Brockwitz
It is more than 20 years since the Carnival
Glass Society (UK) and Ray Notley first put the name Brockwitz into the carnival glass vocabulary. Since then
there has been an enormous amount of research and further, significant discoveries by us and by other glass
researchers. In the early 1990s, we worked with glass researcher, Bob Smith and were able to document many
Brockwitz patterns and shapes, through the catalogues that Bob had sourced. We then worked with Siegmar
Gieselberger in Germany, and even more catalogues appeared for study, courtesy of Dieter Neumann. Today we have
an almost unimaginable resource of information at our fingertips - and still fresh items continue to be
discovered.
In 2006 we, and other members of the Carnival
Glass Society put on a magnificent display of Brockwitz Carnival Glass, so unique and utterly
show-stopping that it was undoubtedly an International First. It was impressive, comprehensive and educational.
Quite frankly it was mesmerising and absolutely mind-blowing. But most of all it was simply beautiful. Sincere
and heartfelt thanks to everyone who helped and contributed. There were almost 150 pieces of glass and 40
different patterns shown in the display, including some that we hadn’t even seen before. What is so fascinating
about Brockwitz is that previously unknown shapes and patterns still turn up. See pictures of the amazing display here.
What
Brockwitz was all about.
The first pieces of glass were poured in the Brockwitz glass factory on the very first day of January in 1904.
Three hundred workers were employed at the factory when it began. In ten years the number of workers had doubled.
That number was to double yet again to a staggering twelve hundred workers by 1927, just twenty or so years after
the factory was established - a phenomenal rate of growth.
Typical German efficiency and skill, coupled with clever investment and a naturally good location, had resulted in
a rapid rise in growth and output. The glassworks was massive: located on the bank of the River Elbe in Saxony, it
had great transport links as well as a cheap, local supply of fuel - lignite, otherwise known as brown coal. Brown
Gold more like! Tax free and easy to excavate, the lignite was converted into gas to power the 8 melting furnaces
at the factory.
Brockwitz had grown fast, its output was top notch and its reputation spread quickly - and it was devoted entirely
to the mass production of quality pressed glass. A special visit to the factory was organised in 1928 by a group of
English glassmakers. Their report lets us step back in time some 80 years to see the factory as they did.
The study group noted that there was a huge amount of room for both factory expansion and also to provide housing
for the workers - not something that was typically done in English glass works.
The visiting glassmakers also reported that pretty much everything at Brockwitz was done “in house”. They made
their own moulds, their own melting pots and their own engineering machinery. In fact Brockwitz had “an army of
engineers and mechanics” and even housed a lot of workers on site. They also observed that there was efficient and
innovative semi-automation for the actual pressing of glass - for example, they could work 6 different moulds at
the same time. Here’s how the contemporary report explained it:
“In the case of one automatic press there was a revolving table containing a number of different moulds, and
pressing was proceeding in half a dozen of these simultaneously; it seemed to be a case of mass production, but
adjustable for small orders.”
When did Brockwitz begin
making glass?
It was 1904. In fact it was the very first day of January 1904. There were 300 people employed there at that time.
Ten years later they had doubled their workforce to 600. Of especial interest is the date when they began to make
Carnival. It is much earlier than originally thought - indeed the answer only recently came to light when early
catalogues from 1915 were found. Shapes in Curved Star and Rose Garden (see below) are shown in Carnival Glass,
which was described as "GOLDIRIS" and "mit eingebranntem LÜSTERDEKOR" (fired on iridescence).
This means that Brockwitz were making Carnival Glass at the same time as Northwood, Fenton, Dugan &
Imperial and to refer to Brockwitz as “Secondary” Carnival is incorrect. They began at least as early as
1915 (which is the date of the first currently known catalogue) - and may well have been making Carnival several
years prior to that. Perhaps we should refer to Brockwitz Carnival as Classic European Carnival Glass?
By the mid 1920s the flow of Carnival was probably at its peak - and at that point there were over 1200 people
employed at Brockwitz. That’s an astonishing number, which reflects their phenomenal rate of growth and their
massive operation. Brockwitz undoubtedly capitalised on good investment, typical German efficiency and an excellent
natural location.
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Curved Star comport in blue: 4.75" high.
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What are the Signature
Characteristics of Brockwitz Carnival?
PATTERNS
Brockwitz patterns are mainly intaglio, imitation cut, designs - geometric or stylised florals -
or more likely a combination of both. The jewel-like appearance of these imitation cut designs allows
for the iridescent effect to be maximised on all the “cut” surfaces. One exception is the Sungold
Floral bowl - which is cameo, the pattern standing up off the surface, like most of the Classic USA
patterns do. But Brockwitz were very clever! Occasionally they created a design that was a mixture of
both intaglio and cameo mould-work. Their Rom (Rome) pattern, which is an intricate geometric, has some
parts of the design that are intaglio i.e. below the surface and parts that stand up from the surface
i.e. cameo.
Patterns were usually exterior - they didn’t generally employ interior designs. One major
exception was Headdress, which can be found mainly on some Curved Star bowls, as well as some Nutmeg
Grater ones too. As we now also know that Brockwitz were producing in 1915 and possibly earlier, it’s
possible that many designs will actually date from this time. |
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Sunflower & Diamond blue 9" vase.
