À propos
Sixth generation custodian of a family Carnival Glass collection begun in 1908 when my great- great- aunt received pieces as wedding gifts. The whole collection is documented, researched and individually covered in a 700-page, color, family collection catalog.
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Avis (8)
23 mars 2020
Good Value
Everything I expected
07 juin 2021
Good vakue
Pleased very much
29 oct. 2015
Essential
I'm a collector of Carnival Glass and a student of early American patterned glass, so I find it helpful to study patterns that precede that period (anything before 1908). Carnival collectors may wonder why some of their pieces have back patterns that are seemingly just stuck on the bottom with no apparent design purpose. This is particularly true when the underside of a piece is not treated with iridizing color. Some marigold pieces that were sprayed with color on the top side have back patterns on clear, uniridized glass that appear as indistinguishable bumps. Inevitably it happens that these glass molds pre-date the Carnival period, and indeed, the pieces had previous lives as opalescent treatments in which the back pattern interchanged through the translucent glass from the bottom. Some of these patterns are stunning, and as they ghost into view from the underside, the effect is truly beautiful. When the Carnival period came, many of these molds were put into production, but the iridizing for Carnival tended to block the back patterns from showing through - sort of interrupting the original purpose for using back patterns. Many of these pieces that had back patterns only as opalescent glass were then fitted with pattern on the top side for Carnival treatments leaving the patterns on the undersides virtually without effect. Edwards and Carwile, then, fill in many of my questions in this well-organized reference. Mike Carwile continues today to be one of the most reliable and accurate sources for anything glass. The book is compelling enough to make one want to start collecting opalescent glass. Well done!