SILVER OVERLAY GLASS
Silver has been used to decorate bronze, copper, and earthenware for ages. Silver on glass, however,
started to come into its own a little over a century ago.
In 1889 Oscar Pierre Erard of Birmingham, England, developed an effective method of electroplating silver
on glass and porcelain. Although beautiful on the outside, it shared an important shorcoming with its
predecessors. The reverse side of the silver design, the side next to the glass would tarnish and turn dark.
In clear plates, bowls, dishes and glasses this unsightly result was hardly condusive to a hearty appetite.
In 1893, an American from New Jersey by the name of John H. Scharling patented a method no less simple or
beautiful than Erard's creation, but with a distinct advantage. The reverse side of the design was snow
white and it stayed that way indefinitely. Like Erard's method, Sharling's designs utilized electroplating.
He shared his new process with all, both domestic and European. By 1895, the Czechs, Italians, French,
English and Austrians were producing exciting glassware with sterling deposit and overlay.
Not to be outdone, US makers began producing copiously. From 1895 to the late 1920s, this elegant and
exciting manifestation of the glassmaker and silversmith's art garnered its own avid following, just
short of becoming a decorative rage.
Silver overlay and silver deposit were regarded as an exquisite, special gift or accent for that certain
table or shelf. A few nice pieces of overlay were as evident in the genteel home as a piano in those
days of refined, yet simple pleasures.
The Great Depression caused many of the glass companies to either go out of business or resort to
specializing in cheaper, more affordable glassware.
The era of expensive sterling silver applied to glass was all but over and not may pieces can be found
that were manufactured after the mid-1930s.
All overlay glasses have a design in silver 'electroplated' into the glass using electrolytic tecnique.
The techniques of depositing the silver involve painting the design onto the glass with flux containing
silver mixed with turpentine, firing this design in a kiln, cooling and cleaning the glass and then
immersing it in a solution of silver through which a tiny electric current was passed.
The silver was then built up on the area where the design had been painted.
An alternative method involved coating the whole surface with silver, painting the design onto the silver
with a 'resist' and then dissolving away the unwanted parts of the silver.
This is a glass tray with a large floral silver overlay decoration.
Its origin is unknown but I believe
it was made in USA, circa 1930/1940. The tray is 9 1/2 in. wide (cm. 24) and I was suggested that the maker
was Rockwell Silver Company, Meriden, CT
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