Sleepy History - Depression Glass

Episode Date: January 19, 2025

Depression Glass—delicate, colorful, and a symbol of resilience during challenging times. Born out of the Great Depression, these inexpensive yet beautiful pieces brought a touch of joy to homes across America. But why did it become so popular, how was it made, and why does it still captivate collectors today? Tonight, uncover the history, charm, and enduring legacy of Depression Glass, as you drift off into a restful and peaceful sleep.Narrated by: Courtney RWritten by: Alicia SteffannAbout Sleepy History Delve into history's most intriguing stories, people, places, events, and mysteries, delivered in a supremely calming atmosphere. If you struggle to fall asleep and you have a curious mind, Sleepy History is the perfect bedtime companion. Our stories will gently grasp your attention, pulling your mind away from any racing thoughts, making room for the soothing music and calming narration to guide you into a peaceful sleep. Sleepy History is a production of Slumber Studios. To learn more, visit www.slumberstudios.com.

This is Sleepy History. Sleepy History is a production of Slumber Studios. To listen ad-free, get access to bonus episodes, and support the ongoing production of this show, Check out our premium feed. This is the Sleepy History of Depression Glass, narrated by Courtney R. Written by Alicia Stefan. Tonight, we have a story for the antique hunters and historians of the world. Together, we'll be delving into the fascinating history of a particular type of glassware that evolved during the economic downturn in the United States, known as the Great Depression.

Why did this particular glassware become a symbol of both hardship and perseverance? And what legacy does it carry now, nearly a century later? We'll look into these questions and more, so just relax and let your mind drift as we explore the sleepy history of depression glass. Imagine for a moment that you have just arrived at a garden party. When you appear, you are warmly greeted by the host. Your attention is drawn to a table nearby, where pitchers of lemonade and iced tea are waiting. But it is not the drinks that delight you most. It is the glassware.

Lined up in orderly rows on a crisp white tablecloth is an eclectic assortment of goblets. They look for all the world like a collection of expensive crystal, except for one thing. They are sparkling in a rainbow of colors. Some of them are rosy pink. Others are pale green, just like the color of the grass in the spring. Still others are a gentle translucent blue color that glints delicately in the afternoon light. Transfixed, you walk up to the table and lean down, examining the glasses more carefully. You notice that each one bears a different pattern. One is floral,

another is geometric, yet another is studded with little dots. You run your finger lightly over this last one, feeling its surface and imagining its heaviness in your hand. Your friend, the host, appears at your side. She notices you admiring the glasses and explains that she inherited the goblets from her grandmother. She tells you it's called depression glass and that there are many other colors and patterns that are sought by collectors. This is how many people have come to know depression glass. Inherited from family, passed down from kitchen cabinet to box in the garage. Others have encountered it in antique stores or at yard sales.

The history of glass goes back thousands of years, but the short period when depression glass was being produced in the United States is one that intrigues modern-day collectors. Its story inspires them to search tirelessly for their favorite patterns and colors of these treasures, which were inexpensively made many years ago. The era of the Depression was not the first time such attainable glass had been produced. On the contrary, some mass production methods had been utilized already for nearly a hundred years at that point, making items like bottles less expensive. However, with the advent of depression glass, people of limited means could, for the first time,

own glassware that looked like the crystal found in wealthy homes. Thanks to fully automated factory lines and new methods for etching patterns, the speed of producing a fancy plate or goblet was increased nearly a hundredfold, requiring little human intervention. This assembly process was the innovation that saved many failing glass companies in an economic downturn. Furthermore, it made fancy-looking tableware and glass items accessible for the struggling

American families of the era, brightening their tables with much-needed cheer during a hard time. Of course, this full automation did force glassmakers to lower their quality standards. Items that were pressed into a mold and then rolled off the line without any finishing by a human hand were fraught with small imperfections such as seams and bubbles. To make up for that, however, these slightly flawed items came in a dazzling array of colors, bearing patterns that mimicked more expensive products. More importantly, they were offered very cheaply or as free incentives for purchasing other goods.

