Brilliant Cut Glass - The Uncut Story

By Robert Reed

As seen in The Antique Shoppe Newspaper, July 2008 

The true brilliant cut glass period didn't last long in historical terms but it produced an impressive array of products that still dazzle the eye today.

Even the remarkable process of 'carving' specialized glass into shining objects for display had been around for centuries. But by the 1880s as the world danced in the moonlight of the Gilded Age and took a fancy to Art Nouveau, it was suddenly a proper time for the brilliant cut glass period.

"It was characterized by deep cutting, exceptional brilliance, heavy lead crystal formulas, and very elaborate and ornate designs," explains Mark Pickvet author of the comprehensive Official Price Guide to Glassware, 3rd edition.

America got its first serious look at the charm of brilliant cut glass during the1876 Centennial Exhibition in Philadelphia. Firms like the New England Glass Company, C. Doffinger, and Gillinder & Sons offered up their best and brightest examples. Many of the United State's glass making factories were undergoing both technological and industrial growth during that period.

By the early 1880s numerous firms were in tune with the potential of a flashier and more expansive glassware for households of the well to do. The economy for many was good too. "In many cases good taste was hastily elbowed aside by the desperate need for display," writes Emma Paper in The Illustrated Guide to American Glass, such a mood was "often expressed through the medium of brilliant or rich-cut glass."

Moreover as glass factories expanded there was a detectible move westward where new sources of fuel were available and open land was more abundant. During the 1880s Gillinder and Sons moved their cut glass operation to Greensburg, Pennsylvania. What was once the New England Glass Company was relocated to Ohio as the Libbey Glass Company. Other companies also turned their attention to more extensive production of cut glass either by plant relocation or by internal reorganization.

Names like Doffinger, Gillinder, Libbey, Pairpoint (which was the successor of the Mount Washington Glass Company), and C.F. Monroe were becoming attractive brands for brilliant cut glass by the 1890s. During the World's Columbian Exhibition of 1893 in Chicago the Libbey went so far as to erect a full-scale glass house where vast amounts of cut glass were sold to throngs of visitors.

Customers around the country marveled at the way brilliant cut glass was made and at the wondrous visions it held. Such glass typically had deep faceting in its overall patterns. Much of the decorative cutting centered on the basic diamond pattern which had been a standard many years before. However at the late 19th century certain technical advancements allowed for even deeper cuts into the glass than before. More extensive use of natural gas heat and more refined equipment enhanced both the bushing and the cutting of the glass.

Generally the cut glass design concentrated on spectacular curved splits to divide each design field. The backgrounds would then be filled in with countless minor details. The full process, not all that different in the various glass making plants, called for the incorporation of numerous patterns. Technically hundreds of individual patterns were the exclusive property of an individual maker. In some cases highly detailed patented with the federal government. However in reality the patterns were closely imitated by other manufacturers hoping to beat the competition and meet the growing demand for such striking glass pieces.

The Pairpoint Company made use of what was called a cushion pattern which basically involved the use of repetitive squares. Other fundamental designs involved the use of rosettes, fans, buzz stars, flutes, strawberry diamonds, assorted geometric cuts, and the waffle grid. On occasion the standard waffle grid was extended into an expanded diamond pattern, and sometimes combined with cross-hatching or stars.

To the question of exactly what items were manufactured of cut glass during the so-called brilliant period, the flippant answer might be nearly everything. There were bowls of various sizes, compotes, celery trays and flower baskets. Additionally there were matching cups on a mirrored plateau (flat tray or serving plate), pickle dishes, jugs, for a variety of drinks. Elsewhere was the three-footed rose bowl, candle sticks, large pitchers, ink wells, berry bowls, and jars for everything from cigars to jelly.

"The demand for cut glass has induced us to offer a few items of the best value to be found," noted the Montgomery Ward mail order catalog in 1895.

Foremost at the firm was the strawberry and fan 'cutting' pattern. "Each piece is splendidly cut and useful....it is beautiful to offer for presents, wedding gifts, etc."

Among the items offered by Ward in the 1890s were the cut glass salad bowl, fruit bow, "Nappie Jelly or Olive dish," vinegar bottle, sugar and cream, and salt and pepper shakers. The salt and peppers with silver plated tops sold for 25 cents each.

The splendor of cut glass and the public's fascination with it continued steadily into the 20th century.

At the 1904 Louisiana Purchase Exposition in St. Louis the Libbey Glass Company dazzled fair goers with a massive cut glass punch bowl complete with 23 matching cups. It was boldly described as "the largest and most elaborate ever produced," and valued at $2,700. Crafted by John Rufus Denman the punch bowl was awarded a gold metal by exposition judges. Denman had also cut the glass of a three-piece table for Libbey's which was almost three feet tall. Even taller was a kerosene floor lamp produced and cut at Libbey's which stood a full five feet tall.

Sears and Roebuck advertised a full range of cut glassware in 1908. Their pride and joy was a salad, berry and sauce dish "cut in the delicate and beautiful chrysanthemum pattern." The firm declared further, "the cutting is exceedingly rich, heavy and elaborate, consisting of six hob stars of 20 points each, six sections of silver basket cutting, and other beautiful and effective decorations."

This nine-inch multiple purpose cut glass dish had a retail price of  $4.25. Just a few years later the once thriving demand for cut glassware showed signs of dwindling.

"Cheaper glass formulas, labor troubles, increased imports, more and more machine-made glass, and lead need for the war effort (World War I) were all factors leading to the end of the brilliant period in American glass history," according to Pickvet.

Moreover there were changes in direct production. After 1910 there was a tendency toward leaving small areas of the surface plain. Large flowers came into favor, and often the basic patterns of the 1890s were simply enlarged in scale to provide heightened contrasts for plain areas.

"Considering the technical feats, the late cut glass is remarkable," wrote Marvin Schwartz some decades later in the book Collector's Guide to Antique American Glass. "Not withstanding the great amount of highly repetitious designs, there were important examples of the (brilliant) period that are distinctive documents in the history of decorative arts..."

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