Newsletter #7		Other Newsletters
November, 1999

"Giving Birth to an Exclusive Limited Edition"

By Mary C. Walrath

Diving into announcing the birth of an "Exclusive Limited Edition" is a subject that is extremely difficult for me to share in a newsletter. It is only upon receiving another persistent request from my dear friend, Barbara Colligan, founder of "The World Of Glass Exclusives, Etc.," that I cease to procrastinate writing this article. I simply cannot say "NO" to someone who is as dedicated and enthusiastic as she is, to be as informative as possible. In essence, it is as if she is taking over where I left off wishing to be fully retired now. All my writings, therefore, will always be done exclusively for Barbara. I have strongly felt that nothing is more important in the field of collecting than to be kept informed and enlightened.

Let me start by saying that everyone of my exclusives was conceived in an aura of great excitement and expectations, only to be followed by: (1) many disappointments. . . . (2) discouragements . . . . (3) frustrations . . . . (4) considerable outlays of dollars running well into the five figures for just single invoices alone. . . . (5) the necessity to acquire additional storage space rentals. . . . (6) incurring rapidly mounting expenditures which no direct dealer ever has to meet. Then, after all this, it was just the beginning of creating considerable work for myself to acquaint the collectors and dealers with the exclusives when they were ready to say "hello" to the marketplace. Unlike a company’s impressive catalog, or a gift shop inventory to acquaint the customer, every exclusive is a totally unheard of product lacking marketing credentials.

It required considerable effort to prepare in depth descriptive national ads and newsletters. . . . a good mailing list which for obvious reasons included only the names of my clientele. . . . impressive and costly In-Color enclosures in quantities that have never been all used up because with the second 1,000 being reasonable, I’d say to myself: "Why not? After all, I should be able to use up 2,000 based on established statistics that thousands collected everything I was offering." Because every limited edition was chosen with a specific category of collectors in mind, I felt very comfortable with every decision.

A newsletter of this nature cannot ignore, and surely it must not fail to expose, . . what determined my confident decisions to usher in an exclusive limited edition, and what developments dampened my undertakings. As I write, therefore, I shall not attempt to sprinkle talcum powder on sensitive areas that plagued me, because that would only dilute or conceal the core of the whole truth for the benefit, especially, of those who have asked: "How Do I Go About Having My Own Exclusive Produced?"

So, without any further adieu, I want to share with you my motivation by posing the following question:

The answer is very simple. For instance, my wanting Burmese as the finest heritage for my children to own, was also my secret for desiring nothing less for my customers, each of whom I considered as my greatest asset in my business relationships, and as an added blessing in my life. I wanted them to acquire heritage and rarities that could never be found in any company’s general catalogs, or in any other shop, unless it was in the shop of a dealer who had acquired that exclusive directly from me. As for the dealers, I wanted to help them establish a reputation for handling what their competition could not offer. I wanted them to be known as a special source. This was my peculiar way of showing my appreciation to everyone!

1) Dissapointments - The responses to all ads and newsletters were dismal to say the least. Although my very conservative mark-ups insulted common sense pricing for a mail order business and the dignity of an elite offering, they failed to stir the readers. For the most part, I learned my prices were unreasonably compared with those of mass produced items featured in a general line catalog. The extremely limited quantities and private artwork appeared to be thrown into the same kettles that were filled with the manufacturer’s overall mass produced lines. I experienced resentments because my prices did not conform to the company’s published retail prices for the similar item.

Without a doubt, I think this is the best place to cover this erroneous resistance, by mentioning the Southern Belle bell project. When the figurine was produced in the plain rose color, Fenton’s price sticker indicated $45.00, with subsequent issues being priced at $48.00. However, when I introduced each of my six bells at only $53.50, the $8.50 difference was considered as too high pricing. It did not seem to matter that:

1. I had that beautiful figurine converted into being done as a bell for the first time.
2. This figurine was iridized for the first time.
3. It was hand-painted for the first time.
4. It was limited to only a 4-hour production resulting in yields of less than 300 of each.>
5. It was the first time that each bell was given its own name.
6. It was the first time that the Edition Number, name of the bell, and its individual number were inscribed inside.>
7. It was artist signed.
8. It was also inscribed with my name inside.
9. An expensive Certificate of Authenticity was produced bearing a paragraph and signature by Bill Fenton, and the sketch of the figurine.
10. A very costly in-color page was produced by Mr. Richardson, printer of the Glass Collector’s Digest. >
11. It is the least produced bell collection done by Fenton.
12. Considerable added expenditures were necessary to feature a project of this magnitude.>
13. The first 200 were matching numbered sets.