Costing little or nothing, they attracted enthusiastic customers who gladly saved and dissembled their collections piece by piece in many cases. This perhaps is why Depression Glass has garnered so many modern fans, despite its faults. Because there is really something for just about every taste within the realm of depression glass. It comes in a great many colors. It might bear an art deco pattern, or perhaps a floral one more reminiscent of the Victorians.

Or it might be restrained and simple, suiting the aesthetic of a mid-century enthusiast. Depression glass took many forms, but its defining characteristics were its inexpensive production methods and the time period in which it was created, from roughly 1929 until the mid-1940s. It was a time when glass houses were turning out a product that looked fancy, but was actually affordable. This was notable because for much of prior history, glass truly had been a precious commodity. Let's take a quick trip backwards to see why. Surprisingly, even with modern scientific advancements, historians are not able to say exactly where glassmaking first began.

For many years, it was assumed that Egypt was the point of origin. Through excavation, scientists have found glass beads there dating as far back as the third millennium BCE. Indeed, several precious glass items were found in the tomb of Tutankhamun, including a decorative writing tablet, a glass headrest, and the eyes of a mask. The inclusion of these glass items in such an exalted burial site is not surprising, since historians estimate that the value of glass at the time was nearly that of silver or gold.

At the time, glass tended to be opaque, although it appeared in both white and in colors. However, it turns out that ancient glass has been found in Egypt simply because the arid environment is good at preserving antique glass samples. There is now evidence that glass was being traded around that part of the world quite a bit, even before the time of Tutankhamen. that part of the world quite a bit, even before the time of Tutankhamen. This was probably already happening by the year 1600 BCE or thereabouts. Although the wet soils of Mesopotamia were not a good place for buried glass to survive, it is now believed that glass was being produced there, as well as in Mycenaean Greece. In fact, scientific advancements in the 1980s allowed help a researcher pinpoint the source of a particular item.

Incredibly, one type of cobalt has been tracked so closely that its source has been identified down to specific oases in Egypt. One rich source of information about the glass trade at this time in history is a sunken vessel uncovered in the 1980s called the Uluburun shipwreck. The ship is thought to be Phoenician, and it carried a large number of traded items, including ivory, tin, copper, and amber from the Baltic. Among its stores were 175 unfinished blocks of glass called ingots, which were used for glassmaking. Analysis shows that these ingots were Egyptian in origin. In short, historians now believe that unfinished glass and finished glass items were widely traded among numerous regions in the East thousands of years ago.

That's how they ended up on the Illubirin ship. When it comes to ancient documentation about glass, historians consider the first manual on glassmaking to be on cuneiform tablets in the library of an Assyrian king, dating back to about 650 BCE. The Hellenistic period, which dates from about 323 to 30 BCE, saw new techniques emerge in glassmaking. There were larger pieces being made, such as tableware. That was also a time when more colorless glass appeared and became prized.

Simultaneously, sometime in the middle of the first century BCE, glassblowing was discovered on the Levantine coast. This innovation meant that glass was now cheaper to make than pottery, and glassblowing remained a prominent influence in glassmaking well into the future. So important was this development that it's listed as a Syrian intangible heritage by UNESCO. So even as far back as 2,000 years ago, people were already making glass less expensive and more accessible. But it had a long way to go. Despite the availability of some cheaper glassmaking options, the popularity of finely cut glass

endured as a status symbol right up to the end of the 19th century. Europe was the world leader in producing this expensive product, but that changed at the time of the United States Centennial, where the years from 1876 to 1917 are known as the American Brilliant period. At that time, more than 1,000 cut glass shops were turning out products to rival the Europeans. Naturally, this labor-intensive method of producing fine crystal was expensive. It required a succession of deep cuts on metal, stone, and wooden wheels. Because of that, owning these lead crystal products was a sign of wealth.

