 | Additional coloring techniques used at this time included flashing and casing. Flashed art glass involved producing a piece in clear glass and dipping it while hot into molten glass of another color. This was an effective and less costly way of producing glassware that appeared to be one consistent color… |
 | In the 19th century, excavations of ancient Roman sites yielded glass that had turned lustrous from being buried in damp soil. The rebirth of interest in iridescent glass heralded an explosion of creativity in the previously stagnant glassmaking world… |
 | Carnival glass is an inexpensive pressed art glass, made as both functional and ornamental objects, always iridescent and found in a wide spectrum of colors. It was produced in the U.S., Britain, Austraila, and several European and Asian countries from the early 20th century until the present… |
 | Tiffany designer glass is the generic name used here to describe the many and varied types of art glass developed and produced by Louis Comfort Tiffany, (1848–1933), one of the most famous stained glass artists of the United States and remembered not only for his windows but fo decorative glass objects, in particular so-called Tiffany lamps… |
 | The early 19th century saw the development of pressed custom glass in the United States, first made at the New England Glass Company, which was established by Deming Jarves in 1818… |
 | Apart from limited–edition work by designers such as Victor Durand for Vineland Flint Glasswork, most American Art Deco glass was cheap, even when compared with inexpensive imports from Bohemia. Molded and–pressed art glass dominated production by American glass factories during the–1920s and–1930s… |
 | By the 1920s Lalique had a flourishing glass–manufacturing business. Incredibly prolific, he created a vast array of tableware and decorative glass objects such as vases, clocks, statuettes, and jewelry. Lalique also made light fixtures, panels, doors for interiors, and even custom glass furniture… |
 | Like France, Bohemia (the modern–day Czech Republic) had a thriving, long–established glassmaking industry. By the early 1900s, apart from a few strongly artisan firms, handcraftsmanship had largely given way to mechanized production… |
 | A trio of female glass designers — Helena Tynell, Nanny Still, and Tamara Aladin — was largely responsible for the mid–century success of Riihimaen Lasi Oy. Tynell joined the firm in 1946 and is best remembered for her textured forms such as the Emma vase… |
 | Also in Finland, the multi–talented Kaj Franck turned his attention to glassware on behalf of Nuutajarvi Notsjo. Many of his designs were produced in a range of strong colors in recognition of a public appetite for colorful glassware that grew ever more voracious from the 1950s onward… |
