The Glass Circle Journal No.11

THE

GLASS CIRCLE
JOURNAL

11
ELEVEN

THE GLASS CIRCLE JOURNAL

EDITOR

John P Smth

DESIGN

Athelny Townshend

Detail of wine glass with engraving by Hillebauer.

ISBN 095370306
PRINTED BY

Great Wall Printing Company Lmitcd, Hong Kong

THE

GLASS
CIRCLE

JOURNAL

11
ELEVEN

THE GLASS CIRCLE

Founded by John Maunsell Bacon 1937

President

Simon Cottle

Honorary Vice-Presidents

Paul Perrot

Dwight Lanmon
David C Watts

Honorary Secretary

Marianne Scheer

Honorary Treasurer and Membership Secretary

Laurence Maxfield

Chairman

John P Smith

Committee
Ken Cannell

Simon Cottle
Vernon Cowdy
Anne Lutyens Humphrey

Martine Newby
Anne Towse

Graham Vivian

Aims and Membership

The Glass Circle promotes the study, understanding and appreciation of historic, artistic and collectable

glass in all its aspects for the benefit of both experts and beginners by means of publications and by
convivial meetings, lectures, outings and other events. Membership is open to anyone interested in glass,

including dealers and other professionals, at home and abroad. The possession of a collection is not
necessary although many members are keen collectors.

Regular meetings on a wide variety of topics, sometimes with speakers from abroad, are held in

London in October, November, December, February, March, April, May and June. The Glass Circle’s

long-established excellent relationship with the museums, major auction houses and many dealers in

London occasionally extends to private receptions or social events. The Circle also produces a series of

publications, regular and occasional, and possesses a Library open without charge (but by appointment

only) to members.
The Circle’s website, www.glasscircle.org, lists the society’s activities, gives excerpts from the Newsletter,

lists forthcoming exhibitions and other ‘glass’ news and offers links to many sites of glass interest.

Application for Membership
Further information and application forms for membership can be obtained from the website and from:-

Mr L. Maxfield, Hon. Treasurer and Membership Secretary,

The Glass Circle,
Forbescroft,

The Close,
Hythe,

Kent,

CT21 4RA.

CONTENTS

II
I

III

VI
VII
‘JACOBITE’ ‘JACOBEAN’ AND OTHER REPRODUCTION GLASSES

produced by the Edinburgh and Leith Flint Glass Company
by Jill Turnbull

GLASS PURCHASED
for the Household of John Russell, 4th Duke of Bedford1732-71

by Julia E Poole

MODELED ET TAILES
DE CRISTAUX ANGLAIS

byJohn P Smith

URANIUM GLASSES-

their Importance in the 19th Century

by Guenter Doerfel & Elke Gelfort

E J H1LLEBAUER

Freelance copper wheel engraver who lived in London and carried out work for

Powell’s Whitefriars glasshouse

By Jeanette Hayhurst

GLASS CIRCLE PUBLICATIONS

ADVERTISING
7

103

113

119

THE G LASS CIRCLE JOURNAL 11

‘JACOBITE’ ‘JACOBEAN’
AND OTHER REPRODUCTION GLASSES
PRODUCED BY THE

EDINBURGH AND LEITH FLINT GLASS COMPANY

by Jill Turnbull

j
acobite glasses are probably the most

expensive and contentious of all the areas

of glass collection. Much has been written

about their history,
their appearance and

the difficulties of secure

attribution and it is
not the object of this

paper to add to that

debate — its purpose

is simply to present
as much information

as possible about a

series of reproduction

glasses made by
the company which

became

Edinburgh

Crystal and which,

although not intended

to deceive, were

designed to emulate

closely the originals. It

will also look at other

glass in ‘antique styles.
The catalyst for

this article was the

acquisition by the
Museum of Scotland

of one of a series of
ten reproduction Jacobite glasses copying

specimens in known collections (Plate 1).

The designs come from Pattern Book L, one
of the factory books used by the designers and

workmen at the Edinburgh and Leith Flint
Glass Company, which became Edinburgh

Crystal in 1955. Pattern book L contains

outline pencil drawings of each of the glasses,
drawn to size, over which is a description,

hand-written in ink, of the original engraving

to be copied. Acquisition of the Museum
glass has enabled
comparisons to be
made with the pattern

book drawings and

with the original

glasses on which they
were based. This

paper will present a

detailed account of the
ten ‘Jacobite’ designs
in pattern book L,

comparing them with
the recorded originals,

as well as looking
briefly at the mass
produced, and less

elaborate ‘Jacobean’

glasses

the

company’s standard
range and some of their

other ‘antique glass.
The Edinburgh

and Leith Flint Glass

Company catalogues

of the 1920s and 30s

illustrate numerous

glasses, both individual pieces and suites,
which are copies of period examples (Plate
2). Twenty seven ‘Jacobean glasses, made

for the general market are illustrated in one

catalogue,
English Table Glass,
which is en-

tirely devoted to reproductions. The page
heading ‘Jacobean’ is, of course, incorrect,

since the glasses are reproductions of 18th
PLATE I

EC.11, reproduction Jacobite

glass, now in the Museum

of Scotland.

JACOBITE JACOBEAN

A .8 .

K.59.

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REPRODUCnOUG.

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.
THE GLASS CIRCLE JOURNAL 11

PLATE 2

Half page from 1920s
E&L
catalogue.

JACOBITE
JACOBEAN

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PLATE 3

E&L
pattern book L,

illustrating three of the

ten Jacobite reproduction

glasses, Patterns L101-103.

•

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THE GLASS CIRCLE JOURNAL 11

century styles, which suggests that the com-

pany was implying a Jacobite link, rather
than an historical source. It may also seem

perverse for a Scottish firm to use the cata-

logue title
English Table Glass,
but the name

reflects the source of the designs, as will be

seen below. As far as
the ‘Jacobite glasses
are concerned, no flint glass was made in

Scotland after 1734 and before the estab-

lishment of the Verreville glassworks in

1777,
so Jacobite glass made in that period

must have originated in England or Europe.
Three books were used by the Edinburgh

and Leith designers in the production of

JACOBITE JACOBEAN

THE GLASS CIRCLE JOURNAL

their ‘antique’ glasses, the first being Albert
Hartshorne’s
Old English Glasses,
published

in 1897, to which reference is made in the

introduction to the
English Table Glass
cata-

logue. It begins with a brief description of
the different periods of glassmaking, and
refers to ‘Mr. Hartshorne’s very fine and

complete work on old English glasses: The

company was not alone in using Hartshorne
– Charles Hajdamach has shown that his
book was also used by Stevens and Williams

in 1930
1
. The catalogue introduction covers

in some detail the various characteristics of

glass of the 18th century, particularly the feet
of wine glasses, commenting that ‘Continen-
tal reproductions of old glasses have entirely

destroyed their character by giving them flat

and shapeless feet (occasionally polished at
the bottom). These flat feet, which demand

only a small amount of workmanship, may

be perfectly suitable for the modern thin

glass, but are very inappropriate when at-
tached to old shapes: It ends with a para-

graph explaining the philosophy behind the
company’s marketing of reproduction glass:
‘The glasses illustrated in this pamphlet

are reproductions of the best examples of
the old in the different styles, and have been
made after the old methods which are still in

vogue. It is hoped that they will be of assist-

ance to those who in the past have desired to
keep their tables in harmony with their sil-
ver, and with their furniture, but have been

unable to do so as more than odd specimens

of antique glass were unobtainable. It seems

a pity that those who have spent thousands
in furniture, silver and pottery should have

been compelled to neglect such an artis-

tic and historic part of their furnishing:
Determination to produce glasses look-

ing as authentic as possible is confirmed
by a note in another printed catalogue

from the 1920s/1930s. Underneath a

page of ‘Antique Reproductions’ it states
‘These are faithful reproductions, and are
made in the same manner as the originals.
Although it seems reasonable to assume

from the comments above that the Edin-
burgh and Leith Flint Glass Company had
no intention to deceive when they produced

their ‘Jacobite’ range, they did go to consid-

erable trouble to make the reproductions as
true to glass of the 18th century as possible.

The ten engraved ‘Jacobite’ goblets, patterns
L95 – 104, are particularly noteworthy in

this respect. A note under L101, 102 and

103 (the glass in the Museum of Scotland)
reads All of these must have a punty mark’

underlined in red ink (Plate 3). It can be seen

from the museum example that the quality of
the glass and the engraving is high and the

metal has a greyish hue, unlike modern glass.

There are, however, significant features which

differ markedly from 18th century glass.

Whether these abberations were deliberate,

in order to avoid any charge of forgery, were

enforced by lack of appropriate skills among
the workforce, were accidental, or were sim-

ply not regarded as significant, it is impossi-

ble to know. They will be examined in detail
for each of the L patterns individually, al-
though some general comments can be made.
Although none of the actual engravings is

illustrated in pattern book
L,
the descriptions

exactly match those of glasses in well-known

collections illustrated by Joseph Blest. Beside
the first drawing in the series (L95) is writ-
ten ‘Reproduced from photographs in ‘Rare
English Glasses of the 17th & 18th Centu-
ries by Joseph Bles’ (Plate 4) and it is clear

that all ten designs were copied from plates

and descriptions in his chapter discussing

Jacobite glasses (Plate 5). The engraving on
the Museum goblet, and the photographs

of three others from the series published
in Woodward’, confirm the accuracy of the

descriptions and it is clear that a copy of
Bles’ book must have been used by the glass

engraver. There are naturally very minor

variations, as to be expected in such work.
Joseph Bles’ book was published in 1926,

thus giving a date before which the designs

could not have been copied. The date of 16

June 1937 is written beside the first pattern
in the
L
series, L95, but it is not clear from

the written text whether this was the date

of the original drawing or of a later com-
mission to which some initials were to be

JACOBITE JACOBEAN

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THE GLASS CIRCLE JOURNAL 11

agnostic of 18th century English glasses. The

author of the Edinburgh and Leith catalogue
referred to above wrote two paragraphs about

the feet of drinking glasses, mentioning that
some of the early ones were folded over at the

edges to give them greater strength, but he

did not give details. He was clearly familiar
with continental reproductions – so it seems
rather odd that the firm should copy them,

rather than British 18th century glasses, but
PLATE 4 (LEFT)

Pattern L95.

PLATE 5 (BELOW)

Plate 31 in JOSEPH BLES,

RARE
ENGLISH GLASSES

OF THE 17TH & 18TH

CENTURIES, source of

L101.

added. The Edinburgh pattern books are
not formally dated — clues have to be sought

in the added comments written beside vari-

ous patterns. These do not, however, give a
reliable chronological order, since the books

were used throughout the life of the com-
pany and patterns were repeated, with or
without modifications, for many years. The
best that can be said is that patterns L95-

104 date from the late 1920s or the 1930s.
One of the striking features about the

NMS goblet, is that, in common with sev-
eral other glasses in the series, it has a folded

foot. However, in the case of the museum

glass, and the three other photographed ex-

amples, it folds upwards, over the top of the
foot, whereas in 18th century English glasses
the fold was usually underneath, leaving a

smooth top surface. According to Newman”,
while in Britain the foot was folded under,

On some Continental glasses the fold is
not under but is over the foot’. Hartshorne

confirms that the folded-under foot was di-

JACOBITE JACOB FAN

eiAC °BEAN.

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THE GLASS CIRCLE JOURNAL 11

PLATE 6

Half page from 1920s

catalogue
English Table

Glass.
it may simply have been unspecified, leav-

ing the glassmaker to do as he thought fit.
Another significant difference between

the Edinburgh and Leith designs and the
original glasses on which they were based, is
the style of the sterns. Eight of the glasses il-

lustrated in Bles have airtwist stems; none
of the Edinburgh copies has such a stem.

This seems particularly suprising because
ten of the ‘Jacobean’ glasses illustrated in

the catalogue of
English Table Glass
have

airtwist stems of varying complexity, so the

skill to make them appears to have been
available at the glassworks (Plate 6). The

author of the catalogue waxes lyrical about

`the simple and artistic shapes and sparkling
brilliancy of the air twists..: adding to the
puzzle. One possible explanation might be
the cost, since the complex individual engrav-

ings on the L designs would already have

been expensive. It is also possible that the
catalogue was written at an earlier date and
the workman/men with the skills to make

an airtwist stem were no longer employed.
Another puzzle is the size of the glasses.

The Museum acquisition is a big, imposing

glass, standing 7 1/2 inches high, but it is actu-
ally one of the smallest of the ten, a full three
inches shorter than the largest example. The
L designs range in size from 7 inches (17.8

cms) to 10 1/4 inches (26.4
cms)
high. All

the glasses illustrated in Bles are also tall,

but very few of the L pattern designs exactly

match the height of the originals. While some

vary by only a small amount, L96 is 3
‘/2
inch-

es (8.8 cms) taller that the Bles glass it copies,
while L102 is 2 inches (5.1 cms) shorter than

its counterpart. Only the height is given by
Bles, so further comparisons are not possible,
however, it does appear that the convention of

having the foot of a goblet the same, or slight-

ly larger, diameter as the rim, has been cop-
ied by the Edinburgh and Leith Flint Glass

Company. Of the ten glasses illustrated, half

the diameters are the same, the others larger.
The shapes of the Edinburgh designs

are also puzzling. Only two of the L pattern

glasses, L 99 and L100, (Plates 7 and 8) are
remotely similar to those of the Bles origi-
nals, although neither is absolutely identical.

These two glasses are illustrated in stencils
prepared for an Edinburgh and Leith cata-

logue, now in the Museum of Edinburgh

archive, so seem to have been in production.
(Plate 9) The eight remaining Bles glasses

have air twist stems, mostly of double-
knopped shape, while the Edinburgh and

Leith reproductions vary widely, particularly

in stem shapes. Several contain tear drops

and three designs, L 98, 101 and 102 have

domed feet, unlike any of the Bles examples.

There is little consistency in the L shapes and
it is difficult to be sure of their sources, al-
though it is possible that pattern L 103, the

design of the Museum glass, was based on a

photograph in the third source book in the
company library — Percy Bates
English Ta-

ble Glass,
first published in 1905

5
.(Plate 10)

The question of why the Edinburgh and

Leith Flint Glass Works copied these par-

ticular glasses is probably answered by Robin
Nicholson in his article ‘Engraved Jacobite

Glasses’
6
. He wrote: ‘The quality of photog-

JACOBITE JACOBEAN

–
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PLATE

9 (FAR

LEFT)

Stencil of page for

Edinburgh and Leith
catalogue, in Museum
of Edinburgh.

PLATE TO (LEFT)

Bate Plate V no 15, a
possible prototype for the

shape of L103.

THE G LASS CIRCLE JOURNAL 11

PLATE
7
(FAR LEFT)

Pattern L99.

PLATE
8 (LEFT)

Pattern L100.

Pried*:

L41
–

L.100 –

The Edinburgh &
Leith flint GlassOuiltr

Jiortnn
PariL,

Edit sharSh.

THE
GLASS CIRCLE JOURNAL
11

PLATES 12 & 13

Details of engraving on
NMS glass.

PLATE II

Pattern
K62.
raphy in Bles’s book was both the making and

the undoing of engraved Jacobite glasses. For

the first time there was sufficient detail to al-

low an expert engraver to copy every intricate
detail of the glasses without requiring access to
the real thing’. Until 1926, the designers from
Edinburgh Crystal had only Hartshorne’s

drawings to copy and it seems reasonable to

assume that the publication of Bles’s book

was welcomed at the glassworks as an oppor-
tunity to use the skills of their glass engraver

to greater advantage for the benefit of those

desiring accurate Jacobite reproductions.

There are other glasses bearing motifs

in the Jacobite style in the Edinburgh Crys-
tal pattern books, at least one of which is

similar in many respects to the ten L pat-
terns, but K62, is even larger,
11
3/8 inches

tall, with a top diameter of 5
3
A. inches and

foot diameter of 5
1

/2 inches. The design in

the pattern book is annotated: ‘Engraved
James II Rose 9 leaves & 2 buds’ (Plate 11).

