The Nineteenth century has been referred to as the Golden Age in glass history by Albert Christian Revi in his book Nineteenth Century Glass. More glassmaking skills and decorative techniques seem to have been accumulated during this period than in the previous 5,000 years since the discovery of glassmaking.

The industrial revolution plus a pride in craftsmanship born of freedom and a rapidly expanding growth in population and territory were a few of the contributing factors. Sumptuous decorative and elaborate, fancy utilitarian objects epitomized in glass the late Victorians' desires for elegant living. In addition to the glass epergne (e-pern') there were bride's baskets, pickle castors, condiment set's, jelly, jam, and marmalade dishes, biscuit, and cracker barrels and jars, along with fancy spooners, sugar sifters, bon bon dishes and elegant, cut glass pieces, and on and on...

Often these glass objects were housed in silver or silver-plated frames or stands. The glass inserts were usually purchased from glass houses by the silverplate manufacturers who handled the marketing themselves. Thus a lovely Mt. Washington bride's bowl may be found in an ornate frame from the Barbour Silverplate Company of Hartford, Connecticut,

Gradually, however, the elaborate gave way to more simple lines and the Victorian influence melted or was absorbed into the Art Nouveau movement which actually paralleled a period beginning in the late 1800’s when glass was made for the average American to use and enjoy. Art glass continued to be made but was taking a different direction in design.

Art Nouveau probably found its highest expression in the work of Louis Comfort Tiffany. This company, established in 1878, enjoyed many years of achievement, in the use of metal films and inclusions to produce a wide variety of art glass. The photograph (Photo 1) shows a console set in a diamond optic luscious pink opalescent" iridized “Morning Glory” pattern signed LCT Favrile 1927. The influence of this creative genius is seen in the work of later companies such as Durand, Phoenix, Quezal and Kew Bias.

The years leading up to the Panic of 1893 (Depression) took their toll of the glass manufacturers. Some major companies failed) among which was the Boston and Sandwich Company in 1888. In the same year Edward Libby bought the New England Glass Company and moved it to Toledo, Ohio where it still operates as the Libby Glass Company. Mt. Washington became the Pairpoint Company which continued to produce high quality merchandise.

During 1890 - 1891 some fifteen glass companies came together to consolidate and coordinate production under a common management called the U. S. Glass Company. A detailed account of these mergers may be found in The Encyclopedia of Victorian Colored Pattern Glass, Book 5, U. S. Glass, A to Z by William Heacock and Fred Bickenheuser. Interestingly, each glass house that survived remained in its original location and continued to fill orders from the same patterns. Later, when hard times passed, some of these companies became independent again. During a period of about ten years, the U. S. glass Company is credited with all the glass made at these various factories that came together under its umbrella. Tiffiin, Duncan and Miller were among these. This is why it is confusing when we see pieces made by Tiffin called U. S. Glass. The truth is that, it is both if made in the last ten years of the Nineteenth century. Likewise around 1890 the National Glass Company was formed from several other companies.

The ninety-year history of George Duncan's Sons and Company is worthy of space here. Begun in 1865 in Pittsburgh, Pennsylvania, the name was changed in 1893 to Duncan and Miller Company. In 1984, J. Ernest Miller had come to work for George Duncan as a designer. For the 1876 Centennial Exposition at Philadelphia, he created a cake plate with three faces on the standard. He used his lovely wife's face as a model. This piece took first prize and the "Three Face" pattern continues to be one of Duncan's most popular patterns. A later story will treat products of this company in more detail.

As was noted earlier, chemistry played a major role in creating color variations in glass. A chemist by the name of Nicholas Kopp made important contributions as a creator of colors. Three companies profited from this color genius. He had worked at the old Hobbs Glass Company with Harry Northwood, who was also noted for unusual colors and color treatments. While working for the Consolidated Lamp and Glass Company of Coraopolis, Pennsylvania, he developed the deep pidgeon-blood red as well as cased and satin finished yellow, green, pink and white colors. Many of these colors were blown pattern-molded into lamps of all types, table sets, vases, castor sets, cracker jars and probably any item in use at that time.

Shown in the second photograph (Photo 2) is a group of the "Bead Drape" pattern in pidgeon-blood red satin glass in quadruple-plate frames from Benedict Manufacturing Company (1890's).

The water set and cruet are cased pink satin "Florette", also attributed to Nicholas Kopp and The Consolidated Lamp and Glass Company (1890's).