This reference book is a survey of domestic factory-produced glass through the 20th century - from the organic shapes and iridescent colours of the Art Nouveau period to the simple clean lines of contemporary design. The book looks at over 100 glass factories in detail, with the entries in alphabetical order for ease of reference. For each factory, Lesley Jackson gives a brief history and an outline of its work during the century. She summarizes the styles and techniques for which each factory is best known and profiles key designers, including some of the great names of 20th-century design, such as Louis Comfort Tiffany and Paolo Venini. At the end of the book are individual bibliographies and listings of which museums hold collections of the glass -which ranges from the extremely valuable to items found in homes world-wide. There are also examples of each factory's marks so that collectors can identify and date items.
The only comprehensive reference book regarding internationally produced glassware for the home, "20th Century Factory Glass" is required reading for glass collectors and enthusiasts alike. Featuring every great designer, from Louis Comfort Tiffany to Alvar Aalto, as well as companies from Baccarat to Steuben, this volume provides clues to identifying marks, codes, and labels.
An original examination of legislative clashes over the singular issue of the glass house boys, who performed menial tasks, received low wages, and had little to say on their own behalf while toiling in glass bottle plants. Flannery reveals the many societal, economic, and political factors at work that allowed for the perpetuation of child labor in this industry and region.
Originally published in 2007 and out of print since 2012, this volume was the first complete history of L. E. Smith, made possible by unprecedented access to factory records, catalogs, photographs, and the company "morgue" - thousands of sample pieces from 100 years of production. It is now available from the Glass Flakes Press, scanned from the original work with minor updates and corrections. In addition to the extensive history, it includes sections identifying all production and many experimental colors, including carnival glass, milk glass, and other opaque colors. Approximately one third of the book is devoted to the major patterns, including Mount Pleasant, Heritage (including many reproductions from the McKee -Tec patterns), Dominion, Simplicity (Smith's answer to Viking's Epic), Moon and Star, Hobnail, Daisy and Button, and many more. The remainder of the book covers specialized products: ruby-stained souvenir ware, candy containers, bedroom and bathroom glassware, animals and covered animals dishes, candlesticks, and punch bowls. A general index, pattern number index, and visual index are included.
Of all the leading Muranese glass factories, Fratelli Toso was among the most versatile and productive, but the least well-known. Where Venini, Barovier & Toso, Aureliano Toso, Archimede Seguso, Salviati, Cenedese, Barbini, and others designed, produced, and marketed fabulous glass, Fratelli Toso focused on design and production. The first company responsible for the revival of Venetian glass, in 1854, Fratelli Toso went on to be one of the major contributors of modern glass design, especially in the 1950s. Designers like Ermanno Toso and Pollio Perelda were rewarded for their accomplishments at Venice Biennali and other international exhibitions. This is the first book devoted to the extraordinary glass produced by Fratelli Toso. With over 400 color photographs of 19th and early 20th century murrine glass, 20th century factory production, and unique art glass; history of the company, chronology, detailed captions, bibliography, index, and value guide this book will be indispensable to the collector, dealer, and researcher.
Over the concluding decades of the twentieth century, the historic preservation community increasingly turned its attention to modern buildings, including bungalows from the 1930s, gas stations and diners from the 1940s, and office buildings and architectural homes from the 1950s. Conservation efforts, however, were often hampered by a lack of technical information about the products used in these structures, and to fill this gap Twentieth-Century Building Materials was developed by the U.S. Department of the Interior’s National Park Service and first published in 1995. Now, this invaluable guide is being reissued—with a new preface by the book’s original editor. With more than 250 illustrations, including a full-color photographic essay, the volume remains an indispensable reference on the history and conservation of modern building materials. Thirty-seven essays written by leading experts offer insights into the history, manufacturing processes, and uses of a wide range of materials, including glass block, aluminum, plywood, linoleum, and gypsum board. Readers will also learn about how these materials perform over time and discover valuable conservation and repair techniques. Bibliographies and sources for further research complete the volume. The book is intended for a wide range of conservation professionals including architects, engineers, conservators, and material scientists engaged in the conservation of modern buildings, as well as scholars in related disciplines.