To judge by the Museum glass, the qual-

ity of the L series of reproductions was very
high. If the rest were made to the same stand-

ard, and there is every reason to think they

would have been, the glasses would have
been weighty, well crafted, finely engraved

and imposing (Plates 12 and 13). They were
decorated with expert engravings of Jaco-

bite motifs, convincing in colour and with

features like the punty marks emulating
authentic 18th century glass. The museum

goblet is an impressive glass and it would be
very interesting to find more examples of the

series of reproductions from which it comes.
Percy Bate’s
English Table Glass,
like Bles’s

book, contained numerous photographs

which were easy to copy, and it is possible to
trace the origin of almost all the A’
. pattern re-

production glasses in the company’s catalogue

of the same name directly to them. Pattern
A42 the SOBER CLUB’ glass, for example,

(Plate
14)
is copied from Bate’s Plate LX no

230, apart from the addition of a tear in the

stem (Plate 15). Decanter A25 (Plate 16) is

Bate’s Plate
XLII

no 170, described as ‘a fine

example of fairly early date… [with] charac-

JACOBITE JACOBEAN

THE

GLASS
CIRCLE
JOURNAL 11

M 0/NO G RAMS & C
R, ELT T.f.

•
15

A .4 2..

teristic festoons’ (Plate 17), while the fac-

tory catalogue describes it as an ‘Old Adam’s
Decanter, Engraved Festoon. The drinking

glass All (Plate 18) is a copy of Bate’s Plate
VIII no 30, featuring a’very characteristic en-

graved border’ and a folded foots, while the

catalogue described it as a’Glass with Welted
Foot and Old Engraved Border.
This type of

border was frequently used in Jacobean Times:

(Plate 19) It is probable that Bate was also

the inspiration for A36 (Plates 20 and 21 )

although the’Masonic Glass, with heavy foot,
used on Table for Applauding (A24), appears

to be a copy of figure 316 in Hartshorne’s

Old English Glasses
9
(Plates 16 and 22).
PLATE

Half page from E&L

catalogue
English Table

Glass,
illustrating the

`monograms and crests’
available, including the

`Sober Club’ glass..

PLATE 15
The ‘Sober Club’ glass

illustrated in Bate LX no

230.

JACOBITE JACOBEAN

THE
GLASS CIRCLE JOURNAL
11

Plate 16

Page of designs
in English

Table Glass
catalogue.

JACOBITE
JACOBEAN

JACOBITE JACOBEAN

THE G

LASS
CIRCLE

JOURNAL 11

PLATE
17

A decanter illustrated in

Bate Plate XLII no170.

THE GLASS CIRCLE JOURNAL 11

PLATE
18

Engraved glass in the

Edinburgh and Leith
catalogue.

PLATE
19

Bate Plate VIII no 30, and
engraved glass matching
pattern All.

Other reproduction glasses are scat-

tered throughout the factory pattern books,

some of them designed for mass produc-
tion, others for a more specialised market.
Among the former is a candlestick, pattern

H973, which appears in an advertisement

for ‘Edinburgh Crystal’ in the
Pottery Ga-

zette and Glass Trade Review
of 1 March

1933, and is also labelled ‘Jacobean (Plate
23). It appears alongside an ‘Antique Ginger

Jar’ and a modern cocktail glass enamelled
with fighting cocks — a truly eclectic mix.
Antique Candlestick’ L571, however,

is a very different matter. Marked ‘Spe-

cial done for Edwards; it is 18th century in
form and cutting, has a domed foot, scal-

loped rim with a flat bevel and is facet cut.
The instructions given on the drawing are

very detailed, showing that the foot was fac-

eted underneath, and also had a flat bevelled

rim (Plate 24). As a ‘special’ it must be as-

sumed that not many were made and that

those that survive would be of high quality.
A complete page from pattern book H

will, perhaps, give the reader a flavour of the
material the books contain and the range of

products made in antique style (Plate 25).
Service H1055 was supplied to Palfrey in

Melbourne. This time it was specified that
the foot should be ‘Welted under. Another

service, H972, included a three-ring magnum
decanter with a lozenge stopper, annotated

‘Hand Made Punty Base’, dated 21.9.37, and
initialled DH, a signature which appears of-

JACOBITE JACOBEAN

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A.56.

THE

G
LASS
CI
RCLE JOURNAL 11

ten on designs around that time. Another,

probably later, note says ‘Rough Mouth De-

canter. The service included goblets, liqueur,

sherry, port, claret and champagne glasses, all
of which had domed folded feet and balus-

ter stems, (Plate 26) and was illustrated in

the factory catalogue under the title ‘George

II Service’. (Plate 27). Although part of a re-

production service, glasses for modern use

were added as required. The Pitcairn Cor-
poration of New York ordered a ‘squat bowl

champagne in 1931, a grapefruit dish was
made for a firm in Manchester, and Fortnum

and Mason requested a matching plate, all
of which confirms that it was widely sold.
A page of ‘Old English Jugs’ appears in

the 1920/30s catalogue, most of them cut in
Regency style (Plate 28). It is often difficult

to appreciate the details of finished objects

from the drawings, so handling an actual

glass is important. One of the jugs, E.753
(Plate 29), for example, appears in the cata-
logue illustration to feature pillar flutes as

well as the step-cut neck and faceted han-

dle. In reality however, although the cutting
is sharp and hand polished and the metal
PLATE 20

A cut and engraved glass in
Bate Plate XXXIV no 135.

PLATE 21

Cut and engraved glass

in Edinburgh and Leith

catalogue of old English

glasses, showing A36,
which is very similar to

Bate’s photograph in

Plate 20.

JACOBITE JACOBEAN

THE GLASS CIRCLE JOURNAL 11

PLATE
23

Full
page advertisement

in the
Pottery Gazette

and Glass Trades Review,
March 1, 1933.
334

11:L.h.
POTTERY GAZETTE AND GLASS TRADE REVIEW.

March 1,

1933

EDINBURGH CRYSTAL

Thlegroup includes : a Jacobean Candle-stick, 1.973 ; an

,’Antique Ginger Jar, A.29 ; a handled dish Inthe shape of a
;Highland Qualeh, K.I04 ; n Tumbler and Goblet of Service
D.251 ; a Water Jug of modern style, M.I3 ; and a still more

modern Cocktail Glass, M.210, which is made In sets of six,
with different episodes on each piece, Shaker to match.

The Edinburgh & Leith Flint Glass Works
Proprietors %Vebb’s Crystal Glass Co. LS&

JACOBITE JACOBEAN

THE GLASS CIRCLE JOURNAL 11

PLATE 24

Pattern
LS78, ‘Antique

Candlestick’, a special order
made for Edwards.

JACOBITE JACOBEAN

THE GLASS CIRCLE

JOURNAL 11

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JACOBITE JACOBEAN

PLATE

A page from pattern

book H, showing design

H1055, a service of

reproduction glasses.

GEORGE II. H . 9 7 2 , OERVICE.

FIG. 316.
JACOBITE JACOBEAN
PLATE

Half page from
an
EFL

catalogue, showing
H972,

the ‘George II’ service.

PLATE
26
(FAR LEFT)

Glass in pattern H972, the

‘George II’ service.

PLATE 22 (LEFT)
Fig. 316 in Hartshorne

Antique Drinking Glasses,

p.323

THE GLASS CIRCLE

JOURNAL
11

OLD ENGLIJI1 JUGJ:

THE

GLASS CIRCLE JOURNAL 11

E.
63 O.

A selection
of
very

fine Old English Jugs.

They are supplied in three sizes, viz.: 1 pint,

pint, and 2 pint.

PLATE 28 (RIGHT)

Page of ‘Old English Jugs’

from
the

E&L
catalogue.

PLATE 29 (FAR RIGHT)
Jug
in pattern .E753,

illustrated in the catalogue

under ‘Old English Jugs:

JACOBITE JACOBEAN

THE GLASS CIRCLE JOURNAL 1

JACOBITE JACOBEAN

Az — _

…;: .,

…
1:

)
°

.
APa

I
4

1
i lt

.,
(

?sue

…,,

•
–
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7

lir

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116,

‘

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‘

4
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‘

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1

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‘ 44141,0101

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THE GLASS CIRCLE JOURNAL
11

is a good colour, instead of pillar flutes, the

panels of diamonds are actually separated
by flat recessed cuts, making this jug easily
recognisable as a twentieth century product.
Other reproduction glasses in the factory

pattern books, include early 18th century
Dutch drinking glasses and’antique’ salts, but

only the ‘Jacobite’ glasses in pattern book L are
precisely identified as copies of specific, rare

and collectable items. It is unlikely that any of
the reproduction glasses were marked by the

factory, and those that survive will, by now, be

showing signs of age and wear, making recog-
nition a greater challenge for the unwary. Al-

though most of the ‘antique glass produced in
Edinburgh is unlikely to deceive the experts,

a lot of skill and care went into making them

look as authentic as possible. Caveat emptor.

Note

Some of the photographs of the pattern
drawings are not as clear as they might be,
for which I apologise — the reason is that
the Edinburgh Crystal pattern books were

working tools throughout their long life. As
a result the pages are dirty, discoloured, dog-
eared, creased, torn, repaired with old, now

brown, sellotape, and generally difficult to

photograph. Although some photographs
have been digitally enhanced to improve
clarity, essentially, what you see is how they are.

Acknowledgements

I am very grateful to the management of
Edinburgh Crystal, who allowed me access

to the factory pattern books, and gave

permission to publish images from them, in
the weeks before the firm stopped making

glass at Penicuik, and to the Trustees of the
National Museums of Scotland, in whose
care they are now Pages from the English

Table Glass catalogue are reproduced with
the permission of the City of Edinburgh

Museums and Galleries, Particular thanks are

due to George Dalgleish and Irene Mackay at
the National Museum of Scotland; to David

Scarratt of the Museum of Edinburgh; to
Colin and Sue Brain for the invaluable gift
of an Edinburgh and Leith Catalogue; to
Peter Francis, and to Peter Lole for his help

and encouragement, and especially for telling
me about the Sober Club glass in Bate.

Endnotes

1.
The Glass Cone, Spring 2004, no 67, 5

2.
Bles, Joseph, Rare English Glasses of the 17th and 18th Centuries, 1926

3.
Woodward, W H, The Story of Edinburgh Crystal, Dema Glass, 1984

4.
Newman, Harold, An Illustrated Dictionary of Glass, Thames & Hudson, 1987, 122

5.
Bate, Percy, English Table Glass, 1905, reissued by Batsford 1913, Plate V no 15. L104 is a very similar

shape to Bate Plate IV no 12.

6.
Antique Magazine, June 2003

7.
Bate 75.

8.
Bate 36

9.
Hartshorne, Albert Antique Drinking Glasses, 1968 reprint of Old English Drinking Glasses, 323

JACOBITE JACOBEAN

L95

ee Aso. 754..e4n

6-aer..

I r’144

•
77
n
614AX

,
14

.
7.
5

n
•
n

n
14.4

4
n
74,1

4. )
‘

•
e•-••••
.-

•
,

f
n
Ci
/7″

Description in Pattern Book:

‘Goblet Date Circa 1750. Hamilton Clements Col-
lection. Engraved Smart Rose & Buds. Reverse side,

TEMPORA MUT[D overwritten in pencil] ET

NOS MUT[AN rubbed and crossed outJTUR IN

ILLIS.[In different hand]: Tempora mutantur et nos

mutamur in illis.’ Reproduced from photographs in

“Rare English Glasses of the 17th & 18th Centuries

by Joseph Bles. Done with inscription for Hamilton

S[?iin] Sen. June 16th/37′.
Measurements of drawing
Height 10 ‘A inches, top dia 4
3

/4 inches, base dia 5

1/8 inches.
Features

Handwritten in pencil on stem ‘Hollow’ crossed our

and then repeated. Slightly domed folded foot. Bowl

shape similar to Bles, stem quite different.
Bles Plate 35

j?lapora
nos
MIMI&

1
11:1

Description in Bles pp 112, 113, Plate 35

‘GOBLET (91/2 inches) — Straight-sided bowl

resting on a collar and double-knopped airtwist stem

and plain foot. The bowl is similarly engraved to its
companions on plates 31-34 [see L101, 104, 102]

but bears the words in bold italics
Tempora mudantur

It nos mudantur in illis.
This series of goblets has

been referred to in the text. Circa 1750. Hamilton

Clements Collection.’
The reference in the text (p88) reads as follows:

…A goblet with the motto “Tempora mudantur et

nos mudantur in illis” (sic) (Plate No. 35). In this

case it is probable dint the engraver mislaid his
instructions and trusted to a memory that was not

overburdened with Latinity:
(See full reference on pun)

THE GLASS CIRCLE JOURNAl H

Author’s comments on L95
L95 is the first of the series of ten ‘Jacobite glasses copied from his book and it states the source of all of them. The

most obvious item of interest in the Edinburgh and Leith version of this goblet is that the incorrect Latin illustrated

by Bles on the original was corrected in the pattern book. Someone changed the Ds in the pattern book to Ts and
rubbed out the ‘an in the’mutamur: Someone else then wrote in the correct version in a different band and with what

appears to be a different pen. We shall never know who the scholar was — but it does raise the question of whether any

glasses had already been engraved with the incorrect Latin copied directly from the image in Bles. Although Bles refers
to the error in the text, he does not provide the correct version. It is, perhaps, worth noting that the glass illustrated
by Bles is the only Jacobite glass known with the motto Tempora mutantur et nos mutamur in illis (The times change

and we change in them) (Seddon 113).
The dare of 16 June 1937 is also of interest. It is not clear from the written text whether this was the date of the

original drawing or of a later commission to which the initials of Hamilton S? were to be added.

JACOBITE JACOBEAN

L96

Ac cc
/RV,.

+Iv E

1),,,

Bles Plate 30

THE GLASS CIRCLE JOURNAL 11

Description in Bles pp 102, 103, Plate 30.

‘WINE GLASS (6 inches) — Straight-sided bowl,
engraved with a Stuart rose, two buds, grub and

caterpillar, moth and a spider within its web. Airtwist

stem with knop at top and bottom. See text. Circa

1750. Grant Francis Collection:
The
text

referred ro (p 87-88) reads: At this stage

mention may be made of a curious wine glass in the

collection of Mr. Grant Francis (Plate No. 30). It has

a straighrsidcd bowl with an airtwist stem knopped

at both ends, and is engraved with a Stuart rose and
two buds, and a spider which has woven its web

between the rose and one of the buds. It must be

left to the reader to guess the true meaning of this

symbolism. Is it resignation, or dissatisfaction with
the slow progress of the cause?’

Description in Pattern

Book:

`Goblet Date Circa 1750. Grant Francis Collection

engrd Stuart rose & 2 buds. Grub or caterpillar,

moth & a spider within its web:

Measurements of drawing

Height 91/2 inches, top dia 41/4 inches, base dia
41/2

inches.

Features

The drawing shows a small teardrop in the top of the

straight stem. The bowl appears to be similar to the
Bles original, but instead of the airtwist stem, L96
has a plain stem and conical foot.

Author’s comments on L96

The most obvious difference between L96 and the glass it copied is the discrepancy in height — the reproduction
being 3 1/2 inches taller. The stem of the reproduction is also considerably shorter in proportion to the bowl of
the original. The engraver of L96 was given the choice of grub or caterpillar, while the glass in Bles is described

as having both.
In his book
Old English Drinking Glasses, Their Chronology and Sequences
(London, 1926) p199, Grant R.

Francis comments on ‘A few curious glasses… which appear to admit the decay of the movement and of the

hopes of its supporters; which also use the motifs of grub, caterpillars and spiders.

JACOBITE JACOBEAN

L97

1
,

•
yeA.4,7

d
orre

ze:
4

AX’
7.4:z
tt.

1.1jesE
V
esry

Description in Pattern Book:

‘Goblet date circa 1750. Henry Peech Collection.

Young Pretender in oval medallion inscribed
AUDENTIOR IBO on reverse side Stuart rose &

2 buds Engd thistle on foot.

Measurements of drawing

Height 8 inches, top dia 3 3/4 inches, base dia 4

inches.

Features

A
simple drawn trumpet shape with small inverted

teardrop at top of stem, plain conical foot. One of

three glasses with the notation ALL OF THESE

MUST HAVE A PONTIL
MARK in red ink.
Bles Plate 37 No.49

Description in Bles, pp 116, 117, Plate 37,

No. 49.

