with regard to the marking of the emerald-green trees.

How so? Riekes Crisa did not normally carry coloured Chalet pieces. Their Chalet inventory was largely in clear crystal with limited lines of “American Cranberry” and the cranberry in crystal. However, I have seen a handful of coloured pieces with Riekes labels. This Chalet “spruce” being one of them. It bears the “John Riekes Collection” sticker. This gold sticker is not seen as often as the black and silver palette shaped Riekes sticker shown above. We have also seen clear crystal trees that retain the John Riekes Collection label. This 9” “uniced” emerald-green tree from the collection of Deborah Patterson.

A small 6” Chalet “spruce” that retains the rarest Riekes Crisa sticker:

This tree, bearing the “Canada” sticker that Riekes Crisa used on Chalet products after the company’s closure, is from the collection of Deborah Patterson.

Now that the “Yes, Chalet” points in the summary have been covered, we need to address what is “Not Chalet.” Starting with some “twins.” Firstly, the trees that were made at Angelo Tedesco’s “Christallerie Chalet Vie et Art” in Saint Zotique, Quebec after Chalet’s closure. Secondly, some of the trees from glass blower Angelo Rossi in Cornwall. Thirdly, the vintage Murano Ferro and Lazzarini trees.

Christallerie Chalet Vie et Art trees:

After Chalet’s closure in 1975, Maestri Sergio Pagnin and Luigi Tedesco (Chalet co-founders and owners) returned to Italy. Angelo Tedesco did not. He remained in Cornwall and for several years returned to engraving glass. Then in 1979, with partner Jean Denis Legault, he opened a small, 2 oven glass house in Saint-Zotique, Quebec. Scope of form was limited and pieces were done only in clear crystal. We have no company documentation regarding this venture but we do have some concrete evidence (2 pieces that have retained their Christallerie Chalet Vie et Art labels) as well as anecdotal evidence from artists Roberto De Marchi and Giulio Gatto.

After the Rossi/Jaslow glass house “Artistic Lightening” in Cornwall closed due to Rossi’s accident and return to Italy, several of the Chalet artists and assistants were able to join Angelo Tedesco in a new venture. Namely Maestro Giulio Gatto and artists Roberto De Marchi, Giovanni Voltalina, Paul and Marcel Gravelle. Roberto and Giulio have told me that the pieces they produced for this company were identical in form and characteristics to many they produced at Chalet including the large elephant figurines, the Christmas and ring trees, and the sailboats. To date, we have not found a sailboat or “Christmas” tree (the 6-row “spruce”) that retain a label proving they were produced at Saint-Zotique but we have found two stickered elephant figurines and a ring tree.

Rossi Artistic Glass “Christmas” trees:

Angelo Rossi opened Rossi Artistic Glass (1981-1994) upon his return to Canada from Italy in 1981. It was not his first glass house in Cornwall which was “Artistic Lighting” that opened on the heels of Chalet’s closure. As stated in the summary above, Chalet did not make “frosted” or cranberry trees. The “frosted” trees were briefly produced at Rossi Artistic Glass. However, glass artist Roberto De Marchi, who also worked at the Rossi factories, has confirmed that these trees were not part of the annual “Christmas tree” inventory. They were only done once in a very limited run.

Typically, Rossi trees are the tall “spruce” form in clear crystal just like Chalet’s six row. Roberto has also confirmed that no Rossi Aristic Glass, Cornwall “Christmas” trees were made in emerald-green so that helps in the “identification” arena. We do not have Rossi catalog pages in which these appear on of yet, nor have we found clear or frosted Rossi marked trees. This is not surprising as Roberto has also said that they were never etched or stickered but given hang tags. However, we do have these newspaper photographs below showing both the clear and frosted crystal “spruce” trees for verification.

Annual Christmas sales were also held at the Rossi factory. These historical photographs are of the Cornwall showroom and retail outlet at Rossi Artistic Glass in 1982. The frosted trees are seen in the top left photograph near the end of the top shelf of the display stand and in the bottom left photograph on the second shelf. Clear crystal “spruce” are seen in this picture at the bottom left. They are on the top and second tiers. More clear crystal trees are seen in the photograph on right on the second and third shelves. Photographs courtesy of Cornwall Community Museum.

The Rossi Glass stickered and hang tagged “Christmas “ tress are not yet “vintage” as these were made in Niagara Falls at his studio which he opened in 2004. They are very different in design from the trees he made in Cornwall so I doubt whether they would be mistaken for Chalet. However, they deserve a showing!

This lovely, whimsical cranberry tree from the collection of 50 Shades member Ella Hanks.

And an emerald-green from the collection of 50 Shades member Lise Legare-Kowalchuk.

The Italian Ferro and Lazzarini glass house has been producing glass on Murano since 1929. It is still in operation.

They produce stunning art glass trees in a wide range of “shapes and colours.” Some which are markedly different in appearance than Chalet “Christmas” trees while others very closely resemble their Canadian “cousins.”

A few of the more relevant but markedly different. Unlike Chalet, Ferro and Lazzarini produced:

Clear crystal trees with flat bases – top left. Gold filled trees – top middle. Emerald-green tipped crystal – top right. Trees with millefiori inclusions – bottom left. Multi-coloured trees – bottom middle. Frosted trees – bottom right.

And most relevant of the markedly different, is the “pine” tree with interior bubbles shown in the undated Riekes Crisa catalog. Why? As it is presented on the same catalog page as the Chalet “spruce” trees and the Chalet ring tree, it is extremely easy to get confused.