The onset of World War I and the rise of a cheaper pressed glass product represented the end of that era, however. Following the war years, the trends shifted more dramatically when the economic climate of the Depression ushered in more than a decade of extreme thrift for the average American household. When hard times hit the American public, the demand for expensive glassware plunged. With it, the prospects of many glassmakers dimmed. In an effort to save their businesses, the owners of many of these glass houses

pivoted to find a solution. If American consumers were no longer able to foot the bill for expensive glass, what could be sold in its place? These factories began churning out products via an entirely automated process. The glass mold, rather than the glass itself, would be etched with a pattern. This process of designing the mold was expensive. However, once the form had been created, liquid glass could be pressed into this shape

over and over and over again, producing many inexpensive copies per hour. For most depression glass, once these items were out of the mold, they went straight to the consumer. No worker spent time finishing them. As a result, they tended to be rife with little imperfections such as bubbles and seams. To this day, one of the tests a collector will apply in order to weed out a modern reproduction is a careful examination of the piece.

If no imperfections are found, the item is more likely to be a modern fake and, as such, undesirable to a purist. It's not possible to definitively identify the very first of the innovators who began making depression glass. The decline of expensive crystal was gradual starting around 1917. There are depression glass patterns that are collected today, which were produced continuously for decades, beginning as early as the years of the First World War and ending after the

Second. However, paging through the collector's encyclopedia of depression glass will certainly reveal that a few of the early patterns and their makers are diverse. There is not one single pattern or glass house that can take the credit. One pioneering example is the Imperial Glass Company from Ohio, which made popular patterns with names like Amelia, Star Medallion, and Waffle. West Virginia was home to several other early adopters of the process. Today, people are still collecting patterns such as Ardith by Payton City Glass Company

and Early American Rock Crystal by McKee Glass Company. Still other pioneers of the craft were found in Pennsylvania, such as the Diamond Glass Company, or in Indiana, where the aptly named Indiana Glass Company is located, once turning out the avocado and sweet pear patterns among others. There are too many other important depression glassmakers to list now, but even so, not all factories survived this difficult period. Before the Depression, there were over 100 in operation. By the end, it was less than half of that. Some vanished due to financial distress, but others burned down. Fire was a common problem with glass factories then, and it always had been.

However, the challenges of the depression economy made it even harder for companies to rebuild after these setbacks, and many closed instead. Nonetheless, over a hundred commonly recognized oppression glass patterns were produced by about twenty of the most prolific houses, and collectors today rejoice. In fact, the wide array of colors and patterns that fall within this vintage category make it a lot of fun for modern antique enthusiasts.

Maybe you prefer an old-fashioned pattern that mimics fine crystal. Or perhaps you enjoy the heft of a hobnail-covered glass, or the dazzle of an art deco pattern. Whatever your passion, it seems there was a producer creating a pattern just for you at some time, and possibly in multiple colors. And it was, perhaps, that rainbow of color that made depression glass such a comfort to the average family in those difficult years. It was a time when most resources had to be spent only on boring essentials. Obtaining that lovely pink goblet or the cobalt blue cake plate that made your heart sing

was often more about strategy than having money in your pocket. One of the most engaging things about depression glass is the stories about how people got their hands on it. It was certainly true that people were buying this inexpensive product with what money they did have. The products were sold in very accessible outlets such as the grocery store, the five-in-dime, and the mail order catalog.

But this new type of glass was so cheaply made that it was also used as an incentive to get consumers to purchase other things. A mind-boggling array of glass pieces were given away as free rewards for purchasing bigger ticket items like appliances or even periodical subscriptions. In their popular guide to depression glass, Jean and Kathy Florence tell a story about a box of 36 tumblers from the Federal Glass Company that was discovered in Chicago. They had once been provided as a newspaper subscriber giveaway, and this box was the leftovers stashed in a storage space for years.

That's just one concrete example of how glass was distributed for free. There was also a phenomenon called Dish Night at the movies, where people who bought a ticket would receive a dish as a freebie. That is something that would be hard to picture nowadays, walking in to see a movie and walking out holding a new plate. Even more unexpectedly, glassware was often nestled inside packaged items like cereal, boxes of oats, and even bags of flour. When it comes to the flour, this meant that both the inside and the outside of the flour

bag were now serving multiple purposes. Companies began printing their flour sacks in appealing patterns so they could be repurposed into clothing for women and children. Meanwhile, many a family acquired a growing stack of items like cake plates as one after another was delivered inside their flower bag. One must give an appreciative nod back through the decades to the company employee who decided on the connection between the flour and the type of plate that should go inside it, namely a cake plate.