`WINE GLASS (6 inches)-straight-sided bowl

engraved with the portrait of the Young Pretender

in an oval medallion inscribed AUDENTIOR
On the reverse a Stuart rose and two buds. Airrwisr

stem. The plain foot is engraved with a thistle. An
unusual portrait. Circa 1750:

THEGLASSCIRCLE JOURNAL II

Author’s comments on L97

The shape of L97 is totally unlike the Bles original, which has a small bucket bowl and an air twist stem, and has a

closer resemblance to the Amen glass illustrated on the same page in Bles.
The portrait on this glass resembles two medals struck in 1745 and 1752 illustrated by Seddon (pp130, 107).

JACOBITE JACOBEAN

L98

Description in Pattern Book:

‘Wine glass. Young Pretender wearing bonnet,
full faced in Highland Costume & wearing ribbon

& Star flanked by rose/bud & Thistle inscribed
AUDENTIOR IBO IN RIBBON. Owner says this

glass was used by Prince Charlie at banquet given by
the Ladies of Edinburgh 1745:

Measurements of drawing

Height 7 inches, top dia 3 inches, base dia 3 inches.

Features

Trumpet shaped bowl with inverted teardrop in base,

complex solid stem with domed and folded foot.
Bles Plate 36 no. 47

Description in Bles pp 114, 115, Plate 36 No. 47.

‘WINE GLASS (6
3
/a inches) — Straight-sided bowl,

engraved with the portrait of the Young Pretender

wearing bonnet, full-faced in highland costume and

wearing ribbon and star, flanked by rose, one bud and
thistle. Inscribed “AUDENTIOR IBO” in ribbon.

Double-knopped airtwist stem with collar between

knop and bowl.

The late owner made the following statement:

‘This glass was used by Prince Charlie at the banquet

given him by the ladies of Edinburgh in 1745. It was
taken possession of by Mr. Rattery, one of whose

descendants presented it to my father, Archibald

Sharp in 1846:”

THE GLASS CIRCLE JOURNAL 1_1

Author’s comments on L98

A photograph of a glass made to pattern L98 appears in Woodward (p 78). This shows that the foot rim is folded
upwards. The portrait on L98 appears to be less crude than that of the Bles glass but other derails look much the

same. Although the stem of L98 is quite different from the Bles original, the collar between knop and bowl’ has been
retained, as has the knop, although it has been flattened somewhat.

[illus ph, bles, woodward]

JACOBITE JACOBEAN

O-d-aa’

G44

fie

/76o – 70.

— –

-411011

Description in Pattern Book;

‘Goblet Portrait Young Pretender in medallion in
centre of an oak tree, complete with Stem, branches

& leaves. Reverse side FIAT over a star. Date 1760-
70:

Measurements of drawing

Height 9 inches, top dia 5% inches, base dia 5
1
/4

inches.

Features

This is one of the only two glasses in the L series

which appears to copy the shape of the original

goblet, L100 being the other.
Bles Plate 39

Description in Bles pp 120,121, Plate 39

GOBLET
(83/4
inches) — Cup-shaped bowl.

Engraved with a portrait of the Young Pretender

in an oval medallion in the centre of an oak tree

complete with stem, branches and leaves. On the
reverse the word Fiat over a star. Circa 1760-70.

Author’s Collection.

THE GLASS CIRCLE

JOURNAL
11

Author’s comments on
L99

‘Fiat’ is the most commonly used Jacobite motto (Seddon, 250), but the portrait and apparently thriving tree

on this goblet appear to be very uncommon, although the stricken oak and oak leaves are seen more often.

JACOBITE JACOBEAN

L100

Y
°
0741,./
–

-eral,….«epe
4

44.

tiqh
,

N4
r

Us /et

r/49.44
r
q

r
oc

urreRs.> LAST
Dovo
,

?Wei .40n

UP NO I-DR rN
/-tim 14
.
/

rir

lea /4•914.3. P3jti0

Description in Pattern Book:

‘Goblet
date
1715-20. Portrait Young Pretender

in round medallion surmounted by crown, below

medallion ribbon inscribed

THOUGH HE FALL HE SHALL NOT
BE

UTTERLY CAST DOWN FOR THE LORD

UPHOLDETH HIM WITH HIS HAND.
P37+20:

Measurements of drawing

Height 8
3
4
inches, top dia. 4
3

/4 inches, base dia 5

inches.

Features

This is the second glass in the L series which copies
the shape of the original goblet.
Bles Plate 29

Description in Bles pp 100, 101, Plate 29

‘GOBLET (8 inches) — Cup-shaped bowl engraved
with a portrait of the Old Pretender, wearing a chap-

let, in a circle surmounted by a Royal Crown, and in-

scribed in a scroll:
Though be fall, he shall not be utterly

cast down, for the LORD upholdeth hint with his hand.

P37. V 20.
Plain stem. See text.

Author’s Collection.

Circa 1715 – 1720:

In the text
(p 87) Bles writes:

‘In 1919 there ap-

peared two baluster stem glasses, engraved with the

conventional Stuart emblem of the Rose and Bud.

The metal of these glasses is so early and dark that

they are generally considered to be Old Pretender

glasses, but the quaintest and probably the earliest

Old Pretender glass is
a goblet,
engraved with a por-

trait of the Old Pretender,
facing to the
left and wear-

ing a chaplet surmounted by the Royal Crown. The

inscription on the glass
runs: “‘Though he fall he shall

not be utterly cast down, for
the Lord upholdeth

him with his hand.” P.37 v.20
(Plate Nos 29). This

inscription seems to indicate that it
was
engraved

shortly after the battles of Preston and SherifFmuir.

The rising of 1745 under the Young Pretender is
commemorated by a vast number of glasses..:

THE GLASS CIRCLE
JOURNAL 11

Author’s comments on L100

The only obvious difference in the descriptions, and perhaps the execution, of L100 and
the Bles original is that Bles

was convinced the portrait showed the Old Pretender, the designer of L100
said it was the

Young Pretender, which

seems more likely, although it is impossible to know if the designer changed it deliberately

JACOBITE JACOBEAN

LI01

I
/02. -4/4„;;…

us
eirr”

01.06.e.

_gc..
7

.
a-Zk
e

,CrtGe

Description in Pattern Book:

`Goblet dare Circa 1750. Sir JS Risley Collection

engraved 1 side Large 8 petralled Stuart rose & 2 buds

Surmounted by inscription “TURNO TEMPUS
ERIT” reverse Oak spray acorns & Star;

Measurements of drawing
Height 7 3/8 inches, top dia 4 inches, base dia 4

inches.

Features

The outline of L101 is quite different from that of

the Bles original. L101 has a domed, folded foot

and solid stem, the Bles has a plain conical foot and

aircwist stem.
Bles

Plate 31

Description in Bles pp 104, 105, Plate
31

Goblet (9 ‘A inches) — Straight-sided bowl

handsomely engraved on one side with large eight-

petalled Stuart rose and two buds, and on the other

with an oak spray and acorns and star. Above the
rose, in bold italic lettering is the Virginian motto

Turno Tempts erit. See also text. Circa 1750. Sir J.S.

Risley Collection.
In
the text (p 88) Bles writes: ‘Opposite Plate No.

31 is given a full description of an important and

beautiful goblet with the motto “Turno tempus erit:’
For many years it was believed to be the only one

of its kind, but during 1919-1921 were discovered
four more goblets from the same glass house and

engraved by the same hand, thus forming a group

of five imposing drinking glasses, about 9
1/2

inches

high..: (quoted in full under L102 overleaf).

THE G LASS C I RCLE JOURNAL 11

Author’s comments on L101
Eight-petal roses are rare (Seddon, 179), but Seddon illustrates one on a glass with the same motto as
L101 (pill).

A photograph of glass pattern
L101 appears in Woodward, p 53.

JACOBITE JACOBEAN

E GLASS CIRCLE JOURNAL 11

L102

Bles Plate 33

‘us

–

Description in Pattern Book:

‘Wine Date Circa 1750. Engraved Portrait bust &
profile of Young Pretender wearing order of the gar-

ter in floral wreath between the 7 petalled rose with

2 buds & thistle & a bud. Star on reverse:

Description in Bles
pp 108,

109, Plate 33

‘GOBLET (91/2 inches) — Straight-sided bowl, finely

engraved with portrait bust in profile of the Young

Pretender wearing the Order of the Garter, in flori-

ated wreath, between a seven-petalled rose with two

buds, and a thistle and bud. Star on reverse.
The collar, stem and foot are as those of the

companion goblets on plates 31, 32, 34 and 35.

This goblet is the only glass so far known with the

Prince’s profile facing to the left. Circa 1750. Au-

thor’s Collection.
(See further reference below.)

Measurements of drawing
Height 71/2 inches, top dia 31/2 inches, base dia

inches.

Features
Again, a completely different shape from files. The

bowl capacity looks smaller and has an inverted tear-

drop in its base, the stem is solid and the foot domed

and folded with a pontil mark. The Bles glass has a

plain conical foot and airnvist
stem.

Bles on the discovery of four important Jacobite goblets
(Bless p 88)

‘Opposite Plate No. 31 [L101] is given a full description of an important and beautiful goblet with the motto “Turn
tempus erit.” For many years is was believed to be the only one of its kind, but during 1919-1921 were discovered four

more goblets from the same glass house and engraved by the same hand, thus forming a group of five imposing Jacobite

drinking glasses, about 91/2 inches high. In addition to the’Turno tempus erit goblet there are:-

No. 2
A
goblet with the motto”Revirescit” (Plate No. 32) [L104].

No.3. A goblet with a portrait of the Young Pretender (Plate No. 33) [L102].

No. 4. A goblet richly engraved with fruits and flowers (Plate No. 34).
No. 5.A goblet with the motto “Tempora mudantur
et
nos mudantur in

(sic) (Plate No. 35) [L95]. In this case it is

probably that the engraver mislaid his instructions and trusted to a memory that was not overburdened with Latinity:

JACOBITE JACOBEAN

L103 Glass in the National Museum of Scotland

-4444
i.^.9
4
–
6

–

a a

z 3/4-x a –
1

4-nw-C-
7

trZ4
1
,

1,ctiral

Description in Pattern Book:

‘Wine Glass profile portrait of Young Pretender
within a laurel wreath flanked on one side by quasi-

heraldic rose & 1 bud on the other by the thistle with

the star in between. 2″d Qtr of
1r
Century Sir J.S.

Ridley Collection.

Measurements of drawing
Height 71/2 inches, top dia 31/2 inches, base dia 3
3
4

inches.

Measurement of glass
Height 7% inches, top dia 31/2 inches, base dia 3
3
4

inches.

Features

This glass is totally unlike the Bles original in all

aspects of its shape. The stem has a central inverted
teardrop and a conical folded foot. The Bles glass has

a straight airtwist stem and domed foot.
Bles Plate 38 No. 52

Description in Bles pp 118, 119 Plate 38, No. 52

`WINE GLASS (5
1/2 inches) Straight-sided bowl,

air spiral stem and plain
domed foot.
Bowl finely

engraved with profile portrait of the Young Pretender
within a laurel wreath, flanked on one side by the

quasi-heraldic rose and one bud, and on the other
by the thistle, with the star in between. A charming

glass. Second quarter of the eighteenth century. Sir

J.S. Risley Collection:

THEGLASS ORCLE JOURNAL 11

Author’s comments on L103

The glass belonging to the National Museum of Scotland enables direct comparisons to be made with both Bits and

an example illustrated by Woodward, (p 78). The two Edinburgh glasses appear to be different examples of
L103,

that the
teardrops in the stems differ slightly, as do the leaves in the laurel wreath.

Paradoxically, the Edinburgh and Leith designer has taken one of the better known motifs on Jacobite glasses

— a portrait showing Charles Edward Stuart without a bonnet and wearing the garter on the wrong breast — and

combined it with a form quire unlike illustrated glass of the period. He has also increased the height by two inches.

As with the other glasses in Woodward, however, the engraving copies the original very closely, and certainly on the

Museum glass, it is of very high quality.
The glass itself is of grayish metal with a good lead content. It has a folded foot, but unlike most British 18’s

century glass, it is folded over, rather than under the rim. There is a rough pontil mark. The quality of this large

goblet is impressive, as is the standard of engraving.

JACOBITE JACOBEAN

L104

r
–
:

Description in Pattern Book:

‘Goblet Date 1750. Engd Stricken oak & new sapling
springing from the ground and word REVIRESCIT,

on reverse side an 8 petalled Stuart rose & 2 buds.’

Measurements of drawing
Height 9% inches, top dia 41/2 inches, base dia 4
1
/2

inches.

Features

Another glass with a very different shape from Bles.

This time the bowl appears to be bigger and the stem

is hollow, while the foot is conical with a folded foot.

There are pencilled letters US next to the drawing.
Description in Bles pp 106, 107, Plate

‘GOBLET (91/2 inches) – Straight-sided bowl hand-

somely engraved with a stricken oak and a new sapling

springing from the ground and the word
Revirescit
in

italics; on the reverse, an eight-petalled Stuart rose

and two buds. The stem is a double•knopped air-
twist. This glass is referred to in the text. Circa 1750.

Author’s Collection:

(See reference in text refered to on
pm.)

THE
G
LASS CIRCLE JOURNAL 11

Bles Plate 30

Author’s comments on
L104

The group of glasses listed by Bles as being found in 1919-1921 (L101,104,102) is commented on by Grant Francis
(p199), whose book was published just
after

Bles. He writes: ‘A
few

curious glasses roust now be mentioned which

appear to admit the decay of the movement and of the hopes of its supporters. The earliest has the two buds
dearly severed from the stalk, and the glass bears the appropriate motto ‘TEMPORA MUDANTUR ET NOS

MUDANTUR IN ELLIS: “Time changes, and we change with it.. The erroneous spelling of “MUDANTUR””

should be noted. This glass, 383 [L951, is in Mr. Clement’s collection, and the curious feature of it is that in shape,

style, and period, 1750 it is identical with the “TURNO TEMPUS ERIT” 1L101
.

1 and ‘REVIRESCIT” [L104)

goblets, and was doubtless made at the same time and in the same factory, though its legend breathes quite a different

spirit. Sir John Risley mentions three other glasses of exactly similar type, and from the same factory, but with other
mottoes, that were doubtless engraved
by

the same artist.’

JACOBITE JACOBEAN

THE GLASS CIRCLE JOURNAL 11

GLASS PURCHASED
FOR
THE
HOUSEHOLD
OF

JOHN RUSSELL,

4TH
DUKE
OF BEDFORD1732-71

by Julia E Poole

The Duke, his family homes, and estates

John Russell, 4th Duke of Bedford (1710-
1771), the second son of Wriothesley, 2nd

Duke of Bedford
(1680-1711),

was born in

1710, a year before his father’s death, and
was brought up at Streatham Manor by his

mother, Elizabeth nee Howland (d. 1724),

a considerable heiress.
He succeeded to the

title in 1732, on the

death of his brother,
Wriothesley.’ The lat-

ter, married unwill-

ingly to Lady Ann
Egerton in 1725, had
become a notorious

gambler, who paid
little attention to his

estates. Woburn, the
Russell’s main coun-

try residence, became

dilapidated, and the
Duke spent weeks

at a time at another,

Thorny, near Peter-

borough. Eventually

his health deteriorated

dramatically and the

voyage to Portugal recommended as a cure,

only hastened his death, which took place off

Corunna on
23
October
1732.

The 3rd Duke is not our subject here, but

it seems a pity not to mention an interesting

glass
bill from his day.’ It records a payment

on 5 May
1726
for two quarters rent for lamps

for the `Office in Russell Street’ submitted by
the proprietors of ‘the Conic Lamps’, one of

which is illustrated on the bill surrounded
by the words ‘THE NEW or the CONIC

lamps’. Londoners were supposed to hang a

light outside their houses during the winter
months, and the proprietors of Conic Lamps
provided this service for a fee. According to

John Eliot Hodgkin in
Rariora,
‘The

New or

the Conic Lamps’ were patented in
1706/7.