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COLOURS
Most collectors know by now that Brockwitz used two main iridised colours only -
marigold (Goldiris) and blue. It is probably fair to say that marigold is more available than blue
- in fact some patterns/shapes are not yet reported in blue.
Conversely, we can only think of one Brockwitz piece that is known in
blue, but not marigold, and that is the Draped Arcs bowl. We don’t know of a Regina Star vase in
marigold, but it’s such a scarce piece….
It’s important to note that the quality of iridescence on Brockwitz
Carnival was second to none. It is truly outstanding - a fact that was clearly shown by the
mesmerising effect of the CGS display.
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Medium size Rose Garden "letter" or oval vase in
marigold (7.5").
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SHAPES
Brockwitz made an incredible range of shapes, primarily as domestic
ware, ranging from massive epergnes, table centrepieces and large, showy vases down to diminutive
little bowls that could fit inside your pocket. There were also unusual religious articles like the
Christ and Maria candlesticks; decanter sets and water sets for drinks; flower holders with metal
mesh tops plus biscuit barrels and pickle jar with lids. Many items were made in a multitude of
different sizes in the same shape and pattern: a good example is Curved Star, which features a very
wide range of shapes, such as the scarece miniature comport shown above.
Most Brockwitz items were “as moulded” - thus, like the two examples
shown here, the vases were not swung, and usually pieces were not ruffled (there are exceptions,
like the Sungold Floral items).
An interesting shape is the Texas Tumbler (see picture in CGS
display). Despite its quaint name, it is generally thought to be a celery vase, however, in the
catalogues it was actually called a "traubenspuler" - and was for washing grapes! And it’s actually
part of the Northern Lights pattern range, just to add another dimension to its
complexity.
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DESIGN DETAILS
Brockwitz made high quality glass and often you can also find careful little touches, such as a
matching shaped groove on the base of master bowls into which an upturned stemmed sugar bowl fits to make a
centrepiece. Cleverly engineered and threaded glass “screws” that fit the parts of epergnes together, were also a
Brockwitz “touch”.
A ground base is almost always present on Brockwitz Carnival. It’s not the mirror shiny polish that it found on
Inwald’s glass, but it is nevertheless a carefully done “grind” that sometimes also has little chips.
What about Brockwitz trademarks?
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In their early years (and shown on their 1915 catalogue) Brockwitz
had a trademark design of three flowers on stems with the letters GAB, which stands for Glasfabrik
Aktiengesellschaft Brockwitz (Aktiengesellschaft means a Limited Company) - see left.
Not only was this on their catalogues, it was actually moulded into
some of their early glass - but not on their Carnival.
Twenty years later Brockwitz were
using a trademark that featured crossed swords and the letter B. They went from flowers to weapons
in 20 years! Later still, we know that some deco style items (not Carnival) had the pressed word
DEUTSCHLAND on them. So, to the best of our knowledge, no Carnival has been found bearing any
Brockwitz trademark, despite the fact that they did occasionally use it on their glass.
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Where did Brockwitz export
Carnival to?
Unquestionably, one of the main areas that Brockwitz Carnival was exported to was the United Kingdom. Most
collections in the UK feature at least one example, and often a great deal more. In fact almost every recorded
Brockwitz pattern has been found in the UK at some point in time, indeed it is arguably the richest source in the
entire world for Brockwitz Carnival Glass. It’s a bit contrary - you’d think there would be more in Germany where
it was made - but in fact they kept very little for the home market.
So, where else was Brockwitz exported (and of course, this means where is it found today)? Certainly some went to
North and South America, in fact there’s rather a lot in Argentina (especially water sets and cordial sets). Some
was certainly exported to Australia too, though we hear they would have preferred more though! It was also sent to
Europe (some even went to Eastern Europe) and undoubtedly a quantity went to Scandinavia. In fact the Swedes tend
to claim anything in Carnival as Eda, whether it is or not!
So how, when and why did this amazing glass factory meet its Waterloo?
In the late 1920s there were twelve hundred workers at Brockwitz. The company was a major player on the
international glass scene. Twenty years later, Brockwitz was on its knees, struggling to survive.
Why? It was a Double Whammy; a combination of the Great Depression and World War Two. During the war the factory
had been pretty much turned over to the production of glass for military purposes (tank windows and glass
weaponry). There was a 1941 catalogue, and there was still some domestic glass output, but it was small.
After the war, Brockwitz was in the Russian controlled part of East Germany and all materials and tools were taken
away to the USSR. There were a few attempts to revive the plant, but nothing really worked, and a fire in the 1960s
razed what was left of the buildings to the ground. The glory that was Brockwitz was at an end. Their legacy lives
on in some of the finest Carnival Glass in existence.
Beautiful dazzling patterns – crafted with
artistry and skill. Lustrous, scintillating
iridescence - shimmering with colour and light. Magnificent, breathtaking shapes - from exquisite miniatures to
majestic epergnes.
This is not just Carnival Glass
This is Brockwitz Carnival Glass!
Visit the Brockwitz Carnival Glass Gallery to see some stunning
examples of Brockwitz's amazing Carnival Glass
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