For readers of Hillbilly Elegy and Strangers in Their Own Land WINNER OF THE OHIOANA BOOK AWARDS AND FINALIST FOR THE 87TH CALIFORNIA BOOK AWARDS |NAMED A BEST/MOST ANTICIPATED BOOK OF 2017 BY: New York Post • Newsweek • The Week • Bustle • Books by the Banks Book Festival • Bookauthority.com The Wall Street Journal: "A devastating portrait...For anyone wondering why swing-state America voted against the establishment in 2016, Mr. Alexander supplies plenty of answers." Laura Miller, Slate: "This book hunts bigger game.Reads like an odd?and oddly satisfying?fusion of George Packer’s The Unwinding and one of Michael Lewis’ real-life financial thrillers." The New Yorker : "Does a remarkable job." Beth Macy, author of Factory Man: "This book should be required reading for people trying to understand Trumpism, inequality, and the sad state of a needlessly wrecked rural America. I wish I had written it." In 1947, Forbes magazine declared Lancaster, Ohio the epitome of the all-American town. Today it is damaged, discouraged, and fighting for its future. In Glass House, journalist Brian Alexander uses the story of one town to show how seeds sown 35 years ago have sprouted to give us Trumpism, inequality, and an eroding national cohesion. The Anchor Hocking Glass Company, once the world’s largest maker of glass tableware, was the base on which Lancaster’s society was built. As Glass House unfolds, bankruptcy looms. With access to the company and its leaders, and Lancaster’s citizens, Alexander shows how financial engineering took hold in the 1980s, accelerated in the 21st Century, and wrecked the company. We follow CEO Sam Solomon, an African-American leading the nearly all-white town’s biggest private employer, as he tries to rescue the company from the New York private equity firm that hired him. Meanwhile, Alexander goes behind the scenes, entwined with the lives of residents as they wrestle with heroin, politics, high-interest lenders, low wage jobs, technology, and the new demands of American life: people like Brian Gossett, the fourth generation to work at Anchor Hocking; Joe Piccolo, first-time director of the annual music festival who discovers the town relies on him, and it, for salvation; Jason Roach, who police believed may have been Lancaster’s biggest drug dealer; and Eric Brown, a local football hero-turned-cop who comes to realize that he can never arrest Lancaster’s real problems.
A unique exploration of the question, can art be fashioned out of glass? Analysis of the philosophical and circumstantial factors that reveal the early history of the movement and the clash of ambitions and power that marked the relationship between the worlds of so-called crafts and high art. 81 colour & 47 b/w illustrations
"This volume ... is about modern Scandinavian glass that depends on color for its success. ...The separate volume, entitled Smoke & Ice, includes examples of glass by many of the same designers and companies, but without the color"--P. [6].
The Pittsburgh region, while well known for steelmaking, was likewise an important glass manufacturing center in this country's history. This book provides detailed accounts of the region's glassmakers from the first factory dating to 1795 through 1910. Glassmaking started out modestly with small glasshouses in Pittsburgh and up the Monongahela River in New Geneva during the final few years of the 18th century. By the close of the 19th century, the Pittsburgh region was producing more than half of all domestic window glass and the lion's share of most other forms of glass in the United States. The original purpose of this manuscript was to assemble and record as accurately as possible the history of all of the glassworks and the glass manufacturers that operated them in Pittsburgh and the immediate surrounding region. This book was designed to be a reference guide for anyone who is interested in the history of glass in western Pennsylvania. The years companies were operating, where the glassworks were located, what types of glass and specific glass items did they make, and what marks did they use is just some of the information that can be found in this book. There are hundreds of individual companies and name changes listed in this volume. It contains as much information about each company that could practically be included. Even the most minor name or address change was recorded exactly as noted by contemporary sources. As much as possible, contemporary reference sources, such as city directories, early newspapers, maps, and journals were used to provide accurate and complete histories of the glasshouses. Generally, the better-known companies will have much more of their history available. However, every known glassmaker and glasshouse was included, regardless of how little information about them could be found. This book is intended to aid researchers in the determination of the age and the origin of marked pieces as well as narrowing down potential manufacturers of unmarked objects. The liberal reproduction of original advertisements and maps as well as the photographs of glass marks were included to complement and augment the narrative. The format of this book was established to facilitate its use as a reference guide.