With my production yields being much lower than what I had anticipated, I envisioned even faster sell-outs, and disappointed "Johnny-Come-Latelys." For quick simple math, let’s say that only 500 pieces came through. That meant an average of only 10 sales per state. . . . if it was only 150, like the 1996 "Farewell Collection" , that was only 3 per state. Yet in spite of all the publicity that I have received, my 1982 Love Bouquet (the last of the blown original formula) took over 15 years to be totally sold out. My 1986 "Love Bouquet" 7 piece miniature collections are still squirming under the sheets except for the boot and the slipper. Based on the number of Fenton societies’ memberships alone, I assumed that every piece would quickly sell out in light of the fact that this was the first time that Burmese was "pressed". Yet, even some ads in the Butterfly Net did not yield a single order.

Resistance to pay $185 for a complete 7-pc miniature collection was a bitter pill to swallow considering the fact that a new plateau of Burmese collecting was born, and that it was a tremendous breakthrough for Fenton to finally perfect pressing Burmese, thus being able to produce future in-line miniature Burmese items. Now collectors are thrilled when they find these pieces in malls at $95 - $115 each, but the saddest scenario is that many shall never complete the entire collection. I just learned a week ago that a Maryland dealer got $95 for the rose bowl which I sold her for $32.50.

Some dealers minced no words when they said that if they could not double their money they weren’t interested. It was like a knife going through me to think that with no effort, heartaches and huge sums of money expended on their part, "double or nothing" was expected in lieu of their merely wanting to write out a check for 50% off, which would have left me flat broke and going into debt. Also, most dealers were reluctant to purchase more than one of anything, which to me was the same as being a private collector but expecting special discount privileges.

Also, there are dealers who practice the theory -- and I respect them to a point -- that they will not place an order for anything unless they already have a customer for it, thus eliminating ever putting out a penny of their own because the deposit collected will instantly refund their investment. In the meantime, my inventory was frozen in anticipation of the promise to get back to me. On many occasions, I waited in vain. That was my fault. I should have set a deadline. But THANK GOD for those dealers and investors without whom I would have found the going much more difficult and certainly much more disappointing. Their vision and confidence in me are now rewarding them with triple and even quadruple returns on their investment.

This chapter on "Disappointments" best ends with the following questions:

1. Where were the collectors all these years?
2. Why did they fail to respond?
3. Why is it a thrill now to find those offerings and not mind paying exorbitant prices in malls, shows and flea markets?
4. How many shall never own complete sets?
5. Was I really too far ahead of the times?
6. Did I start when the total glass industry was struggling in vain to stay on top?

Having been blind to the facts for at least half of the 80’s, I can now best parallel my own dismally slow sales with why Westmoreland, Imperial, Fostoria, Tiffin, Seneca and many others went out of business in the 80’s. But I survived because I made sure all my finances were in reserve to meet all my invoices with flying colors. Now, nearing the end of this century, Viking has gone out of business. What is this telling us? I think a good portion of the reason is that the present collectors are inclined to feel prestigious hunting for and finding something old, at the cost of mistakenly passing up a rapidly appreciating contemporary. Fenton is now rated by the Collectors Information Bureau as an investment. Why have glass and china classified ads become severely cut back? Is the new plateau of collectors losing interest in glass collecting in lieu of other pursuits? What impact is the Internet surfacing? Are repros from sold moulds freezing the confidence to buy? This reason alone should greatly inspire collectors to buy limited edition exclusives.

2) Discouragements - It was in the pursuit of my exclusives that I persevered to turn every discouragement into an accomplishment. This is why I love the word "challenging". Inevitably, it will open up new doors for everyone caught in its pathway.