He illustrated the

same image of a lamp,

presumably from the

receipt he cites made

out to a Madame

Coggin for 35s. rent

due on
30
May in

1730.
3

Fortunately the 4th

Duke (pl. 1) was an ef-

ficient, bustling, opti-

mistic man, who took

an immense interest in
his inheritance. After

returning from a two

year Grand Tour in

1731,
he had married

Lady Diana Spencer,

and the couple lived at
51 Grosvenor Street,

and at Cheam in Sur-

rey, while plans were made to renovate Strat-

ton Park in Hampshire, an estate Lord John
had bought from his brother. On inheriting

the tide, he and the Duchess moved into

Bedford House in Russell Street, the fam-

ily’s London home since 1700, and made
Woburn Abbey their country seat. Most of

the glass mentioned in this paper was pur-

chased for one or other of these houses, but

there is rarely an indication in the bills of its
PLATE I

Thomas
Gainsborough

(1727-88),
JOHN

RUSSELL, 4TH DUKE
OF BEDFORD (1710-71),

1764. Oil on canvas.
Woburn Abbey Inv. no.

1388.

Bs NINE, PERMISSION or THIS

MACS OF BED701. ANL/
a
–
laq
Mus
–
rnns

71-113

BEDFORD ESTATES

WOBURN GLASS PURCHASED

V 1 1

1f 11
RE 01111110

111111111111,

ft srl

.1
1
1j

1
1
1
1,
,1

7 r_77 tl 1

-,-
7

–
1
–
1
7-
3
:—
+
–
7
–
II r.

t _ ;

If -oft

I II

IVIDif
38

THE GLASS CIRCLE JOURNAL 11

intended destination. Other ducal properties
mentioned were Thorny, Streatham Manor,

Houghton House (Beds), which became the
home of the Marquis of Tavistock on his

marriage in 1764, and Oakley (Beds), a hunt-
ing lodge built for the Duke at the end of the

1740s.

Bedford House on the north side

of Bloomsbury Square, was the former

Southampton House inherited by the first
duke’s wife, Anne Carr (d. 1684), from her
father the 4th Earl of Southampton (pl.

2). Wriothesley, the second duke, moved
there in 1700, and the old Bedford House
in the Strand, close to Covent Garden was

demolished in 1705-06. By the mid 18th
century Southampton House had become
known as Bedford House, but it was still

described by its old name in the Hand-in-
Hand Insurance Policy of 1755.
4

It continued

PLATE
2 (ABOVE)

BLOOMSBURY SQUARE

WITH BEDFORD HOUSE

IN
1754.

By
PERMISSION
De

Trot
GUILDHALL
Liman.,

LONDON

PLATE
3 (RIGHT)

VIEW OF THE NORTH
FRONT OF BEDFORD

HOUSE, BLOOMSBURY

SQUARE.
Engraved from

the Original
Drawing

purchased at the sale in
Bedford House, & now
in the possession of the

Publisher. Wilkinson,
London. Published

December 1 1822 by

R. Wilkinson No 125

Fenchurch Street 101.

`Howlett Sculp’ under right

lower corner of view.
Br
PERMISSION
or

‘me
GUILDHALL LIBRARY,

LONDON

WOBURN
GLASS PURCHASED

THE

G
LASS CIRCLE JOURNAL
11

to be the Russell’s London home until 1800,

when the contents, fittings and architectural
features were sold by Mr Christie, and it

was demolished.’ A good impression of its

grandeur is given by a view published in 1822

as engraved from a drawing purchased at the

sale in 1800 (pl. 3).
After losing her first child, the Duchess

went into a decline and died in 1735. Two
years later the Duke took a second wife, Lady
Gertrude Leveson-Gower (1718/19-94),

who was more robust, and safely bore him an
heir, Francis, Marquis of Tavistock, in 1739,
and a daughter, Lady Caroline Russell, in

1743. It was an extremely happy marriage,

and the couple remained on excellent terms

with their children. The household accounts
show that the Duke and Duchess enjoyed
music and opera, and entertained a good

deal. The Duchess was a successful hostess,
but was generally unpopular, being judged

arrogant and haughty. In this portrait by Sir

Joshua Reynolds (pl. 4), probably painted
in either 1756 or 1759, she wears large

quantities of lace, a luxury on which she and
the Duke spent large sums
.
8

The family formed the apex of a household

which numbered around 40 for most of the

period under discussion, therefore much of

the pottery, and some of the glass purchased

was intended for the use of the staff. The
household was the nucleus of a much wider

group of employees, tenants, and leaseholders
on their London and country estates, many

of whom supplied their domestic needs.
As the Duke’s career as a Whig politician

is described in the
Oxford Dictionary of Na-

tional Biography,
it is only necessary to men-

tion here his appointments as Lord Lieuten-

ant of Ireland (1756-60), and Ambassador in
Paris (September 1762-June 1763), which
had effects on the household accounts. Apart

from politics, he took a keen interest in the

increase of his estates, and the improvement

of Woburn and its garden. He was one of
England’s largest landowners, with estates

in Devonshire, Dorset and Hampshire, in

Cambridgeshire around Thorney in the
Fens, and Dry Drayton near Cambridge, in
Bedfordshire, Buckinghamshire, Hampshire

and Hertfordshire; and in London, Covent

Garden, Holborn/Bloomsbury, and Rother-
hithe. The Duke’s income in 1732 was about

£31,000 gross,’ but he inherited his broth-

ers debts of over £71,000. Consequently it

was only by spending prudently, acquiring

more land and property, and careful man-

agement that by 1747 he was able to begin
major building alterations at Woburn, which

continued into the 1750s (pl. 5). By 1751 his

gross income has been estimated at £47,592,

and by 1771 £51,5674.
8

Today his income

between 1732 and 1771 would probably be
PLATE

Sir Joshua Reynolds (1723-
92),
LADY GERTRUDE

LEVESON–GOWER, 4TH

DUCHESS OF BEDFORD,

probably 1756 or 1759.

Oil on canvas, 124.5 x 99
cm. Woburn Abbey Inv.

no.1346.

BY
KIND 0E101155,0N OF THE

DUKE OF BEDFORD AND

TOE TRUSTEES
or ram

Man°.
ESTATES

WOBURN GLASS PURCHASED

THE
GLASS CIRCLE JOURNAL 11

the equivalent of £5 and £7 million.
9

The Duke’s financial recovery was aided

by his appointment In 1738 of a new agent

in chief, Robert Butcher who continued in
the post until 1763.
10
It

was the efficient

accounting and record keeping of his
office at Bedford House which created the

extraordinary abundance of household
records surviving today. Day to day payments

were made to tradesman by the house

steward, John Branson, who was succeeded
by Percival or Percivale Beaumont in 1761,

and their names appear successively in the
receipts on the majority of the bills.

The
Evidence
for Glass Purchased

No drinking or table glass is known to have

survived at Woburn since the 18th century.

The evidence for its presence is entirely
documentary. Altogether about 120 records
have been found for glass purchased or hired

in England between 1742 and 1773 – two
years after the Duke’s death and chosen as a

stopping point because it provides a twenty
year period from the first extant glass bill of
the 4th Duke’s era dating from 1753. The

PLATE 5 (ABOVE)

Woburn Abbey, the West

Front designed by Henry

Flitcroft, c. 1752

PLATE 6 (OPPOSITE)
Cashbook I, p. 59,
May 1748.

Br
KIND PERMISSION OF
THE

DUE.
OF BEDFORD ONE

THE TRUSTEES OF THE
BEDFDRa
IlsvcrEs

WOBURN GLASS PURCHASED

THE GLASS CIRCLE JOURNAL 11

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_

THE GLASS CIRCLE JOURNAL 11

total number of pieces found is 7364 with

a further 262 for the Marquis of Tavistock.
Even so this is nowhere near the amount

actually bought, because no glass bills have

yet been found for the 1730s and 40s, and

many are missing from the later years of the

period.

Two Cashbooks and General Accounts of
Payments

The evidence for the glass purchased during
the 4th Duke’s era comes firstly from two

large ledgers referred to as ‘Cashbooks’ which
run from January 1742 to December 1751

and from January 1751/2 to January 1762.
The receipted bills were numbered on the
outside, and this number, the name of the

supplier and a brief description of what was

supplied were recorded in the Cashbook. The
bills were then put into numerical sequence

and tied up with tape. The accounts were
organized on a monthly basis allowing us to

see the total household expenditure month
by month for this period. Plate 6 shows a
typical page of the first Cashbook recording

payments made in May 1748. About half-

way down under 27 May there are two
payments for china and glass: ‘225 Pd John

Taylor for China & Glasses.. 10. 5.-‘ and ‘230
Pd Robert Cartony for China & Glasses …

16.12.-
2

. In the same
month,
entry 239 shows

that a comparable amount, £17.1s. Od., was

paid to the pewterer Elizabeth Carpenter.

The monthly total £1624.15.7 is shown at
the bottom of the page. Glass accounted for
a minute proportion of the annual household

expenditure which was usually between

£10,000-L15,000 but heavy spending on
building in 1748 brought the annual total up

to L17,711.11.8
1

/2.

After 1762 the Cashbook, if there was

one, does not survive, and instead for the

years 1762-6 there are a series of monthly
summaries of the household expenditure

set out in the same way as the Cashbook but
bundled with the bills for that month. The

summaries are usually headed, A
General

Account of Payments to be made for Expences

of Housekeeping & c in the month of ….17.. .
These certainly continued after 1766, and the

last one I have seen was for February 1772. A

small account book and the bills during the
Duke’s embassy to Paris between September

1762 and June 1763 were kept separately.

Also searched was a small notebook titled

‘An Acct of Small Disbursemts\For his Grace

the Duke of\Bedford’
between 1731 and the

late 1750s, which had very few references to

glass but was useful in giving the prices of
other commodities and services.

The
Cashbooks
and
General Account

sheets

make it possible to compare the amounts

being spent on particular commodities over a
thirty- year period, even though many of the

bills do not survive. They also show that the

number of purchases of ceramics and glass

increased considerably from the end of the

1740s.
The main limitation of the
Cashbooks

as evidence is that they do not allow one
to deduce the total spent on glass in any

one year, because of purchases concealed in
bills from other tradesmen, or in those paid

by the house steward to other members of

the household, such as the housekeeper.

Bills from grocers and confectioners often

included small quantities of glass, but this

is not mentioned, and can only be known if
the bills themselves survive. For example,

on p. 59 of the second Cashbook, payment
no. 369 in November 1754 was made for

‘Housekeeping at Thorney’ when the Duke
visited the estate. This actually comprised
eleven bills dated in
June
or July of which the

eleventh from a grocer, John Baines, included
basic crockery such as chamber pots, basins,

and teapots, and a few items which either

were or could have been glass.”

12 half pint Mugs
0.

1.
0

3 Larg Decanters at 8d Each
0.
2.
0

6 Flint Glasses at 5 Each
0.

A Glass Decanter
0.
2.

In the same group a bill from William

Thompson, probably of Peterborough,
12

comprised:

WOBURN GLASS PURCHASED

THE GLASS CIRCLE JOURNAL 11

Similarly on p. 116, no. 142 under 10

March 1757, a payment to the New Bond

Street confectioner, Richard Robinson,
included some glass. A note on the receipted
bill states that it covered the period from 9

April and 10 December 1756, and it included

’12 Flowerd Jelly Glasses’ purchased in May
1756 for 9s. along with green wax, and
confectionary including boxes of prunelles,

aniseed comfits, snaile, limes and pistacchio
nuts, totalling £3.8.0s.” It seems likely that

his other bills in the 1740s and 50s included

some glass, such as bill no. 287 entered on 18
May 1751, for ‘Frames & Desert Furniture’

for the substantial sum of £.121, possibly one

or other of the brass and plate glass dessert
frames mentioned in the 1771 inventories

of Woburn and Bedford House discussed

below.

The Receipted Bills

The receipted bills are stored in a series of

document boxes, some organized by subject,
and others by date. ” Most of the bills for glass

supplied regularly by the ‘superior tradesmen
have Rococo style printed headings, and are

usually neatly written. These vendors were

either glassmen, chinamen, or tea and coffee
merchants who also dealt in china and glass.

A few bills of this type are from specialist

glass manufacturers or cutters, and bottles
were mainly supplied by specialist bottle

manufacturers, although some were bought

from grocers and earthenware vendors. A
mouth-watering bill for foodstuff’s for Lord

Tavistock at Houghton House, purchased on
4September 1764 from Richard Warner atthe

Italian Warehouse, in New Bond Street near
Grosvenor Street included 20 glass bottles

and two glass jars along with Westphalia
hams, Dutch tongues,

and Parmesan cheese.
Glass was also

purchased from earth-

enware vendors, both

male and female (their

wares always described

as such although they

also sold stoneware)

whose bills were not headed. They rarely sold

china, and their glass was limited to salts,
mustards, cruets, ink squares, water carafes,

and decanters, probably for use by the staff.
The bills of out-of-London vendors indicate
that they were less specialized and dealt in all

kinds of ceramics, glass, and sometimes bev-

erages and groceries.
These general observations do not apply

to the bills for purchases made in Paris in

1762 and 1763. Only one of these, for Obled
whose shop was at the sign of
Deux Lions

Blanc,
in the rue du RoulIe, had a printed

heading, even though all the vendors were

prosperous
marchand-merciers
or other

shopkeepers.
Occasionally bills record glass hire. A

notable example was the inclusion of glass

in the charge for butlerage in the caterer and

confectioner, Richard Robinson’s account
for the entertainment and ball at held at
Windsor Castle when the Duke was installed

as a Knight of the Garter in 1750.
15

Another

instance was for a ball held in April 1759,

when Mr Bridgman the duke’s in-house
confectioner’s account included a payment

of one guinea on 17 April ‘To Mr Wheatley
for 21 Dozen of cut glasses:” The Duke’s

gout impelled him to take cures at Bath,

where he rented a house. An Account of
sundry payments to be made for expenses of
Housekeeping &c at Bath from October 13th

to November 4th 1764’ included a payment of

£11 to John Lloyd Grocer for ‘hire of China
Glass &c Sept 30th to Nov 5′
1

2’

Inventories

The third major source of information about

glass use is the inventories taken after the

Duke’s death in 1771, and Lord Taviscock’s

To 2 Doz twisted Wine glasses

14:
0

To Y2 a Doz Water Cups & 6 Sauscors
0:

10:

To 1 large Glass
0:

1:
6

To 1 Pair of Delf Basson’s
0:

1:
0

WOBURN GLASS PURCHASED

THE GLASS CIRCLE JOURNAL 11

PLATE.
7

Pompeo Batoni (1708-87),
FRANCIS, MARQUIS OF

TAVISTOCK
(1739-67),

Rome, 1762. Oil on canvas,
2.71 x 1.95 m.

By
KrNO PERMISSION OP
–
ma

DUKE OF BEDFORD AND
THE
TRus
–
rtss
OF THE

BEDFORD ESTATES
in 1767. The inventories of Woburn and

Bedford House are chiefly interesting for

references to lighting equipment and mirrors.

The only other glass mentioned at Woburn
was ‘two blue cut glass bottles’; ‘A sett Brass

Desert Frames consisting of Eight Pieces with
Plate glass bottoms’ (confectioner’s room),

a small glass vase; two more blue cut glass

bottles and stoppers (state bedchamber);
two small white glass bottles, a glass bottle,

probably ornamental; fifty old bottles (small
beer cellar), and, at the end, after a long list of

ceramics; Seven glass Sweetmeats, Basketts,
& Do linings, two White glass Beakers. .

. Ninety-six glass stands . . And sundry
Pieces of Glass . . : . At Bedford House,

the only table glass mentioned is ‘A Set of

Brass Desert frames consisting of twenty one
Pieces Glaid with Plate Glass and two Oval
Do:. However, the Duchess’s three rooms,
numbered 38-40, were specifically excluded,

and may well have contained some glass.
The Oakley inventory of 1772 taken when

it was being let by the Dowager Duchess to
Robert, Lord Trevor, included a few pieces of

glass in the Steward’s Room: eight cut water

glasses, and saucers; four salts; six decanters

and stoppers, and twenty unidentified pieces
of glass ware.
The inventory of Houghton House taken

on Lord Tavistock’s death in 1767, (pl. 7) is

particularly interesting because it was less
than three years after his marriage to Lady

Elizabeth Keppel on 8 June 1764. This
meant that much of the ceramics and glass

was new, whereas most inventories represent
accumulations over many years. The inventory
mentions seven dozen drinking glasses, two

dozen decanters, and a dozen carafes; twenty

jelly glasses, four syllabub glasses, and two
unidentified pieces of dessert ware; a dozen

water glasses with saucers (probably finger

glasses), ten salts and a cruet frame complete
with glasses, probably one mentioned as
having five glass bottles in an invoice of 1764

discussed below.