Experts say that these cake plates were often simply repurposed as dinner plates, which exemplifies the ingenuity of the period. People really knew how to make do. One of the most famous giveaway schemes for glassware was the Quaker Oats promotions. Their packages contain small plates, bowls, and cups, which came to be known as oatmeal glass, not for their composition, but for their delivery method. The Collector's Encyclopedia of Depression glass also shows a photo for another such giveaway by Albers Wheat. The package reads, Albers Roseware Flaked Wheat, and it features a picture of a set of beautifully etched pink glassware.

At the bottom, a banner declares there is a piece of roseware in every package. It's easy to imagine that opening those special promotional boxes was the most excited a person could ever get about flaked wheat. Other famous patterns once were sold as incentives to buy prepared foods that Depression-era families might otherwise make it home. A perfect example is the lovely Mayfair pattern by Hawking Glass Company. Kathy and Jean Florence characterized it in their 2010 guide as the most popular 1930s Depression glass pattern in the United States.

They specifically mention the pink jar that many families have passed down through the generations. These were used as attractive containers to entice folks to purchase store-bought cookies and soaps instead of making them from scratch. And the Mayfair pattern is a perfect example of a set where one color is plentiful and another is much more rare. In this case, it's the blue that tends to elude collectors most often, whereas the pink is easier to find. Pink, blue, green, amber, red. Even opaque, the list goes on. Speaking of colors, how about those other vintage types of glass people associate with the early 19th century?

For example, the opaque pieces called milk glass, or the shining metallic gold ones, or even the thrilling glow-in-the-dark uranium glass. Are those not depression glasses as well? This question might cross the mind of many an antiques hunter who has browsed the local flea market. The answer is, not particularly. In fact, although the untrained glass seeker might just think that these items are all from about the same time, many of them were produced before and perhaps after the Depression in greater numbers.

They are still sought after, but they are not typical depression glass. Take for example the opaque variety called milk glass. Many of us, even those who do not collect such things, might still easily conjure up an accurate image of what milk glass is. If you think back to the beginning of our story, you might recall that the oldest glass from thousands of years ago was opaque. It came in different colors, and white glass was among them, dating to a time as early as 1500 BCE. However, the term milk glass generally refers to white glass made beginning in about 1835,

and generally in England or America. The earliest milk glass was faintly gray in appearance. Later, due to chemical advancements, it became a more saturated ivory. Milk glass was produced fairly inexpensively, becoming a porcelain that the rising middle class could actually afford. It was found in tableware, dresser sets, and even more specialty items such as smoke sets and toothpick holders. According to an article from Martha Stewart on the topic, the most avid milk glass collectors

fall into two camps. There are those who look for the Victorian type, which would likely be some shade of white and date between 1870 and 1910. Then there are those who collect items from the Renaissance of milk glass that occurred in the 1950s. For people who may picture it in green, blue, pink, or even a swirled color called slag, that may be because they saw it at their grandparents' or parents' homes in the mid-20th century. The post-war revival of milk glass is what generated the rainbow of colors you'll find in antique stores now.

This doesn't mean that there was no milk glass made during the Depression. In fact, there was. However, it actually tends to hold less value than milk glass from other periods, because of the lower quality of most of the glass from that era. Like all depression glass, it will show flaws that milk glass collectors are not necessarily seeking as part of the craft. This is not to say that all glassware produced prior to the Depression was exalted in quality. In fact, the early precursor to the genre of Depression glass was a flashy product that

is now called Carnival Glass. This mass-produced metallic product first appeared in the early 1900s, reaching its peak in the 1920s. Created to mimic expensive brands like Tiffany, it is a molded or pressed glass with an iridescent surface shimmer. One of the most fanciful sounding subsets of this shining product was called Goofus Glass.

This is a product in which the finished item was decorated with unfired enamel paint in gold and other colors. In 1908, the Fenton Art Glass Company launched a line called Iridil, and it started out with a premium price tag. Unfortunately, Iridil didn't sell for big money, and it was subsequently marked down so far in price that carnivals started using the pieces as prizes, along with the earlier Goofus glass. At a time when electricity was still unattainable for lower-income houses, having metallic glass on the table, catching the light, was a way for people to brighten their living spaces.