It was discouraging when: (1) in the mid 70’s Imperial frowned upon running 4 - 8 hour turns. . . (2) when Smith Glass gave me a number of reasons why they could not produce the iridized Cane and Flowers Crystal Lustre basket. But I hounded Hank Opperman and challenged him with GE’s famous slogan: "The Difficult We Do Today. The Impossible We Do Tomorrow" . So Hank, "do it tomorrow. I can wait"!! It got done, finally. . . . . (3) When I first opted way back in 1982 to have Fenton produce miniature Burmese pieces for me, Bill Fenton repeatedly informed me that Burmese could not be pressed. For 4 years I kept pestering him. In the interim, he proved his skill and diplomacy to keep answering me each time without saying: "How many more times must I tell you that Burmese has to be blown? It can’t be pressed." I’ll never know how tactless I may have sounded when I responded; "But Bill, you couldn’t blow it either until the late Mr. Goe discovered the formula. You can do it!"

So four years later - in 1986 - a special formula was discovered for my miniatures. The first samples almost shut me up for good as I mumbled to myself: "No wonder Bill kept saying ‘It can’t be done’." Those samples were that terrible. I’m sure Bill must have felt that at last I would get off his back. Anxiously, I waited on a high note expecting that only changes in the formula were needed. At any rate, the Fenton people also persevered, and at last my miniature collection became the first to enter into the world of pressed Burmese. It happened.

Hundreds upon hundreds of testimonials swell my folders with letters acclaiming the ":Love Bouquet" to be their most prized Burmese. While all discouragements and setbacks were tearfully painful, and very long pending, I feel I have accomplished every dream. And yes, that also includes Imperial as well. It wasn’t until 1984 - during their bankruptcy days - that with the help of Mike Nocera, General Manager, the rare Santa Bell 5-pc Collection was produced in a 4-hour turn, bearing their rare and short lived N/I logo used for the first time in an undertaking for a dealer. Also their Rooster Holder in the pink and in the emerald green carnival materialized, having slipped through with the IG logo.

So, if you have any dreams of getting your own exclusive produced, do not ever let discouragements and setbacks defeat you. They will reward you, challenge the producer, and enrich the collectors’ legacies. The last I heard, Fenton is not taking on any more new accounts for producing exclusives. However, decisions in business are always vulnerable to changes.

3) Frustrations - I recommend Exclusive Limited Editions as a college or university for induction as an entrepreneur where you can learn first hand how to survive frustrations, lower your blood pressure, endure sleepless nights, and display diplomacy in unbearable situations.

While I know what all my frustrations were - with many too private to reveal - I can also imagine what the companies had to go through to produce my exclusives. . . . .why scheduling delays were necessary to sandwich them into their own operations. . . .assign an artist to read my mind, and have her works returned for more revisions and disruptions. No one can begin to imagine what it took out of Linda Everson to get my "Love Bouquet" done precisely the way it was painted in my head. Two trips to meet with the late Pat Clark, and with Linda personally, finally debugged all the frustrations for all of us. All in all, this was a 15 month project.

Waiting months at a time to receive progress reports were indeed very frustrating as pending newsletters continued to be delayed in sending out. Many times, what appeared to be an accomplishment, was soon unexpectedly crushed by another monkey wrench. It is best right here to share what my daughter, Joyce, experienced with her "Circle of Love" pitcher, her No. I Edition. After holding her newsletters in abeyance for weeks or several months, she was informed that only 53 were the final count. All were already handpainted, and Joyce had them all sold. But the shipment continued to be delayed. Then came the shocking phone call that 17 broke going through the lehr after all the tedious hand painting was done. So, what 17 dyed-in-the-wool "Circle of Love" customers could she "X" out?

Fortunately, I was able to come to her rescue because her pitcher was the same style that was produced for me in the 1996 "Farewell" set. Everything was turned into a piece of expensive cake when I pulled out 19 of mine, retailing at $165 each, and shipped them off to Fenton to be stripped of all my ‘Love Bouquet’ artwork and be repainted with her "Circle of Love" theme. Fearing a couple might break, I shipped 19 instead of 17. Luckily, only 2 broke and to date, 17 owners of her pitcher have no inkling of the sacrifices and losses that were incurred in their behalf.

The greatest frustrations were always experienced when information relayed in a previous newsletter had to be revised or rescinded. I felt embarrassed and contradictory in the eyes of the recipients as if I did not know what I was doing. However, all in all, I would not want to trade my frustrations for what I am sure the producers had experienced, nor would I want to feel the frustrations of everyone on my mailing list wondering what was going on and why the long shipping delays. The saddest part of this chapter is the fact that it is impossible for any customer to ever comprehend the labor pains involved in getting an exclusive produced.

