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Dugan Peach Opal - Part 3
DUGAN PEACH OPAL - Part 3
Variations in this color loosely referred to as 揚each Opal?are many. We believe this to be the reason prices fluctuate and interest varies among collectors. At one time we owned thirteen different patterns in peach opal. They sat together in an alcove on a stair landing in our San Diego home. One morning as I came downstairs, ready to leave for work, the morning sun shone broadly across that grouping. Lovely as each example was (in our view), it suddenly occurred to me the likely reason we had never heard of a 損each opal collector?! Coloration on none of those examples was like that of any other and sitting there together, could never be related to one another, such as one places the ice blues, greens, white, etc. together in display areas. In this segment, we have displayed examples of these color variations to illustrate our point. This is not to say that there is anything whatsoever wrong with a single example (in its own right). However, we believe you will agree that the term 損each opal?covers a very wide swath of color scope.
SKI-STAR Banana Boat: This bowl has the dome foot and is 9?in size. Amethyst banana bowls are known, as well. Using a favorite expression of ours, 揑ridescence IS The Essence?/FONT>, this banana boat certainly meets the criteria.
By the way: That term is the motto of the San Diego Carnival Glass Club, which we instigated in June of 1985! We consider it to be a 損rofound?statement and directly to the point toward which most collectors strive! Brilliant color with pronounced yellow highlights on this piece.
SKI-STAR Hand-grip Plate: Solid yellow iridescence in this plate is highly unusual, but continues in the context of Dugan Peach Opalescence. It is with such variation within a given color that we begin to grasp the meaning of 揳 little of this and a little of that?when it comes to mixing ingredients. We might even suggest that preferences of color intensity were as individual as the 搈an in charge of mixing elements?on any given shift.
We can certainly observe this variation in Northwood pieces. History relates that 12 year old youngsters were given the job of iridizing. Consider the fact that all too many Northwood examples have a 搒pray of some color on one side of the piece, and an entirely different spray of color on the opposing side!?Childish preference at its best!
With this in mind, we learned from John Muehlbauer very early on that the pieces of Northwood to concentrate on are the ones which, when held in one hand, and turned slowly in a circle, one discovers that color 揻ollows all the way around the piece?
Ski - Star appears in the 1910-1911 wholesale catalogs, primarily in peach opalescent. All known shapes display the Compass design on the exterior. Compass was a carry-over design from opalescent production in 1907. By 1912, Ski-Star had disappeared from wholesale catalogs, indicating that molds were lost to the 1912 fire. However, in its short production life, Ski-Star was made in a large variety of shapes. Limited color variety is a factor. Some of the shapes are available in amethyst, with only the large (10?11? and small (5?6? ruffled bowls found in marigold.
揚umpkin Perfect?/U> would be correct terminology for describing this hand-grip plate!
COMPASS: This design is found on the exterior of various Ski-Star bowls. It is a near cut design which was used in earlier non-iridized opalescent glass.
REGARDING MOULD MARKS: As the mould wears with repeated heating and cooling from constant use, the two or three part moulds will not come together tightly over time. This allows glass to be forced out at a given point.
You may have noticed pieces with a ridge of glass where the mould comes together leaving a small glob along the edge, usually on the under-side. To correct this problem, the machinist uses a blunt chisel, flattened on the point, creating a small rectangle as noted in our photos. He will hit the chisel quite hard, forcing the cast iron to compress on each side of the mould where the glass was being forced out. This action forces the two sides of the mould together for correct fit. This process is called BRUISING.
RAINDROPS: This pattern is found as an interior design on 8?9?dome footed bowls in a myriad of shape variations. The exterior pattern is called KEYHOLE; one of the designs carried over from earlier opalescent production. Edge treatments can be ruffled, tightly crimped, have a three-in-one edge, or offer the typical Dugan edge shaping of 10 flat, squared ruffles. Some edges are so deeply crimped that it stands nearly 5?high. Peach opal is the most frequently found color and most examples offer a very deep, rich color with heavy opalescence. Well worth finding, but seen far less often, are the rich amethyst examples. Oxblood is another color sometimes found in this pattern. There are no known marigold bowls in Raindrops pattern. Banana boat shapes are not easily found. Notice the bright pink highlights in this bowl.
FLOWERS & SPADES: is a pattern found only on 5? 6攁nd 10?bowls. There is no exterior pattern. It likely dates to the 1911-1912 production period, but it most certainly qualifies for the 搑are-so-what?category, arousing very little interest (for the simple fact that many collectors have never seen an example). Make no mistake: it is a VERY scarce commodity, with some years of carnival glass auctions passing by without offering any of this design! Amethyst and peach opalescent are standard colors for these ruffled bowls. An ice cream shaped 10?amethyst bowl is known. No marigold or green examples have been confirmed. Perhaps the molds were lost in the 1912 fire. This might explain the rarity as a result of short production? The color of this piece could be classified as rust tones, yet it is in the realm of peach opal.
HONEYCOMB: The name gives rise to the familiar rosebowl by this name. A variation of the Honeycomb pattern is found on the interior surface of small 5? 7?bowls and 7?plates. The center area is plain and unpatterned, whereas the pattern called Fishscale & Beads covers the entire inner surface. (This should help you discern between the two designs.) The exterior can be plain or offer the Flowers & Beads design. Tightly crimped or candy ribbon edge are the usual treatment found. Marigold, amethyst, and oxblood are additional colors found in both sizes of bowls and the plate shape. Here again is that rust tone seen in Flowers & Spades.
FOLDING FAN: Ruffled top, a round, deep-shaped top, a tightly crimped edge, a banana shaped top and the design on the interior of these compotes make for an interesting small compote. Marigold, amethyst and peach opalescent are the total color spectrum. Amethyst should be considered quite rare, with more peach opal examples than marigold. Light peach opal appears on this compote; pretty in its own right!
FOUR FLOWERS: (Early collectors called this pattern Pods & Posies) - Among the most popular of Dugan patterns, Four Flowers came on the scene in wholesale catalogs of 1911. 10?chop plates and accompanying small plates of 6 ½?in marigold, amethyst and peach opalescent, 8?9?bowls in marigold, amethyst, peach opal, cobalt blue, amber, green, vaseline, and teal, as well as 5?6?bowls in amethyst and peach opal, a banana shape bowl in amethyst and peach opal, a triangular bowl found in peach opalescent only and a rose bowl shape made in marigold and amethyst are available in this pattern. A 10?ice cream shaped bowl is said to be the rarest shape in Four Flowers. You can look for it in amethyst and peach opal.
SODA GOLD exterior pattern is found on some examples of bowls, as well as on a single peach opal chop plate.
Opposing peach tones certainly come to light as we view the two examples in this pattern! Iridescence is the Essence in more ways than one!
The tonal choice is individual!
Dean & Diane Fry 11-07
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