 First
developed in the early nineteen hundreds, it's a range of patterned,
pressed glass suffused with an iridescent lust re, which reflects
the light, making the surface gleam with metallic highlights. It
resembles the rainbow effect that you see when oil is spilt in a
puddle. This effect was gained by spraying the hot surface of the
glass with metallic salt solutions and then re-firing to set the
iridescence.
Pressed glass products using this method first appeared in the US
in 1905. They resembled the high lustre finish achieved by high-class
glass manufacturers such as Tiffany on their exquisite hand-blown
pieces. It is said that when pressed glass companies began producing
iridescent glass, Tiffany sales slumped because customers didn't
like to think that poor folk could now afford to have similar products
in their homes!
During the 1880s, hand-operated press moulds were developed by the
American glasshouses, which enabled them to produce domestic glassware
in large quantities much more cheaply than the traditional methods
allowed. Unlike hand-blown glass which was time-consuming to make,
pressed glass was formed using these moulds. Two moulds were needed.
The molten glass was poured into the outer mould, and then the inner
mould (or 'plunger') was forced in, using great pressure. Sometimes
the moulds were in two or more parts, and so a trickle of the molten
glass would seep through the gaps. Later, these seam lines would
be polished out if they weren't hidden in the intricate design.
At first the products were made from clear glass, but gradually
colours were introduced.
 Even
though Carnival glass was initially pressed into moulds it still
needed plenty of hand- finishing, because the makers wanted to create
an air of individuality. The glassmakers completed their creations
in a variety of ways. Sometimes they would very gently draw up the
edges of a plate into a fluted shape, thu s creating a bowl. They
might even add some rounded feet. Using special tools, they could
pinch or crimp edges, or could make ruffles, pleats, frills and
scallops. Gorgeous rose bowls and posy bowls could be formed by
carefully pinching in the top edges of small basins, while tall
vases were elongated by using centrifugal force which had the effect
of stretching the malleable glass. Then the top edges could be decorated
by crimping.
The most commonly-found shade of Carnival glass is marigold, then
comes amethyst, blue, green and red (probably the rarest of all.)
Other shades do exist, including black, pastel shades, and many
varieties of the main colours such as amber, electric blue or sapphire.
In addition, some of the colours were coated with white, altering
the hues - for example, marigold and white is called peach opalescent.
The colour refers to the actua l base colour of the glass, not to
the iridescence, and the best way to discover it is to hold the
piece to the light. Then the true colour will show.
An amazing variety of items were created from Carnival glass, many
of which were intended for everyday use, rather than for decoration,
so it surprising just how many items have survived over the years
in good condition. Rose bowls, plates, ashtrays, hatpins, salad
bowls, cream jugs, punch bowls, plates, stemmed dishes, vases and
hair tidies were just a few of the items that poured from the factories
during the relatively short period that the glass was in production.
America was the major producer of Carnival glass, and the first
country to produce the glass in commercial quantities. The so-called
'big five' companies were Northwood, Fenton, Imperial, Dugan and
Millersburg, and they each had their own specialities. In addition
there were a few smaller concerns. Other countries which produced
the glass included England, Australia, Czechoslovakia, Argentina,
Estonia, Finland and Sweden.
 The
glass was originally made to bridge a gap in the market by providing
ornamental glass for those who couldn't afford to buy the fashionable,
expensive, iridised handmade glassware. However, by the 1930s, fashions
changed as as people began to follow Art Deco trends and the pretty
glass became less popular.
It wasn't till much later that it acquired the name, 'Carnival glass',
as it was thought that when it fell from favour, it was sold off
cheaply to fairgrounds and offered as prizes. Whether or not this
was true is a moot point. Other names for the glass were Poor man's
Tiffany, Rainbow glass, Aurora glass or Taffeta glass. The enormous
range of patterns means that collectors will always be searching
for more pieces. It's calcul ated that well over a thousand different
patterns were produced by the American companies, and when you realise
that they came in many different colours, shapes and sizes, you
can see why a Carnival glass collection can never be complete.
Patterns were given names which usually echoed the design, such
as leaf and beads, starfish, pineapple and bow, beaded cable, peacock
tails, Persian medallion, open rose and fluffy peacock. Flowers,
fruits, leaves were especially popular designs - pansies, roses,
water-lilies, blackberries, grapes, cherries, oak and vine leaves.
Sometimes horses' heads, dragons, birds, or kittens were featured.
Geometric shapes or abstract patterns are found too, and are shown
to perfection by the iridescence which catches the light as the
piece is turned, emphasising the various facets.
Because of the way that the glass is manufactured, no two items
are quite the same - if you place two dishes or vases of the same
pattern, shape, colour and size from the same manufacturer, side
by side, you will notice subtle differences. One may seem more blue
than purple, or have a section which gleams gold, or maybe have
a pink or green tinge. A single item of carnival glass on display
is beautiful - a collection, especially if illuminated by spotlights,
or perhaps placed in a north-facing window (away from the danger
of the sun's rays which could trigger a fire), makes a stunning
spectacle.
The price of carnival glass varies considerably, depending on the
manuf acturer, colour, design - and where you buy. Although nowadays
it is sought after by numerous collectors, it's still possible to
pick up bargains. Even so, normally you should expect to pay anything
from $30 (£20)upwards - and upwards could well mean into the
hundreds, or even thousands, of pounds/dollars for a particularly
rare piece.
Related
So what actually is Carnival Glass?
Carnival Glass - The American Influence?
Fenton Glass & Fenton Glass message board
Carnival Glass at Auction
Fenton Art Glass at Auction
|