4) Capital Outlay - I can best handle this chapter with questions:

1. How much are you willing to freeze indefinitely in your savings or checking account, and wait perhaps years to realize some return on your investment?
2. Are you raring to allocate thousands of dollars to get just 3 articles done for you, the way I did to get the "Farewell Collection" produced? . . . . . thousands of dollars to get the 6-pc 1982 Series of the blown Burmese done?. . . . . thousands of dollars to get the 7-pc. Burmese miniature collection done for the first time ever in the pressed technology? . . . . and over $50,000 to realize about 2,000 bells?
3. With the investment you would tie up in an exclusive, how many articles in the general catalog and supplements could you acquire with no headaches whatsoever to follow?

If you are a dealer, and want to quickly double you money or nothing, I suggest you stockpile the most you can by ordering just one of everything through the company’s Rep. I blew the lid off of over $100,000 with just Fenton alone to have a variety of only 16 different items produced in Burmese plus the pink carnival and the ruby carnival fish paperweights, plus the 7 "Southern Belle" bells - - a total of 25 . . . Is that the variety you would like to display for such a huge investment and fill warehouse space with the rest? If so, you won’t need to go out and buy a china cabinet.

Of course, this is the way I paddled my own canoe because I wanted my customers to own complete sets or collections. My advice is: "Don’t Make This Mistake. Go For Only One Article At A Time." With the virtue of patience, your own Exclusive Limited Editions will offer your clientele what the producer in all likelihood would never think to offer, as well as a sense of achievement. Please remember too, that all Fenton pieces produced as a Connoisseur, Historical, Signature, Spring, Summer, and Christmas Supplements are in every true sense of the word, a Limited Edition.

In anticipating a return on your investment, believe me, . . not all eager beavers are early risers to gather up your fruits. However, we are now living in an era of tremendous technology in the marketplace.

5) Extra Space - What facilities do you have to accommodate large and heavy shipments? In my case, I had to have extra facilities, and thus incur long term rental expenses. Working out of your home won’t be very convenient or practical unless you won’t mind finding yourself living in a warehouse. Personally, I loved a lovely home.

6) Hidden Expenses - They are too numerous to mention. Just phone bills alone can easily keep eating up hundreds of dollars before the project is finished. It is not unusual to have to make a special trip to meet with the people at the helm of your project. Customers cannot be expected to appreciate how costly printing is . . . . how much more advertising is compulsory . . . . why more mailers are necessary, etc.

7) General - Would I want to have more exclusives produced for me? I am afraid not. I’m sure I would not have the stamina to invite more of what I have had to go through. . . .the long, long hours that had to be poured in . . . . the upheavals. . . . and unreasonably long tie up of capital before a penny of profit is realized, not to mention the fact that labor-wise, you work for nothing while factory workers can earn over $20 an hour. It is necessary to think this way because after all it is a business that is being run. I would never put myself into sleepless nights again for reasons that would only greatly lengthen the size of this newsletter. Would this decision withhold another rarity? Indeed not, because no one can miss what does not exist. This answer is from a materialistic standpoint.,

Am I sorry I went for exclusives? Indeed not. That chapter in my business gave me unforgettable and cherished memories of Frank and Bill Fenton, their artists, the late Pat Clark, Don Cunningham and his secretary, Chris Benson, the most efficient and enjoyable affiliate one could be privileged to work with. They opened the doors for me to receive tons of testimonials that only exclusives could write. They fulfilled my dreams to want to give my best. This answer is the rewards which no money can buy and which only an exclusive can give.

Last, but not least, I want to repeat that the times have changed considerably since I opted for exclusives. If you are an expert at Internet selling, then you will never have to experience the pitfalls that I had to endure and overcome. You won’t have to incur some of the expenses and unpaid labor that I did. You won’t have to put out newsletters and wait for results. You won’t need expensive in-color enclosures because you can flash a colored photo over the Internet. You need only to make up your mind as to how much you are willing to invest, and how many articles you want to end up with to display or offer for your investment. If you want to try affiliating yourself with Fenton, you will have to contact: