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Reprint from The Hobstar, October, 1984
WHAT YOU SHOULD KNOW ABOUT
"FLUTING" TECHNIQUES
By Carl U. Fauster
It has been my experience that most collectors do not understand and fully appreciate the technique of decorating handcrafted glass with hand cut panels known as fluted. Harold Newman’s book, "An Illustrated Dictionary of Glass," defines fluting as "Relief ornamentation in the form of a series of panel concave grooves, being the converse of REEDING or RIBBING." A more detailed reference is printed in the 1938 Libbey catalog, "Glassware for Hotels, Restaurants, Cafes, Clubs and Soda Fountains." This reference reads:
Cutting — As a means of adding sheer beauty to plain glassware no decorative process compares with cutting. Fluting, which we illustrate as typical of the cutting process, consists of cutting light-gathering panels or facets on the stem or base of the glass. After cutting, a careful polishing operation is necessary to bring out the beauty of the cutting. While cutting will enrich any glass, it is particularly effective on a fancy stem and sham bottom glass.
To enlighten collectors it should be noted that the term "sham" in the glass trade means "thick" or "heavy" bottom. Because the inference is a "cheater" glass, Libbey avoided using the term, after national publicity pointed out its purpose was deception of the capacity of a glass.
Historically, the fluting of glassware is certainly one of the oldest techniques employed by craftsmen, with ample examples from American glass houses spanning the years from 18th century Stiegel to 20th century Libbey. Examples of both stemmed, tumbler, decanter and other items are found in the family documented collection cut by Louis F. Vaupel, head engraver for the New England Glass Works in the mid—l9th century years. A typical 20th century example is Libbey’s "Plain Flute" pattern first illustrated in its 1909 catalog and last illustrated as a "made to order pattern" in the 1920 catalog of the Libbey Glass Manufacturing Company.
It is important to point out that hand cut fluting was always restricted to the highest quality ware. This is best understood by
the price range of the "Plain Flute" pattern. In Libbey’s 1909 catalog, 7 stemmed items, 6 tumblers, and other individual pieces are priced from $12 to $24 a dozen. Eleven years later, the 1920 catalog listed 8 stemmed and 2 tumbler items, priced from $27 to $52.20 a dozen. (See LIBBEY GLASS SINCE 1818, pg. 292) In the 1940 Modern American series by Libbey the "Waterford" stemware shape was enhanced by decorating the bowl with an arrangement of plain flat flutes, the pattern being named, "Waterford, Dutch Diamond Cutting."
Fig. 1 THE WATERFORD,
DUTCH DIAMOND CUTTING—7900 LINE
As shown in Fig. 1, there were 6 stemmed pieces, 2 tumbler items, a finger bowl and under plate offered as stock items. The pattern was priced at $48 a dozen, the highest priced stemware pattern in this Libbey series. This luxury—priced pattern was featured in the November 15, 1942 issue of BRIDES Magazine even though the production of handcrafted crystal at Libbey had been stopped because of the war effort, and never to be re—instated after the peace.
Collectors of American Cut Glass, particularly those who are beginners, often do not seem impressed with patterns such as Libbey’s "Plain Flute" for a very good reason. It is essential to realize that this fluting is hand cut and not accomplished by pressing the piece. True, at an arms length the flute closely resembles the fluting of jelly jar, the value of which is by comparison. Collectors should remember that at the cutters wheel, the panel fluting frequently requires as or more time than a hobstar pattern. With caution in mind, of cut versus pressed flutes, signed Libbey pieces in the "Plain Flute" pattern should be sought by collectors because it is my guess they will surface at "sleeper prices."
FLUTED VASE
(Photo courtesy Sam Shrigley)
