American Brilliant Cut Glass

Glass has been cut in America for over 200 years and during the Victorian Era more cut glass was made in America than in any other time in its history. In the latter part of the nineteenth century a distinctly American style of cut glass bloomed. This glass had such clarity and brilliance that it was called American Brilliant Cut Glass. This is the glass on which I would like to concentrate.

To understand the periods of American cut glass production, the Boggess s in their book, American Brilliant Cut Glass, divided the production into three periods.

During the Early Period (1830-1876) most of the cutters were of European decent, so they used shallow cuts and simple patterns with etching and engraving. Most companies produced shades and globes for lamps, with only a few producing tableware.

The Brilliant Period (1876-1906) started at the Centennial Exposition in Philadelphia where several American companies exhibited an elegant prismatic glass that was a tribute to American artistry. The glass cut during this period had fewer impurities, was heavier because of its lead content, and had original and intricately cut patterns. English glass had a slightly yellowish cast and weighed less while Irish and Bohemian glass had a slightly grayish cast. American glass from this period is appreciated because of the variety of pieces and the exquisite, labor-intensive cuts.

During the Flower Period (1906-1916), patterns with natural designs such as plants, butterflies, and birds dominated. Flowers, mainly daises, were frequently used. Cost-cutting efforts produced a gradual decline in the quality of glass during this time.

Considerable knowledge is needed to select good pieces of brilliant cut glass. Some of the things to look for are the following:

1. Hand-polished pieces are preferred over acid-polished ones. The first brilliant cut glass was hand-polished with a wooden wheel and pumice while brushes containing an abrasive polished the smaller parts. Later, to cut costs, an acid bath was used which softened the sharp cuts, and diminished the brilliance. The acid gave a watery, highly glossy look to the clear parts and the shine was not as natural as hand polishing.

2. Hand-blown blanks are preferred over mold-blown blanks, and mold-blown blanks are preferred over figured blanks. The blank should be thick, heavy, and have a luster with a blue-white clarity. Figured blanks, which had part of the design molded in it, were used by some factories in the latter part of the Brilliant Period to cut costs.

3. Higher quality pieces of cut glass usually have more complex patterns. Hobstars have more points and pinwheels have more swirls. Sharp cuts, faceted hobstars, and accuracy in cutting are things to consider. Patterns that include a Gothic arch, swirls, pointed loops, panels and circles are prized. Some patterns, such as Lattice, Imperial, Parisian, and Arabian are more desirable than others.

4. The condition of the piece is very important. Small nicks and scratches are common because of their age and use. Value drops significantly if the glass is fractured, cloudy, bruised, chipped, or repaired.

5. Some pieces are more desirable than others. Large pieces such as punch bowls, oil lamps, fish trays, ice cream trays, and footed cake trays are treasured by collectors. Hinged boxes, baskets, inkwells, canoes, and candlesticks are prized. Pieces with a lid or holder such as a butter or cheese dish or a handkerchief or glove box are just a few things to look for. Collectors especially seek out pieces with silver mountings such as cologne bottles, candelabra, decanters and jewel boxes.

6. Unique features are a plus. Footed pieces that are not usually on feet, pieces with handles that are usually handleless, and any oddity and out of the ordinary object is collectable.

7. Intaglio, which was recessed carving with stone or copper wheels, was labor-intensive and pieces with it are much appreciated by collectors. Rare designs include Libbey s love birds in the Wisteria pattern, Hawkes ear of corn pattern, and Tuthills fruit cluster pattern. Because of its cost, Intaglio was usually confined to ornamental items.

8. American color cut-to-clear glass is a true treasure. This glass has a colored layer over the crystal and the colored layer is cut to the clear layer. American cutters preferred to use patterns so the color would dominate. Russian pattern was one exception. Green, ruby, amber, blue, amethyst, and rainbow colors were used. Companies seldom signed their color cut-to-clear pieces and identification is usually done by pattern recognition.

9. A signature is desirable, but condition, beauty, and quality should be considered first. For years Americans preferred European glass and since American factories could sell their unsigned pieces as imports, it was advantageous not to sign them. When public opinion changed, the companies began to sign their products.

Always beware when purchasing cut glass. Handle pieces in sufficient light to detect defects such as fractures, chips, bruising, clouding, and repairs. The more you handle and examine cut glass the more familiar you become with the quality of pieces.

Beware of marriages . If a stopper rocks in the neck or goes in too deep or too shallow, it could be a replacement. Matching numbers that are sometimes etched on the stopper and neck of an item helps to insure the pieces are original. Make sure the patterns match on a 2-piece item. Punch bowls and lamps are vulnerable to marriages as are plates under butter or cheese covers.

Beware of forges signatures. Unscrupulous dealers have forged signatures on unsigned pieces of cut glass to increase their value. Become familiar with company signatures.

Beware of forgeries of rare, expensive patterns. Forged pieces are identified by their lack of florescence under ultra violet light.

Beware of repaired pieces. In the excitement of finding a specialpiece of cut glass, it is easy to over look re-cut or re-styled glass.

Beware of new and foreign glass. This glass sometimes has a perfect look–no wear and a dull, over-all finish. Parts of the pattern, especially the stars, are frosted or unpolished in appearance. The teeth on the rims are smaller and more uniform in size than older pieces. Genuine colored American cut glass is almost never seen. In foreign and new glass the color is darker in hue than American glass and the color of new pieces sometimes bleeds into the clear areas. Knowing how new glass looks helps identify it. It is carried in most discount department stores.

Beware! Collecting American Brilliant Cut Glass is addictive.

And what can you expect as a collector of cut glass: the fun of the hunt at flea markets, garage sales, and shows; the excitement of finding a piece at a tag sale; the pleasure of cleaning a piece and seeing its brilliant sparkle; the satisfaction of identifying a pattern; the agony of deciding whether to buy a piece; and the pride of owning a piece that you love.

Carolyn M. Kleinpeter