Collector's Insights

Art Nouveau & Art Deco Glass: Design, Makers & the Decorative Imagination — A Collector's Guide
Introduction The period from approximately 1880 to 1940 produced the most celebrated body of decorative glass in history. Across two successive and contrasting movements, the organic, nature-intoxicated world of Art Nouveau, and the geometric, machine-age confidence of Art Deco, a generation of designers and glassmakers transformed their medium from a vehicle for domestic utility into one of the great expressive arts of the modern era. The names are familiar to any collector: Gallé, Lalique, Tiffany, Daum, Montjoye. But the full story of Art Nouveau and Art Deco glass is richer... Read more...
Sommerso Glass: The Art of Submerged Colour in Murano and Scandinavian Design
IntroductionOf all the techniques developed in the long history of decorative glassmaking, few are as immediately arresting as sommerso. The Italian word means simply ‘submerged’, and the technique it describes — encasing one or more layers of coloured glass within a clear or differently coloured outer layer — produces objects of extraordinary visual depth and luminosity. A fine piece of sommerso glass seems to glow from within, the submerged colour suspended in the surrounding glass like a jewel in ice, its edges softened and its brilliance amplified by the refractive... Read more...
Beilby Glass: Enamel Painting and Engraving on 18th-Century English Glass
Introduction Among the most sought-after objects in English glass collecting, Beilby glass occupies a unique position. The enamel-painted and engraved drinking glasses produced by William Beilby (1740–1819) and his sister Mary (1749–1797) in Newcastle-upon-Tyne during the 1760s and 1770s represent the highest point of decorative ambition in 18th-century English glass — objects that combine the finest lead crystal of the Newcastle tradition with painted and engraved decoration of extraordinary quality and variety. A signed Beilby glass is among the most valuable objects in the English glass market; even unsigned pieces... Read more...
Acid Etching vs Wheel Engraving: How to Tell the Difference
Introduction Among the most common points of confusion for new collectors of decorated glass is the distinction between wheel engraving and acid etching. Both techniques produce decorative designs on the glass surface by creating a contrast between matt, frosted areas and the polished surrounding glass. Both can produce designs of considerable complexity and visual appeal. And both are found on antique and vintage glass across a wide range of periods and price points. But they are fundamentally different techniques — different in their history, their visual character, their period associations,... Read more...
Wheel Engraving on Antique Glass: Techniques, Periods and What to Collect
Introduction Of all the decorative techniques applied to English drinking glass in the 18th century, wheel engraving is the most varied, the most historically rich, and — for the collector — the most rewarding to study. A wheel-engraved glass is not merely a decorated object; it is a document. The subject matter of the engraving — a Jacobite rose, a Masonic emblem, a ship in full sail, a coat of arms — connects the glass to the specific historical moment of its production and to the individual or community for... Read more...
Coloured Georgian Glasses: A Collector's Guide to Colour in 18th-Century English Glass
Introduction The dominant image of Georgian English drinking glass — the heavy baluster, the air twist, the cut glass decanter — is one of colourless lead crystal: brilliant, clear, and transparent. And for the most part, this image is accurate. The great tradition of English 18th-century glass is a tradition of clear glass, and the forms and decorative techniques that define it — the baluster stem, the twist, the wheel engraving — were all developed to exploit the clarity and brilliance of colourless lead crystal. But colour was never absent... Read more...
Soda Glass to Lead Crystal: The Material History of English Drinking Glasses
Introduction The history of the English drinking glass is, at its most fundamental level, a history of materials. The forms that collectors prize — the heavy baluster, the air twist, the cut glass decanter — were not designed in the abstract but were shaped by the specific properties of the glass from which they were made. Understanding the material history of English glass — what it was made from, how that changed over time, and why — is the foundation of understanding the objects themselves. This guide traces the material... Read more...
Irish Cut Glass vs English Glass: How to Tell the Difference
Introduction Among the most common points of confusion for new collectors of antique glass is the distinction between Irish and English glass. The two traditions share the same basic material — lead crystal — and overlap significantly in period, form, and decorative vocabulary. Yet they are distinct traditions, shaped by different fiscal environments, different cutting styles, and different commercial contexts, and the informed collector can distinguish between them with confidence once they know what to look for. This guide sets out the key differences between Irish and English glass of... Read more...
The 1745 Glass Excise Act and Its Impact on English Glassmaking
Introduction In the history of English decorative art, few pieces of legislation have had as immediate and dramatic an effect as the Glass Excise Act of 1745. Passed by Parliament in that year as part of a broader programme of wartime revenue-raising, the Act imposed a tax on glass by weight — a seemingly straightforward fiscal measure that transformed the economics of English glassmaking overnight and, in doing so, permanently altered the appearance of the English drinking glass. The story of the 1745 Excise Act is the story of how... Read more...
George Ravenscroft and the Invention of English Lead Crystal
Introduction The history of English glassmaking divides cleanly into two periods: before George Ravenscroft, and after. Before Ravenscroft, English glass was made in the Continental tradition — light, fragile soda-lime glass in the Venetian manner, produced by immigrant craftsmen and broadly indistinguishable from the glass being made across northern Europe. After Ravenscroft, England had something entirely its own: a new glass of extraordinary brilliance, weight, and clarity, made possible by the addition of lead oxide to the glass batch, that would define English decorative art for the next century and... Read more...
Mould-Blown Glass: An Ancient Technique and Its Place in the English Collecting Tradition
Introduction The history of mould-blown glass is as old as the history of glass blowing itself. From the moment Roman craftsmen discovered that a gather of molten glass on the end of a blowpipe could be inflated inside a mould to produce a vessel of consistent shape and surface decoration, the mould became one of the most versatile and productive tools in the glassmaker's repertoire. Two thousand years later, mould-blown glass remains in production — and the forms and techniques developed in the Roman period, refined through the medieval and... Read more...
Spotting Later Engraving on Antique Glass: What Collectors Need to Know
Introduction Of all the authentication challenges in antique glass collecting, later engraving is among the most consequential and the least well understood by new collectors. The practice of adding engraved decoration to a plain antique glass — or enhancing existing engraving — has a long history, driven by the simple commercial reality that an engraved glass is worth considerably more than a plain one of the same form and period. A plain 18th-century air twist stem glass might sell for a modest sum; the same glass with a Jacobite rose... Read more...