Compote 1870 - 1890

Editor: Here we have "Compote," made between 1870 and 1890 by Adams and Company. It's this really striking, delicate green glass. It's… cute, almost, but also feels quite formal. What should we be noticing in terms of understanding this object? Curator: I think it’s crucial to consider this object within the context of 19th-century American industrial production. Mass-produced glass like this democratized access to luxury goods. How does the color, this almost artificial green, play into Victorian-era tastes and chemical advancements in colorizing glass? Editor: That's a good point. It doesn't feel handmade, exactly. Were these pieces widely available? Were they seen as disposable, or were they still valued objects? Curator: The dichotomy is key. Yes, these were relatively accessible due to industrialization, but that doesn’t necessarily equate to disposability. Consider the labor involved, even within a factory setting, and how that labor adds value. Think of this object as a bridge: a collision between art and craft under mass production. Were women part of the manufacturing in a significant way? Editor: So we should look at it less as just a pretty bowl and more as an artifact of manufacturing and labor history? I wonder if the bubble design made it easier to mold. Curator: Precisely! Examine the technical processes and labor practices of the Adams and Company factory. The bubble design isn’t merely decorative; it could serve a structural or production purpose that reduces waste, increasing manufacturing throughput.. By shifting our focus to material conditions, we unpack the layers of meaning embedded within this seemingly simple "Compote." Editor: Okay, that definitely gives me a different way to look at it. Thanks. Curator: And, hopefully, a more informed understanding of decorative arts beyond the surface level.