The Vendors
The first
Cashbook
running from January

1742 to the end of December 1751 includes
comparatively few payments for ceramics or

glass in comparison with other commodities,
but these bills often covered almost a year
or several months, in contrast to the more

frequent payments in the second Cashbook.
The actual bills for this period appear to be
missing, consequently the addresses of the

vendors are not all known, They include

WOBURN GLASS PURCHASED

THEGLASSCIRCLE JOURNAL 11

a payment to Thomas Blackhall for 100
melon glasses for the garden on 21 October,

1743,
18
and three payments to the well-

known London Chinaman, John Taylor of
Pall Ma11.’
9

March 1745

117 Pd Jn° Taylor’s Bill for Glasses

These bills probably did not have printed

headings, as a totally hand-written bill for
porcelain and glass dated 25 November

1747 was presented for payment by Taylor
to Lord Glenorchy, the future 3rd Earl of

Breadalbane..” The high cost of the second
bill may be because it was for a long period

of time, or because it contained china which

was considerably more expensive than glass,

and would then have been either Oriental,
Chelsea, Bow, or possibly Limehouse,
21

In 1756 Taylor was succeeded by his wife,

Jane, and their son Strangeways, who had
a Rococo-style trade card which gives their

address as At the Feathers in Pall Mall,
London. The Russells however, did not

continue to patronize the family during the

4th Duke’s lifetime, as far as one can see from

the Cashbooks.

Joseph and Robert Cartony
The
most frequent supplier of glass from the

1740s down to the early 1760s was Joseph
Cartony. The earliest record found for him is

a bill for dessert glass purchased from Charles

Savage and Joseph Cartony on 3 June 1709
by Elizabeth, 2nd Duchess of Bedford, (nee

Howland m. 1695; d. 1724) and paid very

promptly on 4 June by the receiver-general

of the household, David Middleton (Docu-
ment 1). Apart from two large venison pots,

and eight smaller ones, probably of earthen-
ware, it included 4 dozen small jelly glasses, 2

dozen larger ones, four without feet, 2 glass
funnels, a pair of large glass salvers, two pairs
of glass salvers of two

sizes, and a dozen syl-
labub glasses. This

suggests that the sal-
vers were intended to
be arranged as a group,

singly or one above
the other in tiers with

some of the jelly and

syllabub glasses, or
pyramids of fruit or

4, –

sweetmeats arranged

on them. The unit
price of salvers was 3s.

6d, 2s 6d., or 2s. according to size; the jellies

3d. or 4d., and the syllabubs 10d.
The vendors both became free of the

Glass Sellers’ Company, but no address is

given on the bill. George Savage, son of
William Savage, Cordwainer of London,

had been apprenticed to Jonathan Clarke

on 13 August 1700 for seven years, and was
admitted to the livery in 1713. Both he and

Cartony prospered and had long careers in
the trade. Savage took on his first apprentice,

Belgrave Usherwood of Wilmslow, Cheshire

in 1719, his second, Charles Vere in 1732,

and a third, Isaac Hill in 1739. In his will
made on 17th August 1731 he described
himself as ‘Citizen and Glasseller of London’,

and presumably died in 1739 as the will was
proved on 31 October of that year.
22

Joseph Cartony, whose late father of

the same name, was described as ‘London

merchant’, was bound to Fluellin Aspley on 17

May 1699 for seven years but did not become

free of the Glass Seller’s Company until 3

September 1730. He dealt in tea, coffee, and
chocolate, as well as china and glass, but none

of his bills addressed to the 4th Duke of
Bedford were for these beverages, which were

obtained from other dealers, such as Richard

Haines of Tom’s Coffee House, in Russell

Street, Covent Garden, William Robinson in

May 1748

225 Pd John Taylor for China & Glasses

May 1749
30

184 To Glassman John Taylor 20th Feb
6 . – 6

10. 5 –

WOBURN GLASS PURCHASED

THE GLASS CIRCLE JOURNAL
11

Fleet Street, or John Tatham in Southampton

Street, Covent Garden.
I have not discovered when Cartony set up

his own business. He is not in Kent’s
Directory

for 1730 but this mentions few chinamen

or glass sellers. After becoming free, he was

admitted to the Livery on 1 October 1730,

and took on his first apprentice, William
Nicholson on 9 February 1730/1.
23
He made

the customary progression in the Glass-sellers
Company from Renter Warden in 1735,

to Upper Warden in 1736 and Master in

1737 from September to September in each

case, He was upper warden again from 28

September 1762 to 22 September 1763, but
did not become Master, this post being taken

by Edward Lambden the Renter Warden in

1761. This suggests that he was ill.
24

Cartony and his wife Anne, had a

son Robert, born on 25 March 1723 and
christened at St Martin-in-the Fields on 17

April 1723 (an earlier son of the same name

christened on 18 May 1716, had presumably

died). He was therefore fifteen at the time of
being apprenticed to his father on 18 May

1738. After completing his apprenticeship he

continued to work for his father but did not
become free of the Glass Sellers’ Company.

In the Cash Books Robert is mentioned as
the recipient of payments in May 1748 and
March 1749, but the first entry referring to
the firm as Joseph & Robert Cartony is a bill
running from February to October 1750,

paid in December 1750.
The Cashbooks record thirteen payments

to Joseph Cartony or Joseph
&
Robert

Cartony between 1743 and 1752, which have
not been located among the receipted bills in

the document boxes: one in each year except

1748 and 1750 when there were two, and
1751 and 1752 when there were three. Some

of these are entered as for China and Glasses,

and others for China only, and some ‘ To

China Man Jos. & Robt Cartony’ without an

indication of what was bought. On the basis
of later entries in the Cashbook for which
the bills survive, those which say China only

might have included glass, and those which

say China and Glasses, might exclude it. So
all were counted. The largest bills were paid

in May and December 1748 for £16.12.0 and

£15.17.6 respectively, which is a high figure

and suggests that porcelain was included.
The smallest bill of £2.14.0 covered a shorter
period from 26 October to 31 December

1751. The contemporary value of the larger
bills could be gauged by comparison with the

annual wages of a footman at £12 to £15 or
the housekeeper at £12.

Bills recorded from the Cartonys
One Two Three Four Total.

Joseph Cartony & Charles Savage

1709

Joseph Cartony and from 1750

Joseph & Robert Cartony
1

1743

1748

1751
1755

1744

1750
1752

1745

1753

1759

1746

1754

1747

1756

1749

1757

1758

1762

1760

1761
33

Robert Cartony

1763

1762

1764

1765

1766
7

Robert Cartony &
William Michell

1768

1771
2

The first extant bill from Joseph &

Robert Cartony covered the first four

months of 1753 and was paid on 7 May. It

is embellished with a Hyson tea canister, and

WOBURN GLASS PURCHASED

777

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THE G LASS CIRCLE

JOURNAL 11

PLATE
8.

Joseph & Robert Cartony,
bill dated 28 April 1755. it

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!/ °7:-:71/< ,/ . 1 f . - I ,/ ' 2 z1-:1_-- Lra..h^ tz ? i f; , : ', / . e - - " E . / c_, - - - - ,-.- - c:7 " 1 „.1 1 ., - , /... "- er - -z- : A . ( /1,-,:y IP I et /11,.! - • - - - 1: G _ - " -9 , .. .1 . _ c7 4 - ( a 1. c•2 6/ , 6/.f. ..../, e'.' 4 / cri/11-1` LA Afefl ..PIL .. _ 77 7 1 /4/EtLy ("-? JO - / 6 — - • -4 " — ' s ' gives their address as 'at the Corner of Long Acre next Drury Lane, who/Sells all sorts of Fine Teas, Coffee, Chocolate, China and Flint Glass./Wholesale and Retail: Apart from six cups and saucers the contents were all glass (Document 2).This is the heading on all their later bills, such as the one shown in pl. 8, dated 28 April and 9 May 1755, and paid on 10 May (Document 3). Seventeen further bills have been found, some of which only include a few pieces of glass, with china, and others which are all glass or have a high proportion of it, such as bill no. 434 paid in September 1759 for goods purchased in April, probably for the great ball held in that month at Bedford House (Document 4). A further nine bills recorded in the second cashbook have not been found. Much the WOBURN GLASS PURCHASED Jun 25 4 doz small half pint Glass Muggs @ 6/- 1: 4 2 doz plane Tumblers Large Size @ 8/- 16 Box to pack in-- 2 6 £2: 2 6 Exd PB THE GLASS CIRCLE JOURNAL 11 48 same types of glass were purchased in the various bills, including plain and wormed wine glasses, half-pint mugs and beer glasses, lemonade glasses or cans, half-pint flint cans, ale glasses and long ale glasses, wine and water glasses, water glasses and saucers, two quart, quart, and pint decanters, sometimes with cut stoppers and bottoms, stoppers, water carafes, cruets with cut stoppers and bottoms, diamond-cut salts, mustard glasses, butter basins and covers, and on only one occasion, diamond cut flint patty pans. In none of the bills is there any indication of the origin of the glass. Joseph's Will made in 1765 states that his son Robert Cartony was in a co-partnership with him, and by 1760 he also had his own shop as a 'Tea Dealer, China Man, and Glass Seller To His Majesty at the King's Arms and Golden Bottle, opposite Somerset House in the Strand'. 25 In 1761 he supplied porcelain to John 3rd Earl of Breadalbane, 26 and he sold both porcelain and glass to the Duke of Bedford. Seven of his bills have been recorded, and two found: The first for glass purchased on 8 September 1762 included The second (pl. 9) was for items purchased on 25 June 1763 paid on 30 June." The last extant bill seen from Cartony & Son was of April 1762 was receipted by Robert Michell (also signed Mitchell). There are no further bills from Joseph, and later monthly account entries refer to Robert Cartony. Joseph made his will on 2 January 1765 and died between then and 17 July when the will was proved." He left his half of the business to his wife Ann, but made provision that if she should marry again she should have only a third of that half and the other two thirds should be divided between his son, Robert, and his daughter, Anne March, a widow. He left £20 for mourning to Robert and his wife, Mary (nee Robinson), whom he had married in 1746. By 1768 Robert was in business with Robert Michell who is named with him in the monthly accounts and on their bill headings, as shown in pl. 10 (Document 5). 29 William Smith Another supplier described as'Chinaman' was William Smith who sent in bills from 1764 to 1767, and Elizabeth Smith, presumably his widow, in 1773. They dealt in ceramics and glass. One of the most extensive lists of glass is included a large order for crockery purchased on 10 September 1764, which bears a note stating that it was despatched to the Marquis of Tavistock at Houghton on 15 September in Rock's waggon, packed china in one box, and glass in another box and a hamper. " (Document 6) This bill is particularly interesting because it shows the range of items that young and wealthy newly weds felt were necessary when setting up house. The glass included a set of cruets and casters, five of which were glass; six plain wine and water glasses, and a dozen ditto of two sorts; a dozen each of long ale glasses, half pint tumblers, finger glasses and saucers, flowered jellies, handled syllabub glasses, and carafes; two dozen plain wine glasses and 4 dozen wormed of two sorts; half a dozen each of ale glasses with hop and barley corn, cruets with cut tops, large round decanters, larger quarts, French wine quarts and pints; and eight salts. Two large cases 4 Doz Moulded wash hand Glasses @6/- 1: 4 4 Doz Plates to D° 1: 12 2: 2 Quart Decanters cult Stopers & Bottoms 0: 8 2 Quart Decanters D° 0: 5 Box to Pack in £0: 3 £3: 12 0 WOBURN GLASS PURCI-IASED err k•-.7 eer7.a C -: THE GLASS CIRCLE JOURNAL 11 49 /v / "C p ( ' '< 6i/o/ 7 /, /.., (-- -iellirer C4ci'lliff C ,l1;11/ ,r7./e417 - A":(1?/' t r 4, / ) ( ' ill ( ---- A ___ , ' 77 n --- - , 04/1thil&/;;Menia, t-Velese. 14 ta~ztl. , C-----Y Z 0 ( ' - '_,Z) .--- ) ".. e-i"* .- ' " -----2 -----/ ' C ‘) 17 --- -' ---- 7, - „-- , //-,S., A-- PLATE 9 Robert Cartony, London, bill of 25 June 1763, paid on 30June 1763. By Kw° FVONOSSION OF a-xa Duaa OV BROFOAD AND 'MI TRUSTEES or THE BliOFORD ESTATPS and a hamper cost 10s. a little less than the six 'larger quart decanters at 10s. 6d. The bill is also notable as the only one mentioning a recognizable type of decoration in its description of long ale glasses as 'hop & barly corn' The only other allusion to decoration in the bills is the term 'flower d' in various spellings. This bill is also the only one found which refers to a wine quart which was smaller in capacity than an a post 1824 imperial quart: 57.75in 3 as opposed to 69.355in 3 , but it is probably safe to assume that the other pint or quart decanters were wine pints and quarts, as they were unlikely to have been used for ale or beer, Sadly this glass was not to be enjoyed for long. The Marquis died on 22 March 1767 after a riding accident; his widow died a year later on 2 November, and their two sons went to live with the grandparents at Woburn. The inventory of Houghton House taken in 1767, lists a considerable amount of china and some glass, some of which matches the items in Smith's bill. In Room No. 28 the Housekeeper's Room and Closet, there were twenty jelly glasses and twelve small pieces of dessert glass. More glass listed in No. 40 (no room name given) included 24 decanters, 12 carafes, 7 dozen drinking glasses, 12 water glasses and saucers, 10 salts, a cruet frame with glasses complete, and 2 mugs (might not be glass). The linen listed next included 20 glass cloths marked P, presumably for Pantry. 31 Under 'The Garden and Yards' were listed twenty-five bell glasses, possibly some of the fifty purchased on 14 February 1766 for £7.10s. ad. from Samuel Lowe at the New Glass House in ye old Barge House opposite to ye Temple in the County of Surry. (sic). Eight baskets charged at 8s.0d. were requested to be returned. The heading includes the statement, All Glass made at this House is double anneald; no other ha[s] / Conveniences for that Purpose though the WOBURN GLASS PURCHASED 50 THE GLASS CIRCLE JOURNAL 11 Q e.f."1 19 O. _el'a)// tl , ' - ( , I-11e c . 1 7/1.d /V/ 1 Z j „ .. / " 5 ( t C-j (1:1 / 4..,0 n 414f.c .„ fiiii("/Wet e ate.,/6.1 , 71 /',"" ' 1 _1 . g ' _ MW s x _ j _ z r 5 , , , • . p i __„,. ; . , z /a - --, „__/; /- --,- ._.. .,-.. 2....,„. 4 /. •r,..4. -- -* -, :• -:—;! _ _ , 1 a , - 11a • r 1 • fer; .et p/7 /fig"'74Z, 17;77,47 4 4.c. „, (J,// .97 4 _. iv • ->e4zer4

PLATE 10

Cartony & Michell, bill

for January-May
1768, receipted
July
111768.

By NINO PIIIINSISSION os ME.

DUDE of1160FORD AND
rt.
TRUSTEES OF TIES

&D.P.° ESTATES

most effectual way to/make it durable and fit

for Exportation.
32

The Smiths sometimes gave an indication

where the glass they sold was to be used. In
William’s bill for crockery and glass purchased

for the Duke of Bedford in February 1767,
he noted that ‘2 Glass Crewits Cut Tops for

1s. 6d. and ‘2 Glass Saults for ls, 6d. were

destined for the pantry, and ’24 Plain Wines’
for 9s. Od, ’12 Beer Mugs’ for 8s. Od. and ‘2

Crewits ground Stoppers for is. 6d, were
for the Stewarts (sic) Room’. On 25 August

in that year, he sold ’12 long beer Glasses at
8s.0d. for Streatham.

