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| Version | User | Scope of changes |
|---|---|---|
| Feb 21 2008, 9:18 AM EST (current) | Anonymous | 13 words added |
| May 24 2007, 2:51 PM EDT | kjacobso |
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Early American pattern glass could be called a “classic” antique because it was one of the first objects collected by ordinary people. Before World War II, antiques collectors were members of the social elite. By the 1950s, the publication of a growing list of guides and other educational books and magazines encouraged the expanding middle class to collect old things.
One such title, dealer/expert Ruth Webb Lee’s (now out-of-print) Early American Pressed Glass, was an orderly classification of hundreds of 19th-century designs made by factories in New England, Pennsylvania, and the Midwest. The many forms, available in each pattern—goblets, bowls, lamps, decanters, celery vases—allowed new collectors to set an elegant table at an affordable price. Enthusiastic dealers and collectors often gave glass patterns common names based on visual characteristics, such as Sprig, Excelsior, and Eugenie, which were later corrected when 19th-century catalogs came to light. Eugenie, of course, was the actual original name, as evidenced in McKee catalogs.
Glass pressing, perfected in the United States around 1825, was a technological innovation of the Industrial Revolution. Pressing, which replaced the laborious process of finishing blown glass by hand, made it possible to turn out a large number of identical objects in a short time, at low cost. Early pressed-glass pieces, such as the lacy-patterned examples made by the Boston & Sandwich Glass Company, were attractive but often brittle and flawed. By mid century, factories had learned how to fire-polish objects after molding for a smoother finish. Most pressed glass contained lead, which gave the material visual brilliance and a ringing tone when tapped.
Like everything else, collecting has its fads and passions. The mania for pressed glass in the 1950s and 1960s faded as collectors discovered various kinds of art glass, carnival glass, Depression glass, and even more modern wares. But Flint glass pieces could always be found at good shows and auctions. The crystal sturdiness of thick-walled flint glass easily survives entertaining and hand washing, so it remains useful as well as beautiful.
One such title, dealer/expert Ruth Webb Lee’s (now out-of-print) Early American Pressed Glass, was an orderly classification of hundreds of 19th-century designs made by factories in New England, Pennsylvania, and the Midwest. The many forms, available in each pattern—goblets, bowls, lamps, decanters, celery vases—allowed new collectors to set an elegant table at an affordable price. Enthusiastic dealers and collectors often gave glass patterns common names based on visual characteristics, such as Sprig, Excelsior, and Eugenie, which were later corrected when 19th-century catalogs came to light. Eugenie, of course, was the actual original name, as evidenced in McKee catalogs.
Glass pressing, perfected in the United States around 1825, was a technological innovation of the Industrial Revolution. Pressing, which replaced the laborious process of finishing blown glass by hand, made it possible to turn out a large number of identical objects in a short time, at low cost. Early pressed-glass pieces, such as the lacy-patterned examples made by the Boston & Sandwich Glass Company, were attractive but often brittle and flawed. By mid century, factories had learned how to fire-polish objects after molding for a smoother finish. Most pressed glass contained lead, which gave the material visual brilliance and a ringing tone when tapped.
Like everything else, collecting has its fads and passions. The mania for pressed glass in the 1950s and 1960s faded as collectors discovered various kinds of art glass, carnival glass, Depression glass, and even more modern wares. But Flint glass pieces could always be found at good shows and auctions. The crystal sturdiness of thick-walled flint glass easily survives entertaining and hand washing, so it remains useful as well as beautiful.