In this photograph gallery, the Ferro and Lazzarini “pine” trees on left. In middle, the complete Riekes Crisa catalog page. On right, the Chalet “spruce” trees. As well, the Chalet ring tree listing is just above the “pine” trees – at right edge of the second row from top of the complete catalog page.

Cropped catalog page showing the Ferro and Lazzarini “pine tree” inventory numbers:

From left to right – 10, 12 and 8-inch trees.

Note the *pulegoso* bubble interior. From the collection of Jonathon Tremblay.

These two Ferro and Lazzarini trees are commonly mistaken for Chalet trees.

Photograph on right courtesy of 50 Shades member Dawn Tolhurst.

“The tell” between the Chalet and the Ferro and Lazzarini clear crystal “spruces” trees is in the number of horizontal rows. Chalet “Christmas” trees have 6 or 8 rows while these Murano made trees always have seven.

Ferro and Lazzarini tree on left. The Chalet “Christmas” tree on the right is from the collection of 50 Shades Stephen Malcomson.

In the Ferro and Lazzarini clear crystal trees, there are always seven horizontal rows with 4, 5 or 6 rows of pulls running vertically toward the base. The number of pulls in the vertical rows differ with tree heights.

The seven horizontal rows of “branches” can be clearly seen in the top-down view on right. The tree’s four rows of vertical “branch” pulls are seen in the left photograph. This six-inch tree from the collection of Jonathon Tremblay.

As shown above, Ferro and Lazzarini also produced emerald-green “Christmas” trees that are often confused with the same-coloured Chalet version. Thank goodness “the tell” here between the two is much easier to spot!

What is it? Chalet emerald-green trees always have coloured bases as seen here on left. Their Italian relatives, on right, have clear bases.

Vintage Chinese trees:

The 5th Avenue trees are frequently mistaken for Chalet.

Vintage Taiwan trees:

It is necessary to stress that this is one of “those times” that company names cause confusion – deliberately? These two “Arte Murano” labels have no connection to the Taiwanese exporter and distributor “Silvestri”. This latter named company did not manufacture their own glass or distribute Italian product for Murano glass houses. As well as Christmas trees, Silvestri carried a very extensive line of other Christmas decorations. A major American distribution point for them was from Chicago, Illinois. They actually had s retail outlet there where you could purchase seconds. When 50 Shades member Ella Hanks lived in this city, she used to buy all her seasonal supplies here!

Here are the Silvestri “Murano” markings :

Both the crystal and the emerald-green in crystal trees distributed by Silvestri (Taiwan) are confused with Chalet.

See the rarer gold-filled tree in the rear.

There are also Silvestri “frosted” trees.

Note the differences both in base and body between this tree and the Rossi “frosted” shown previously.

I am unclear on the maker of this tree other than it was also made in Taiwan and also exported to the United States. However, the distributor for this tree was California based “Artistic Gifts Inc.”

Vintage Japanese trees:

This Sigma tree retains an original distributor’s sticker

This pair, also by Sigma, is from the collection of 50 Shades member Ella Hanks.

A Japanese tree distributed by Enesco.

Interestingly, in 1988, Canadian distributor N. C. Cameron and Sons (one of Chalet’s distributors) sold to Enesco’s parent company in the United States. It continued as Enesco Canada and still operates today.

Vintage French trees:

Daum:

Cristalliere Lorraine:

I have included this tree not because collectors mistake this for Chalet but because they are puzzled by the name. “Cristallerie Lorraine” was a company in France that operated from 1925-1973. This is not a Lorraine Glass Industries marking nor were the two companies connected in any way. This 15 ¼ inch tree is from the collection of Ella Hanks.

Another vintage Italian tree:

Vintage Swedish trees:

1961-1983 FM Konstglas Ronneby

1983-1989 FM Marcolin

1989-1991/Marcolin Art Crystal

This company’s trees are very often called “Chalet.”

Before 1983 name change, the company is called FM Konstglas Ronneby and pieces could be etched or stickered.

After 1983 name change, company name is now FM Marcolin and pieces are etched.

After a second name change in 1989, the company now operates as Marcolin Art Crystal and pieces are stickered:

It’s beginning to look a lot like Christmas!

Video of Luke Baldwin Glass making a Christmas tree. Courtesy of Ella Hanks.

50 Shades member Faye Draper has created a lovely vignette with a Chalet tree (upper right) mixed in with trees from both unknown makers (top shelf) and the stickered Silvestri tree showcased on the lower.

These are just the clear crystal trees from Ella Hank’s collection. In total, she has a forest of 45. From left to right, at front Chalet, behind it unknown, then a Chalet ring tree, behind it is another Chalet tree, in mid row is another Chalet and then at front is a Japanese Sigma. Ella’s Cristallerie Lorraine tree centers the display and immediately to its right is a Chalet tree. Behind it is a Swedish FM Ronneby with a second Sigma tree in front. Beside it is the crystal Daum shown above and a large Simon Pearce at rear. Finally, a Murano made tree is at the far right.

Let’s end this with a community celebration of the season, the trees, and the artists who created our collections! And a fervent “thanks” from me to one particular member of that community – Ella Hanks for being a “go to” on this article as well as Jonathon’s and my “early reader.” As she has a very extensive and lovely Christmas tree collection (you saw some of her crystal trees above) her input was invaluable!

Cock a Doodle Chalet - the rooster figurines.

“Glassy old Saint Nicholas”