Edward Wale
Edward Wale of Devonshire Street, London,

whose first bill found was for 1771 supplied
the Duchess until his death in 1773, and was

succeeded by his wife Elizabeth.” One of his
bills of 25 February 1772 included a dozen

decanters, a dozen wine and water glasses,
three dozen wine glasses, a dozen each of

ale glasses and mugs, jelly glasses, and hired

jellies and stands which may suggest that
the Duchess was getting over the death of

WOBURN GLASS PURCHASED

THE GLASS CIRCLE JOURNAL 11

her husband and was beginning to entertain
more. (Document 7)

Other Vendors

The earthenware vendors supplied small
numbers of glass items. William May was a
regular supplier of pottery and glass between

1742-53 followed by his wife Mary in 1754-5.
They were succeeded by Edward, Matthew

and Mary Morgan recorded between 1757
and 1764. The few pieces of glass mentioned

in their bills, are mainly cruets, salts and
mustard pots, decanters, and once, a urine

glass.
34

In the summer of 1756 when the Duke

and Lord Tavistock were on military service

in Blandford because of the threat of a French

invasion, Thomas Shergold of Blandford

submitted three bills including drinking
glasses, and decanters. His first bill for goods
bought at the end of July included ‘4 Syder

Glasses’ the only mention found of this
drink.
35
Altogether he provided 94 drinking

glasses and 16 decanters and carafes. The bill
also included some mugs, but it is impossible
to say whether they were pottery or glass.
One bill paid on 10 April 1757 is

from Simeon Lord of ‘the China Shop in
Trumpington Street, Near Great Saint

Mary’s Church, Cambridge’, whose trade card

gives the additional information that the
shop was ‘at the Corner of Great St. Mary’s
Church-yard’ and that he ‘Sells all Sorts of
Fine Teas, Coffee, and Chocolate, Cocoa,

Sago, China-Ware and Glass, Dutch Tiles,
Glass Bottles, &c. &c. Wholesale and Retale

(sic):
36
His bill is the only one found which

included items sold by weight: 2 bekers, 4

finger Glas and Sasers at 5pnd 5oz at 10c1’

costing 4s. 5d. and ‘4 ground decanters 6pd

2oz at 12d’ for which he charged 6s. 1
1

/2d.

The order also included a dozen unspecified

glasses at 6d. each two ale glasses at 7d., two
mugs at 7
3
74 d., two cruets at 61/2d., four cut

salts at 2s. 6d., two unspecified glasses at 8d.
and perhaps glass, a mustard pot at 6d.
Simeon Lord’s business and other

interests seem to have prospered, as he lived

at Causeway House (later Newnham Grange
and now Darwin College) from 1747, and

also occupied the Merchant’s Yard, a triangle
of land leased from Queens’ College, which

appears then to have been a walled garden.

This property is adjacent to the Cam and
goods could be brought to it by barge. His
wife continued living there after his death
at a date not yet known to me, but by 1779
the property was listed in the rate book as

occupied by Mr French.
37

Robert Hoys, probably of Peterborough,

and the grocers, Mary Roobard and John
Baines supplied a few glass items with

other commodities. Some vendors have

only been found once for glass, such as
Mary Kemp, who supplied glass lamps on

27 November 1766.

Glass Cutters

Only three firms known as glass cutters or

engravers submitted bills – all well known.
Jerom Johnson, of the Entire Glass Shop,
the Corner of St Martins Lane, near Charing

Cross, supplied two’2 Scallop cups & saucers

with covers’ for a guinea on 1 March 1756.
38

Thomas Betts, whose bill heading

describes him as Glass Cutter, at the Kings
Arms Opposite Pall Mall Charing Cross’

(Cockspur Street), submitted two bills, one in

1759 and one in 1760. The first bill for £3.6.6
was for goods purchased on 16 June 1759
and was paid on 28 June. It included a dozen
each of plain and enamelled flutes (probably
with white or coloured twist stems), at 10s.

and 14s. and enamelled ones with twisted
bowls at 12s., as well as a dozen ‘fine Green

gills’ for 18s. Peter Lole noted that of the
18th century bills he had examined, only
Betts’s included gills, and this is true of the

Woburn accounts.
39
The probate inventory

taken on his death in 1765 included gills

and various coloured glass, mainly green and

blue. Alex Warner found that Betts bought

large quantities of glass from Whitefriars
in the 1750s, but considered that some of
the coloured glass could have come from

glasshouses in Southwark.
4

His second bill for goods purchased by

Mr Bridgman the duke’s confectioner, on

WOBURN GLASS PURCHASED

THE GLASS CIRCLE JOURNAL 11

1 December 1760 (pl. 11) was for ‘6 Cutt
Gild Tumblers’ for 18s. and’6 Do Lemonade

Canns’ at 15s. making £1.13 0 altogether.
At 3s. and 2s. 6d. each these were very

dear in comparison to most of the other

drinking glasses purchased at between 4d.
to 9d., presumably because of the cutting

and gilding. Both half-pint tumblers bought

in 1758 and lemonade glasses bought in

1760 from Cartony & Son cost 6d. each.
Lemonade was a fashionable drink at this

time, and was among those supplied for the
celebration after the Duke’s inauguration as

a Knight of the Garter at Windsor in 1750.

The form of the lemonade glasses and cans
mentioned in the bills is uncertain. The late
Robert Charleston suggested that lemonade

glasses may have been the small handled
cups known today described as custard

cups, but the term lemonade can’ suggests a

straight-sided cylindrical cup or mug. Peter
Lole kindly gave me a reference to Lemonade

mugs at 8d. each in a bill from Maydwell &

Windle to the Earl of Dumfries & Stair in

1763.
41

Two bills have been found from George

Maydwele and Richard Windle’s whose letter
head describes them as`GLASS MAKERS to

HIS MAJESTY at the Kings Arms, against

Norfolk Street, in the Strand London.
42
On

11 March 1762 they supplied the Duchess
with a couple of two light girandoles,

ornamented for £8. 8s. Od., and three pairs

of cut toilette bottles for £2. 6s. Od., paid for

on 26 July. The inventory of Woburn taken
in 1771 after the Duke’s death lists ‘two cutt

Glass Standing Lustres for two lights each’ in
the State Bedroom, and ‘two standing lustres

on the chymney shelf for two lights each’ in
the State Drawing Room, which might have

been these. But as they were purchased by

the Duchess they might have been in her own

PLATE I
1

Thomas Betts, bill of I
December
1760.

BY N( NU PERMISSION
or
TOR

DUES OF BEDFORD AND
Tor
TRUST..
or
THE

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WOBURN GLASS PURCHASLD

THE GLASS CIRCLE JOURNAL 1 1

apartments at Bedford House, which were
nor included in the inventory. The monthly

account sheets record a smaller unidentified

glass bill from the firm on 1 February
1764

for 12s.0d.

Bottle Vendors
Many different wines were bought to stock
the cellars of Woburn and Bedford House,

and bottles were bought several gross at a
time, the bulk from specialists, but some

through their tableware suppliers, or grocers.

Seventeen records or bills have been found for
the purchase of bottles in England between

1748 and 1773. In the bills seen some were
described as pints, but most were quarts or

two quart bottles. Altogether
3,762

bottles

can be accounted for, but judging by the sums

paid for bottles recorded in the Cashbooks
but unfound, this was likely to have been in

excess of 5000 during this period.
The earliest reference noted for the

purchase of bottles in the first Cashbook was

paid on 29 September 1748 (Bill 402) for an

unspecified number from John Wetherley

for £15.3s. Od., probably ten or eleven gross.
The spelling appears to be correct, although
reminiscent of John Weatherby, who with

John Crowther was a partner in the Green
Yard Glasshouse at East Smithfield. The
next was William Methold’s unseen bill for

£14 guineas for purchases during February
to May 1750/1 which suggests that an

equally large quantity were bought. In 1753

an unspecified number were purchased for
£4.4s. Od. from Lawe and Co., possibly 3

gross, judging by the prices in found bills,

The first bill found for bottles was dated

20 February 1753 from John Webb of Steell
Yard, near London Bridge’ for 8 gross of
moulded quart bottles at 28s. Od. per gross

(€1.8s. Od.) totalling £11.4s.4d and 16

baskets costing 8s. He supplied three more
orders: the first, unseen, in May 1755 for

an unspecified number costing £3 19s. I0d.,

the second on 6 February 1759, for 2 gross

of wine quarts at 28s. Od. and 4 baskets at

2s. Od.,” and the third on 2 June
1760,
for 6

gross moulded quarts at 28s. making £8.8.0
and 12 baskets for 6s.

Thomas Jones of Jones & Farmer whose

bill heading describes them as At their Bottle-
Warehouse at the Three Cranes the Bottom

of Queen Street Cheapside Who sell all sorts

of Glass Bottles for Exportation & c of the
best Mould & metal, and at the lowest Prices,
‘

submitted a bill on 21 March 1754 for 4

gross of moulded wine quarts at £1.4s.0d.
per gross totalling £4.16s. Od.
45

Elizabeth Smith, one of the vendors of

drinking and table glass, on 25 September

1773 supplied 3 gross of quart bottles

unusually stated to be for Woburn for £5. 8.0,

that is £1.16s per gross or 3s. per dozen.”
6

Corks were purchased on at least two

occasions from John Purser, Cork Cutter,
whose address is given as ‘art the Cork

Tree in Great St. Andrew’s Street, Seven
Dials, Makes and Sells all Sorts of Corks

Wholesale and Retail’. Both dates, 9 May

1759 and 2 June 1760, when ten gross were
bought, coincide with the dates that bottles

were purchased from John Webb.
47

Opticians

The Duke’s eyesight was never very good, and

towards the end of his life he developed cata-
racts which were operated on in 1767. Gladys

Scott Thomson in
The Russells in Bloomsbury

noted briefly various bills for the purchase

of spectacles in tortoiseshell, silver, and horn
frames. A small ledger titled
An Acct of Small

Disbursemts\For his Grace the Duke of\Bed-

ford,
mentions on 1 January, 1753/A Pocket

Glass for his Grace’ for 12s.0d, presumably a
hand magnifying glass. A few years later on

16 May 1760, Benjamin Martin, optician at
New Invented Visual Glasses, no. 181 Fleet

Street’ was paid a guinea for three pairs of his
controversial, thick-rimmed ‘Temple Visuals’

at 7s. each, ls. 6d. for a convex glass in a gold
case, and 16.6d. for an opera glass, totalling

£1. 19s. Od. The bill is headed with an outline
of a pair of specs without side pieces, accom-
panied by the words ‘VISUAL GLASSES:
48

However, it is possible that the opera glass

was for the Duchess, as a bill addressed to
her on 6 June 1760 is for 63 guineas, being

WOBURN GLASS PURCHASED

THE GLASS CIRCLE JOURNAL
11

half the subscription for the fifty operas to be
performed at the King’s Theatre in the Hay-
market during the next season.

Appendix 1 is a list of vendors and the

years in which their bills were recorded.

Appendix
2

lists the different types of vessel

mentioned in the records searched.

Prices of Drinking and Table Glasses

In order to assess the quantities and prices

of all the different forms of glass during the
twenty-year period,
c.
1753-73, lists were

made of every recorded occurrence of each

type of vessel with its month and year of

purchase, unit price, price per dozen, amount

paid, and vendor. These were transferred into

tables for ale glasses, beer and cider glasses,

cans, lemonade glasses, mugs and beer mugs,
tumblers and beakers, wine glasses, water
cups/finger bowls and saucers, bottles,

carafes, decanters, dessert ware, cruets,
mustards, salts, lighting and misc. Although

the tables cannot list all glass bought, they

give an indication of the most frequently

purchased objects, and their prices. A sample

table for ale glasses is shown in Appendix 3,

and a table with a resume of all types and

prices in Appendix 4.

Prices were virtually static during the third

quarter of the century, and it was not until the

French Revolution and Revolutionary Wars

that they began to rise dramatically. The

factors which resulted in higher prices for

glass in the mid and third quarter of the 18th

century were large size, or engraving, cutting,

or gilding. The ale glasses decorated with hop

& barley corn, for example, cost ls.0d. each
in 1764 whereas the plain ones cost 7% d.

each. Quart decanters with cut bottoms and

stoppers were considerably more expensive
than plain at 2s. 6d. or 3s. as opposed to 2s. or

ls. 9d. for one suitable for the steward’s

room.

According to a House of Commons

Financial Report of 2004 prices rose about

140 times between 1750 and 2003. However,

relative values of goods and services were very

different, and in judging whether something

was cheap or dear it is more helpful to
compare the prices with other contemporary

commodities and wages. For example, the

range of wine glass prices – 4d. to 9d. – was

roughly the same as for earthenware mugs

and teapots. One might compare a dozen

glasses at 5s. with the similar cost of two

pineapples, then a luxury (1759-60), hiring a

sedan chair for 41/2 hours to go to the Opera
(1760); and having the harpsichord tuned at

Bedford House (1760); or as a proportion

of £2,10s. for a quarter’s rent of a house in
Great Russell Street (1740-60), or €6.10s. a
quarter earned by the gamekeeper at Woburn

(1769). Glasses at that price were in fact
moderately expensive in relation
to
earnings.

Mirrors
Another aspect of household glass which was
not explored thoroughly because it falls into

the category of furniture is mirror glass, of

which there was a considerable amount in the

properties lived in by the 4th Duke and the

Marquis of Tavistock. The 1771 inventories

taken on the Duke’s death included fifty-two

mirrors at Bedford House, and seventy-five

at Woburn. The inventory of Houghton

House, taken in 1767 on the death of the

Marquis of Tavistock,” listed seventeen, and
the inventory of Oakley, made when it was

being let furnished to Lord Trevor in 1772

listed nine. ”

This chart shows that a high proportion

of the mirrors in each house were dressing

glasses, which were mainly situated in the
dressing rooms and bedrooms, including

those of servants, but also in seemingly odd
situations, such as the Confectioner’s office
at Woburn, Some were described as having
mahogany or `walnuttreg frames, and one or

two were wainscot, gilded wood, or japanned.

In the public rooms, and some of the superior

bedrooms there were chimney glasses, pier

glasses, oval pier glasses, and oval glasses.
At Woburn seven of the dressing glasses

and four of the pier glasses were described

as ‘diamond cut. The large size and elegance

of the mirrors in the public rooms, the

grander bed chambers, and dressing rooms

was remarked upon in Charles Burlington,

WOBURN
GLASS
PURCHASED

THEGLASS CIRCLE JOURNAL

Woburn Bedford Houghton Oakley

Type of Mirror

1771 House 1771 1767

1772 Total

Chimney glass
Pier glass

Oval pier glass

Oval glass
Dressing glass with mahogany frame

Dressing glass with walnut frame

Dressing glass with other frames

Glass in cut frame

Toilet glass in Japanned frame

Concave glass on stand

Unspecified glasses

Total

et al, The
modern universal

British
Traveller

(1779) and in A
New Display of the Beauties

of England,
(1787).”

A few surviving bills for ‘glasses’ at

Woburn were discussed by Geoffrey Beard

and Helena Hayward in the June 1988 issue
of
Apollo.
52
A pair of oval pier glasses listed

in the 1771 inventory in room No. 59, the

Saloon (p. 23v) had been supplied by Whittle
and Norman whose bill of 27 January 1757,

lists the charge of £129.10s. for the frames

and £142.10s. for the glass plates which
measured 77 x 55 ins. A pair of spectacular
rectangular mirrors in room No. 58, the Blue

Drawing Room (pl. 12) described on p. 23 as

‘two large Pier Glasses with rich carvd Frame
Gilt in Burnished Gold’ were also supplied

by Norman. His bill of 13 September 1760

charged £229 for the frames and £183.5s. for

one a plate of glass measuring 76 x 44 in.”
However, this was damaged, and Norman

was obliged to sign an agreement to provide

a similar plate within six months, or risk the
Duke making an order to another tradesman.
In that case he would have had to remove the
1

3
3

52 17 9 153

damaged glass at his own expense within ten

days of notification, or bear the loss if further

damage occurred to it.
Many of the mirrors in Bedford House

were probably still there in 1800 when the
furniture, interior fittings, floors, and windows

were sold by Mr Christie on 5 May and

following five days.
54

The
Catalogue
includes

forty-one mirrors, but it is difficult to be sure
that they were those there in 1771 because in

most instances the names and numbering of

the rooms differ from those of the Inventory.