Carnival glass, therefore, became quite popular. Interest in carnival glass waned in the late 1920s, just as true depression glass began to rise. So the truth is, most carnival items made in the United States date to the years prior to 1925, and by 1931 it had taken a clear backseat to other types of glass. Interest in it has surged in the modern age, as collectors discover its glittering charms. But it is not, primarily, depression glass. Carnival glass endures in its own flamboyant category.

Another collector's item that might be confused with depression glass is uranium glass. Just the name of it may inspire concern in modern contexts, but never fear. Uranium glass was actually safe to use. Although some ancient pieces contain traces of the element accidentally, the discovery of uranium and its purposeful use in glass came much later. As an element, it was first identified by a German chemist, and the same man then placed uranium in the service of glassmaking in 1789. This luminous product quickly spread to England, across Europe, and then to the United States. In order to make it, uranium is added to the glass before melting.

The amount varies, although it is generally just a trace up to 2% of the material. That's all it takes to create a cup, bowl, or vase that literally fluoresces in ultraviolet light. Uranium glass is often called Vaseline glass, after the famous petroleum jelly. But most collectors disagree with that designation, because it implies that all uranium glass is a yellow color. While yellow is common, it can also be found in pink, which is known as Burmese, or in jadeite, which is green. And that is not an exhaustive list, as there are many other shades.

As is the case with milk glass and carnival glass, some uranium glass was sold during the Depression. However, its production was halted by the early 1940s, as war restrictions on uranium supply severely curtailed its use. Because of this, a collector is actually less likely to find uranium glass among products from the Depression years. Its association with the Depression is both brief and unremarkable. There is one special subset of depression glass that is worth mentioning, because it's a niche for collectors.

This category is called elegant glass. In some cases, mass-produced patterns were put through the automated process and then carefully finished by an artisan. The places where this occurred were called hand houses. In this process, a higher quality product was created by allowing a person to look the piece over before it left the factory, Fire polishing smoothed seams. Base grinding ensured the bottom rested evenly on the surface.

Acid etching added flourishes, and decoration with enamel, gold, or platinum might have been done. These labor-intensive methods resulted in a product that was sold in finer stores, sometimes marketed as wedding or special occasion tableware. It was a midway point in quality and prestige between fine china and cheaper depression glass. Most of these handhouses did close by the 1950s, but elegant depression glass is still prized by some collectors.

The original owners of mass-produced depression glass might be surprised at its modern appeal. Today, an item that cost pennies nearly a hundred years ago may go for hundreds, or occasionally, thousands of dollars. The value of any particular pattern, color, or type of item is not fixed. type of item is not fixed. Patterns and colors go up and down in value, along with changing tastes and fluctuating demand. Not all original depression glass is expensive now, nor does all of it appreciate in value with each passing year. Collecting these pretty, rainbow-colored items for nostalgic reasons first became popular in the 1970s.

This was no doubt to the surprise of the original owners, who had stashed them in their cabinets. But the beauty of Depression Glass is that it has always brought joy and color into people's lives, first during the drab years of its origin, and later as an attainable link to the past. Glass clubs exist around the world now, allowing enthusiasts to discuss patterns, share finds, and trade pieces. And it is widely acknowledged that a pattern's true value lies in the delight it brings the collector.

With a small amount of money, a new glass hunter may begin assembling a set. Later, they may spend years hunting down the perfect missing piece, perhaps at a premium. Whatever the level of their investment, along the way they will have lots of friendly company in their quest. There's a saying in Depression Glass circles that the mind-boggling number of original patterns encompasses Adam to Windsor, and indeed, those are the names of the sets that begin and end the Florence Collector's Encyclopedia. Within that spectrum, if you are a lover of depression glass, there is something for just about everyone. And that, when you think about it,

is probably the best way to describe its charm. A plate for every cake. A jar for every cookie. A glass to raise in a toast. To innovation and just a little bit of luxury for everyone. one. You You You You You You You The You You You You You You You You.. you