“The patent process for puffy shades is largely lost. Available still is the surface knowledge of acidification of the exterior of the blank shade that gives it the filmy, gauzy look. Women reverse painted the lamps, then the lamps were baked in a kiln. This made them very durable and strong and with thick shades to accommodate the puffiness. They were inexpensive to wholesalers at the time-thirteen dollars, whereas carriage trade retail customers could pay as much as one hundred twenty dollars to Tiffanys or Eatons, Canada-compared with those painted in house by the male artists, who painted on traditional, straighter line shades such as the Berkley or Carlisle.
“Shades of other companies’ lamps of the period, with some few exceptions like Handel, cold painted the inside of their shades. However, not baked, they flaked over the years and broke off. This distinguishes them from the Pairpoint puffy.”
Pereira’s prized Easter Bonnet/Rose Bonnet puffy lamp is, he claimed, “probably the third most valuable and desirable. By last count only a half dozen exist. The layered richness of the lamp lies in its depiction of not just flowers but butterflies and in a shape making it particularly spectacular.” Read the entire article at the Antique Digest… thank you!! http://www.maineantiquedigest.com/stories/?id=416
This is my favorite lamp, my son’s football got close to it a few times but it survived! Hey thanks for reading my blog!