One of the items, a concave mirror with ‘a
Black Stand on a Pillar & Claw’ mentioned in

a Lumber Room on the Chamber Storey in

the inventory of 1771 was probably the one

situated in
the Library described in lot 18 of

the sale as ‘a twenty-four inch concave mirror

on an ebony pillar and claw stand’.
The place of manufacture of the mirror

glass is not mentioned in any of the inventories

cited, but the
Catalogue

of 1800 describes

as French the pier glasses in the Salon, the
East and West Drawing Rooms, and the
Ballroom, forming lots 3, 26 (a pair), 49

WOBURN GLASS PURCHASED

THE GLASS CIRCLE JOURNAL 11

and
77
respectively, and the chimney glasses

forming lot 27 and 50 on the first day, and in
the Library, lot 10 on the second day. The pier

glasses in the Dining Parlor (sic) and Sitting
Room, lots
27
and 58 respectively on the

second day were described as Vauxhall, and
were much smaller than the French examples
– 48 inches high as opposed to
72,
88, and

108 ins. The Vauxhall glasshouse had been
founded by the Duke of Buckingham in the

1660s for the production of mirror plates,
and continued into the 18th century.

Glass Purchases during the Duke’s
Embassy to Paris, 1762-3
On
22

July
1762
the Duke was offered the

post of Ambassador in Paris in order to
negotiate a peace to end the Seven Years

PLATE I2

One of
a
pair
of pier glasses

by Edward Norman,
London, 1760. Blue

Drawing
Room,Wob

urn

Abbey Inv. no, 2098.
By

KIDUK

ND PERMISSION

rma

E BUDEORD AND

THE TRUSTEES OF THE

BEDFORD ESTATES

WOBURN GLASS PURCHASED

THEGLASSCIRCLEJOURNAL11

War. On 7 September he and the Marquis
of Tavistock set off from Dover, and were in
Paris four days later. The Duke stayed initially

with the Sardinian Ambassador, Bailli Solar
at the hotel de Bellisle in rue de [‘Eder, and

when the Court moved to Fontainebleau
for the hunting season, he rented the h&c’

de Breteuil there, and hired furniture for it
from Belache, a Paris upholsterer. By late

September he had found a suitable Paris
residence on the Left Bank, the hotel de

Grinberghen, 16, rue Saint Dominique
which he rented unfurnished from the Duc

de Chaulnes, for 3,250 livres a quarter. The
house no longer exists, and its site is now 244

Boulevard St Germain. Various structural
renovations and alterations including the

installation of a water closet, and much

interior decoration was undertaken before
the Duchess arrived in mid November. The

embassy was fitted out in the most splendid
fashion. Apart from the furniture and soft

furnishings, this included the provision of an

extensive
batterie de cuisine,

linen, cutlery, and

large quantities of earthenware, porcelain,

and glass. The duke also rented a town house
in Versailles, for which a few pieces of glass
were purchased from Marchande, a falencier

there.
The peace treaty, which was highly

advantageous to England, was signed on

10 February 1763, and in May the Duke
intimated that he would like to return

to England. He received the standard

diplomatic gift of a
boite a portrait
with Louis

XV’s portrait set in diamonds, and on 31

May, while in the midst of packing up to

leave, the Duchess was pleasantly surprised
by the presentation of an 180-piece service of

Sevres porcelain, accompanied by 120 biscuit
figures which were delivered to the Duke by

Jacques-Rene Boileau, the Director of the
Royal Manufactory at Sevres.” The Duke

took his leave of the King at Versailles on 7

June, and he and the Duchess left Paris on 8

June.
The bills for the household expenditure in

Paris were as carefully preserved by Percivale
Beaumont as those at home, and these formed
the basis of a detailed article on the embassy

by Joan Evans.” This briefly mentioned the
purchases of ceramics, but does not mention

glass, although considerable quantities were

purchased and hired, and were of much the

same types as those bought in England. The
majority was supplied by Dutfoy, a
marchancl

faiencier
in the rue Taranne,
57

a street which

disappeared when the Boulevard Saint
Germain was created in the 19th century.
During the year of the Duke’s residence in

Paris, Dutfoy presented four bills covering

the periods 14 September to 3 October 1762;

7 October to 26 November; 27 October to

19 May 1763, and one for hired glass paid

by Mr Beaumont on 7 June. In the first three

bills, glass formed a small proportion of the

total, and in the last about half.
Appendix 5 shows the numbers of the

various types of vessel bought, and their
prices. They included wine and champagne

glasses, water carafes, wine bottles, dining
and, dessert glass, and lighting equipment,

amounting to 1495 pieces plus 1425 bottles.

The quantities of drinking glasses suggest

that the Duke and Duchess entertained on
a grand scale. An unusual item was the
’48

Collosme de
Cristal

Creuse’

at 24 sols each,

totalling 57 livres 12 sols. These may have
been columns used to create tiers of trays for

the dessert., possibly resembling the ribbed

glass pillars for confectioners illustrated
in the 1763 price-list of the Norwegian
Nostetangen glasshouse which were noted

by the late Robert Charleston.
58

The prices varied according to whether

the glass was ‘ordinary, crystal or Bohemian
crystal, and whether it was plain
(uni),

cut and engraved. The rate of exchange in

the mid 18th century was about 25 livres

to £1 sterling. A rough idea of values can be

gained by comparing prices with the wages
of the duke’s forty-three servants, of whom
the lower ranks earned 30 or 35 sols per day

while in Paris, enough to pay for two dozen
ordinary wine glasses at 15 sols per dozen or

7 champagne glasses at 5 sols each.
A considerable amount of glass was hired

from Dutfoy. His last bill included china,

WOBURN GLASS PURCHASED

THE GLASS
CIRCLE JOURNAL 11

supplied to Dionysius Mellice, the
maitre

d’hôtel,
and glass to the butler, amounting

to 81 livres 12 sols,” It included 24 crystal

ice cream cups, 222 drinking glasses and 54
water carafes. Six glasses were broken and

were charged at 2 livres 8 sols or 8 sots each,

the same price as hire of 6 dozen champagne

and crystal glasses. There is no indication of
the origin of the drinking glasses and dessert

glass, other than Bohemian crystal. Most of
the bottles were described
as’ de verre de Seves,

although the
verrerie
had moved from Sevres

to Bas-Meudon nearby, so that workers from

the porcelain factory could be housed in its

buildings after it moved from Vincennes to

Sevres in 1756.
6
°

To sum up: The evidence for glass purchase

found so far in the archive at Woburn for the

4th Duke’s era, illustrates the wide range and
enormous quantity of glass used by a noble

family and their household, and shows that
purchasing can be linked to their social,
building, and political activities. It confirms

the range and stability of mid 18th century

glass prices found by various researchers, and
allows them to be related to the cost of other
household commodities, and earnings. It

also reveals the activity of several previously
unknown or little-known glass vendors in

London and elsewhere,

Julia
E.
Poole

I would like to thank the Duke of Bedford for

generously allowing me to study and publish material
from the collection and archives ar Woburn, and Mrs
Ann Mitchell, the archivist for her help over several

years; also the Guildhall Library for permission to
reproduce two prints.

Endnotes
1.
This introduction is largely derived from Gladys Scott Thomson, The

Russells in
Bloomsbury,
1669-1771,

London, 1940; Georgiana Blakiston, Woburn
and the Russells,
London, 1980 (pb reprint 2000); T.I. Ingram,

‘John Fourth Duke of Bedford, 1710-71,
Apollo,

CXXVII ( June 1988), pp. 382-6; and Marie P.G. Draper,

‘The Houses of the Russell Family,
ibicl,
pp. 387-92.

2.
Woburn Archives, Bill Folders 1, NMR 18/14/1.

3.
John Eliot Hodgkin,
Rariora, vol.
1, p. 71, London 1902. I would like to thank Dr David Watts for this

reference.

4.
Guildhall MS 8674 84 (M3) 1755, p. 15, 28 January 1755, Policy 47614.

5.
Mr Christie, 5 May 1800 and following five days, on the premises,
A catalogue of part of the elegant household

furniture, French pier glasses of remarkable large dimensions and singular beauty and perfection, .. . superb cut-glass

chandeliers;. . . plate glasssashes;. . . and numerous valuable effects, at Bedford House, Bloomsbury Square.
Lugt

6074.

6.
For opinions of the Duchess, and for the two likely dates for this portrait, see David Mannings,
Sir Joshua

Reynolds, A Complete Catalogue of his Paintings,
New Haven and London, 2000,
Text,
no. 1558.

7.
Gladys Scott Thomson,

op. cit.,
1940, p. 301.

8.
See Hermann Wellenreuther, Reprcisenta

non and Grossgrundbesitz in England 1730-1770,

Stuttgart 1979, p.

347, a chart showing income from the Duke’s various estates in 1731, 1739, 1751 and 1771.

9.
Various factors need to considered in assessing the actual purchasing power of the pound, see Jim 0′ Donoghue,

Louise Goulding and Graham Allen,
Consumer Price Inflation since 1750, Office
of National Statistics,

Economic Trends,
no. 604, pp. 38-46, online version, 2004. Lawrence H, Officer,`Purchasing Power of British

Pounds 1204 to 2007;
Measuringwortb,

2008. www.measuringworth.com/ppoweruk..

10, Gladys Scott Thomson,
op. cit.,
1940, pp. 208-23, An Agent-in-Chief’. For his political activities on the

Duke’s behalf, see Hermann Wellenreuther, Activities of an Estate Agent in Mid-eighteenth century England:

Robert Butcher and the Town of Bedford;
Bedfordshire Historical Miscellany: Essays in Honour of Patricia Bell,

Bedfordshire Historical Record Society,
vol. 72 (1993), pp. 156-76.

11.
MR 4/13/1 Mixed Bilk 1754-5, in’No. 369, 1754 Dec 5, Housekeeping at Thorney1754.

12.
Probably William Thompson, Behind the Market Cross, Peterborough, whose Sun Insurance Company

Policy is in Guildhall MS 11936, vol. 76, policy 106561, 24 October 1746. See Adams, Elizabeth,’Women

in the Eighteenth Century Ceramic Trade and some detailed Prices of that Time; Northern
Ceramic Society

Journal,
16 (1999), pp. 1-21, on p. 20 under 110, Esther Thompson, who is presumed to be his widow or

daughter.

13.
NMR 18/4/2, Bill Folder 2,. Reproduced in Julia Poole, ‘Ceramics in the household of the 4th Duke of

Bedford – Bills and Other Evidence;
English Ceramic Circle Transactions,
vol. 18, Part 1 (2002), pp. 233-68,

WOBURN
GLASS PURCHASED

THE GLASS CIRCLE

JOURNAL I I

on p. 131, fig. 4

14.
The following boxes have been searched: NMR 18/14/1-4 Bill Folders 1-4 (interesting headings); MR 4/20/1

Special interest; MR 28/16/1 Miscellaneous 1733; MR 4/10/2 Ireland; MR 4/12/2 Mixed bills 1761-2; MR

4/12/3 Mixed bills 1762; MR 4/13/1 Mixed Bills 1754-5; MR/4/13/2 Groceries and Dairy; MR 4/14/2

Bakers, Confectioners and Drink; MR 4/14/3 Sundries, Misc. and Linen; MR 4/2/1 Mixed vouchers 1760-63;
Paris Nov 1762-June 63; MR 4/2/2; Mixed vouchers 1763-1766; MR 4/1/1 Mixed vouchers 1767-71; NMR

2/38/5 Vouchers 1762-6, 1767-71; Since the building of the new muniment room at Woburn the boxes with

MR prefixes have been renumbered

15.
MR 4/20/1 Special Interest, dated 12 July, paid 12 November 1750

16.
Not seen. Cited by Gladys Scott Thomson,
op.cit.,
London, 1940, p. 282

17.
NMR 2/38/5,Vouchers 1762-66

18.
These were glass bells or cloches to put over melons, not the glazed frames for the beds. In 1764 George Harris

was paid £14.19s. for glazing a melon frame. For melon culture, see Jean de La Quintinie, translated by John
Evelyn, The Compleat Gardner… To which is added his Treatise of Orange Trees, with The Raising of Melons,

omitted in the French editions;, London, 1693, or see J.C. Loudon, An Encyclopaedia of Gardening, 1835, Book
I, Section VII,’Culture of the Melon; pp. 794-8.

19.
Robin Hildyard,’London Chinamen;
English Ceramic Circle Transactions,

18, Part 3 (2004), pp. 447-524, on

pp. 492-3.

20.
It included two Limehouse porcelain sauceboats, six large egg bottomed glasses; six long ale glasses, two dozen

plain egg bottomed wines, and a dozen plain water glasses , see Barbara Horne, John, 3rd Earl of Breadalbane

as a Purchaser of Pottery and Porcelain’. E.C.C.T. 13, Part 1, (1987), pp. 51-55, esp. p. 51, and pl. 40.

21.
In May 1753 Taylor supplied the Marquis of Rockingham with some Worcester and unnamed china, see

Alwyn and Angela Cox,’Chelsea Bow and Worcester – Some Early Invoice;
E.C.C.T.,
10 Part 4 (1980), pp.

200-9, on p.207.

22.
Cliff Webb,
London Apprentices, Vol.

5,
The Glass Sellers Company 1664-1822; the Woolmen’s Company 1665-

1828,
London, 1997, apprenticed, p. 23, apprentices, pp. 13, 27 (2). Will National Archives PROB 11/698.

23.
Cliff Webb,
op. cit.,
p. 19. He took two further apprentices, in addition to his son: Thomas Proctor, on 16

August 1753, and William Mitchel on 22 November 1757, see pp. 21 and 18 respectively.

24.
Guildhall MS 5540
Liverymen of the Worshipful Company of Glass Sellers with the times they respectively served

or fined for any and what Offices,
2 vols. The dates for his second holding of the Renter and Upper Warden were

written into the ledger at a later date, also that he was Master from 19 March to 24 September 1761.

25.
He and his father were listed separately as ‘Cartony, Joseph and Sons, Long Acre, and Cartony, Robert,

opposite Somerset House, Strand in A
Complete guide to All Persons who have any Trade or Concern with the

City
of
London and Parts adjacent,
C. Hitch, and L. Hawes, R. Baldwin and T. Longman in Pater-noster Row,

London, 1760, p. 124. This is repeated on p. 132 of the 1765 edition.

26.
Barbara Horn,
op.cit,

p. 52.

27.
Bill Folders 4, NMR 18/14/4

28.
National Archives, PROB 11/910

29.
They are mentioned in

Baldwin’s New Complete Guide,
1770, p. 100 as tarteny [sic] & Michell, Tea dealers,

Strand; and spelled correctly in
Kent’s Directory for the Year 1774,
p. 36. The bill is Woburn Archives, NMR

18/14/4, Bill Folders 4.

30.
NMR 19/32/2. This bill appears to have been misfiled with bills for the 4th Duke.

31.
Ed. James Collett-White,
Inventories of Bedfordshire Country Houses, 1714-1803,

Bedfordshire Historical

Record Society, 74 (1995) pp. 103-22, p. 117, No. 28, p. 230, No. 40 and No. 41.

32.
Ibid, P. 121 [No. 44]. For Lowe, see Baldwin’s
New Complete Guide to all Persons who have any Trade or

Concern with the City of London and parts adjacent,
London, Richard Baldwin, 12th edn, 1770 on p. 142. Bell

glasses were used to protect individual plants, such as melons, from the cold, and to increase the warming
effects of the sun. A bill of 1758 with similar heading is in the British Museum Department of Prints and
Drawings, Heal, 66.43, illustrated online.

33.
Edward Wale’s bills do nor bear his address, but his Will , made on 17 February 1771 and proved on 16th

April 1773, gives his address as Devonshire Street, in the Parish of St George the Martyr. National Archives,

PROB 11/987. Image reference 274.

34.
Poole,
op. cit.,
2002, p. 132, and sample bills on pp. 147-60, Documents 1-3

35.
MR 28/28/4, Bill 360 with attachment and Bill 400. See also Jo Draper, ‘The Inventory of Ann Shergold,

ceramic dealer in Blandford, Dorset;
Post-Medieval Archaeology,
16
(1982), pp. 85-91; Poole,
op. cit.,
2002,
see

p. 137 and pp. 165-8, Documents 14-18.

36.
A photograph is in the Woburn Archives, the original said to be ar the Folk Museum in Cambridge, could

not be found when I enquired. A reproduction of his trade card after an original said to be in the Fielden

Collection is in the BM, Banks Collection, Banks 37.9. Sago is probably included with the beverages because

WOBURN
GLASS PURCHASED

THE GLASS CIRCLE JOURNAL
11

apart from its
use
in puddings, it was boiled in water to make a posset-like concoction with wine, sugar and

spices,
see
Hannah Glasse,
The
Art
of Cookery Made Plain & Easy,
facsimile, Totnes, 2004, p.120 under

invalid recipes.

37.
Margaret Elizabeth Keynes,
A House by the Riven Newnbam Grange to Darwin College,
Cambridge, 1976, p. 7.

38.
Bill no. 126 paid in May 1756, original unseen, copy by Gladys Scott Thomson. See R.J. Charleston,

op cit.,

1984, p. 154, for Johnson, and 176-7 for scalloping.

39.
A gill was 5 fluid oz or a quarter of a wine pint, volume 7.21875in
3

. F. P. Lole, A quantative assessment of the

descriptive terms used for drinking vessels for the Glass-sellers Bills 1600-1818’,
Glass Circle News,
no. 94

(April 2003), pp. 6-7, on p. 7.

40.
Alexander Werner, ‘Thomas Betts – an Eighteenth Century Glasscutter;
The Journal of the Glass Association,

vol.
I (1985), pp. 1-15.

41.
R.J. Charleston,
English Glass and the Glass used in England 400-1940,

London, 1984, p.170. For three 18th

century lemonade recipes see Elizabeth Raffeld,
The Experienced English Housekeeper . .
8th edn, 1782,

facsimile, London, 1970, pp. 333-4.

42.
For Maydwell & Windle’s Rococo trade card, see R.J. Charleston, op.
cit.,
pl. 46.

43.
See
A Complete Guide to all persons who have any Trade or Concern with the City of London and Parts adjacent,

London, C. Hitch, and L. Hawes, R. Baldwin and T. Longman in Paternoster Row,
et al.,
1760, p.165, Webb,

John & Co., Steel Yard, ‘Thames Street

44.
Bill Folders 4; NMR /18/14/4. Reproduced in the British Museum online catalogue of trade cards, Heal, 66.73.

45.
Bill Folders 4, NMR 18/14/4. Bill No. 503, paid 22 April 1754.

46.
Bill no. 503 paid on 11 October 1773.

47.
Cashbook 2, 1759, 9 May, no. 220; Bill Folders 1, NMR/18/14/1.

48.
Paris, NMR 19/23/1 Out of Place Bills. For Martin, see John R. Milburn, ‘Martin, Benjamin (b. 1705. d.

1782);
Oxford Dictionary of National Biography,
Oxford, 2004.

49.
Ed. James Collett-White, op.
cit.,
1995, pp. 103-122, situated at Woburn.

50.
Ibid, pp. 193-205.

51.
For full titles and references, see Simon Swynfen Jervis, ‘Furniture in Eighteenth-Century County House

Guides;
Furniture History,

XLII (2006), pp. 63452; pp. 145-6 for extracts on Woburn.

52.
Geoffrey Beard and Helena Hayward, ‘Interior Design and Furnishing at Woburn Abbey;
Apollo,
CXXVII

(June 1988), pp. 393-400, especially pp. 395-7, figs. 3,5,and 6.

53.
Transcribed in Gladys Scott Thompson,
Family Background,
London, 1940, pp. 67-8.

54.
Mr. Christie, 5 May 1800 and following days,
op. cit.

55.
Svend Eriksen, ‘Ducal acquisitions of Vincennes and Sevres;

Apollo,
LXXXII (December 1965), pp. 484-9.

For the duke and duchess’s purchases of Sevres while in Paris, sec also Geoffrey de Bellaigue, ‘Sevres at

Woburn Abbey;
Apollo,
CXXVII ( June 1988), pp. 418-26, especially pp. 418-9.

56.
Joan Evans,’The Embassy of the 4th Duke of Bedford to Paris 1762-1763;

Archeological Journal, CXIII
(1956),

pp. 137-56. For the hotel de Grinberghen, see Paris, Musee Rodin,
Le Faubourg Saint-Germain, La Rue Saint-

Dominique,
catalogue of an exhibition held 11 October – 20 December 1984, entry by Bruno Pons, pp. 150-56.

57.
Possibly the Dutfois who is recorded as supplying Chantilly porcelain to the
marchand-tnercier
Dubuisson,

see Caroline Sargentson,
Merchants and Luxury Markets, The Marchands Merciers of Eighteenth-Century Paris,

London, 1996, p. 31.

58.
R.J. Charleston,’Glasses for the Dessert I – Introductory; The
Glass Circle,

5 (1986), pp. 27-32, see p. 29, and

p. 44, fig. 8.

59.
Bill no. 439, paid 7 June 1763, NMR 19/23/2

60.
Pierre Ennes,

De Vincennes Li Sevres, l’anneee
1756, Paris, 2006, p. 8

WOBURN GLASS PURCHASED

THE G LASS CIRCLE JOURNAL11

APPENDIX 1
Suppliers of Glass and other Persons connected with Glass

The month given is the date of payment entered in the Cashbooks or on the invoices, not
the date of purchase, which may be several months previous to payment. Using the month

of payment makes it easier to find the invoices. Only invoices mentioning glass are listed, It

is possible that some unseen bills from chinamen and earthenware vendors which are not
recorded as including glass, do in fact do so. Bills for unspecified glass known from the two

Cashbooks and monthly summaries, but not seen, are described as ‘unseen’

John Baines
grocer, July 1754 (flint glasses, decanter) for Thorney

Thomas Betts,
glass cutter, at the Kings Arms opposite Pall Mall, Charing Cross, June 1759

(gills, flutes); December 1760 (cut and gilt tumblers and lemonade cans)

Thomas Blackball,
October 1743 (melon glasses)

Charles Savage
and
Joseph Cartony,
glass sellers, 1709 (dessert stands, jelly glasses, funnels)

Joseph Cartony,
tea dealer, chinaman and glass seller, Corner of Long Acre next Drury Lane,

June 1743, May 1746, May 1747, May 1748, March 1749/50(glasses; unseen)

Joseph and Robert Cartony,
Corner of Long Acre next Drury Lane, July 1751; December

1752 (glasses; unseen); May 1753 (various drinking glasses, decanters, cruets); December

1753 (butter basins, decanters); April 1754 (various drinking glasses, cruets, mustards);

December 1754 (wines, decanters, carafe, butter basin); April 1755 (wines, cans, decanters,
carafe); May 1755 (various drinking, decanters, carafes); November 1755 (various drinking

glasses, salts); December 1755 (blue glasses); July 1756 (various drinking, decanters); March

1757 (cans); July 1757 (various drinking, water glasses, carafes, decanters); November

1758 (various drinking glasses, decanters; January 1759 (ales, cans); May 1759 (ales, cans,
decanters, mustards); September 1759 (various drinking, decanters, carafes, cut glass vessels);
December 1760 (cans, lemonades, decanters); September 1761 (beers, rumblers, salts); April

1762 (decanters)

Robert
Cartony, tea dealer, chinaman and glass seller, the King’s Arms and Golden Bottle,

opposite Somerset House in the Strand, May 1762 (glass; unseen); June 1762 (glass; unseen);

September 1762 (decanters, washhand glasses and plates); July 1763 (mugs, tumblers);

January 1766, April 1766, May 1766 (glasses; unseen)

Cartony and Mitchell,
tea dealers, address as above, July 1768 (decanters, beer mugs, ale and

wine glasses); August 1771 (decanters, mugs)

Conic Lamps,
proprietors of (rent paid May 1726)

Stephen Hale &
Co., April 1765 (glass for the confectioner)

George Harris,
February 1764 (glazing of melon frame)

William
Hewson,
London, June 1767 (white glass beakers)

WOBURN GLASS PURCHASED

THE GLASS CIRCLE JOURNAL 11

Robert Hoys,
probably Peterborough, July 1754 (tumblers, large glasses for Thorney

Jerom Johnson,
the Entire Glass Shop, the Corner of St Martins Lane

near Charing Cross, May 1756 (scallop cups and saucers probably glass)

Thomas Jones of Jones & Farmer,
The Three Cranes, the bottom of Queen Street, Cheapside,

April 1754 (bottles)

Mary
Kemp,
November 1766 (lamps)

Lawe &
Co,
April 1752 (bottles)

John Lloyd,
grocer, Bath, November 1764 (hire of china and glass); October 1765 (glass;

unseen )

Simeon Lord,
the China Shop in Trumpington Street, Near Great Saint Mary’s Church,

Cambridge, April 1757 (drinking glasses, finger glasses, decanters, cruet)

Samuel Lowe, the New Glass House
in the old Barge House, opposite to the Temple, in Surrey

(Southwark), February 1766 (bell glasses) for Marquis of Tavistock probably for Houghton

Francis Mason,
for Oakley, Bedfordshire, November 1748 (decanters &

Mary
May, London, December 1755 (urine glass)

William
May, London, May 1753 (cruets, salts), December 1753 (ink square, mustard)

George Maydwele & Richard Windle,
at the King’s Arms, against Norfolk Street, in the Strand,

July 1762 (girandoles, cut-glass toilet bottles); February 1764 (unspecified; unseen); June
1764 (unspecified; unseen)’ April 1765 (unspecified; unseen)

William 11/let/mid,
May 1751 (bottles)

Edward Morgan,
earthenware man, March 1757 (salts) March 1757; July 1757 (mustards);

November 1758 (unseen)

Mary
Morgan, July
1763 (decanters)

Catherine Page,
Winton, Dorset, August 1760 (salts); September 1761 (possibly glass mugs

and salts)

John Purser,
cork cutter, at the Cork Tree in Great St. Andrew’s Street, Seven Dials

May 1755, June 1760 (corks for bottles)

Richard Robinson,
confectioner, New Bond Street, London, March 1757 (flowered jelly

glasses)

Mary Roobard,
grocer, June 1761 (salts)

Catherine Ross,
Bath, October 1765 (glass; unseen)

Edward
Scarlet,
optician, London February 1754 (mending a weather glass); May 1756

(probably weather glasses)

Thomas Shergold,
Blandford, Dorset, August and September 1756 (various drinking glasses,

decanters)

WOBURN GLASS PURCHASED

THE GLASS CIRCLE JOURNAL 11

William Smith,
chinaman, February 1764 (glass, unseen); May 1764 (glass, unseen) April 1764;

(glass; unseen, also bottles); September 1764 (glass; unseen); August 1764 (glass; unseen);
December 1764; (various types of drinking glasses, syllabubs and jellies, cruets, decanters

and carafes, salts) for Lord Tavistock sent down from London to Woburn; December 1764
(bottles); January 1765 (glass; unseen) July 1765 (bottles); January 1766 (glass; unseen); April

1766 (glass; unseen); December 1766 (glass; unseen); March 1767 (beers, wines, cruets, salts);

June 1767 (tumbler); October 1767 (beer glasses, beer mugs, decanters); February 1772 (long

ale) for the Duchess

Elizabeth and son, William Smith,
for the Duchess, July 1773 (wines, beer, ales, tumblers,

decanters); October 1773 (quart bottles for Woburn); January 1774 (decanters, cruets)

John Taylor,
glassman, Pall Mall, London March 1745 (glass; unseen), May 1748 (glass;

unseen); May 1749, (glass; unseen)

William Thompson,
probably of Behind the Market Cross, Peterborough, for Thorney,

December 1754 (drinking glasses)

Edward Wale
for Duchess, March 1772 (various drinking glasses, decanters, jellies);

July 1772 (mustard, salts); December 1772 (cruets, mustard, glasses for silver mustards);

March 1773 (decanter, carafe, mugs, wine and water glasses)

Richard Warner,
Italian warehouse, at the Two Civet Cats, New Bond Street, near Grosvenor

Street, September 1764 (glass bottles)

John Webb,
Steel-Yard, near London Bridge, February 1753, May 1755, February 1759, June

1760 (bottles)

John Wetherley,
London, September 1748 (bottles)

WOI3URN GLASS PURCHASED

THE GLASS CIRCLE JOURNAL 11

APPENDIX
2

Glass Mentioned in the Woburn Household Accounts
Spelling has been modernized. The most common spelling difference is doubling of the last
letter of a noun: cann, mugg, cruett, caraffe

Early
18th century

One Bill 1709
Funnel

Jelly glass
small

larger
no feet

Salver

pair of large

pair smaller

Syllabub glass

Glass mentioned in Bills
1741-73

Beaker, white glass

Beer glass (see also under Mug)
long beer glass

Bell glass

Blue, see Glasses

Bottle
mld [moulded] pint

wine quart

corks for

Butter basin and cover

Can

half pint flint

pint
cut gilt lemonade

Carafe for water (various spellings)

Conic lamp

Crown glass
Cruet
cut top
cut top & bottom
cut stopper & bottom

cruet ground stopper

Decanter
large
very large

half pint
pint

plain pint
quart

quart with stopper

cut quart

quart with cut stopper
quart with cut stopper & bottom

quart flat, cut

2 quart

2 quart flint
French wine quarts

(Marquis of Tavistock
1764)

3 quart flint

Finger glass and saucer

Funnel

Girandole, two lights, ornamented

Glasses
ale glass
long ale glass

long ale hop & barly corn
(Marquis of Tavistock
1764)

flour’d
[Marquis of Tavistock
1764]

wormed ale glass
beer glass

long beer glass
cider glass

common glass

WOBURN GLASS PURCHASED

THE GLASS CIRCLE JOURNAL 11

flint glass

gill, green
half-pint glass

lemonade glass

cut gilt lemonade glass
large glass
plain blue glass

unspecified glasses

wine glass
enamelled

plain
twisted

worm or wormed

wine and water glass
large

worm

Glass for Desserts, unspecified

Glass man (wages)

Glazing for melon frames

Ink square

Jelly glass,
flower’d

Looking glass

Melon glass

Mug
half pint

half pint handle

beer mug

half pint beer mug

small half pint beer mug

small beer glass mug
handle glass mug

Mustard pot
liner for silver mustard

Mustard glass

Opera glass
Patty pan, diamond cut flint

Pocket glass

Salt
large plain

cut

diamond-cut
Saucer for moulded water glass

Spectacles, Temple Visuals

Syllabub (sillibub), handle,

[Marquis of Tavistock 1764]

Toilette bottle, cut

Tumbler
cutt gilt tumbler

cut bottom
half pint

plain, large size

Wash hand glass
moulded

with saucer

Water cup and saucer

Water glass,
moulded

Weather glass
Urine glass

Vessels, cut glass

1771 Inventory
Beaker, white glass

Bottle
blue cut glass

blue cutt glass with stoppers

small white
old (50)

Cup, old fashion China glass cup

Dessert frame

Lighting equipment
cut
glass
standing lustres for two

lights

cut glass lustre with six lights
rich cut glass lustre with gilt

branches for sixteen lights

standing lustres
lamp mounted in brass

Mirrors

Stands, glass (96)

Sweetmeat basket and plate and lining
Vase, small

WOBURN GLASS PURCHASED

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Type of Glass

Year
Month

No.
Price per Dozen
Unit Price
Total Paid

Vendor

Ale glass
1754

April
12

£0. 8s. Od

£0. Os. 8d.
£0.

8s. Od.
J. & R. Cartony

Ale glass
1756
January

6
£1. Os. Od.
£0. ls. 8d.

£0. 10s. Od.
J. & R. Cartony

Ale glass
1757
April

2
£0.7s Od
£0. Os. 7d.
£0.

ls. 2d.
Simeon Lord

Ale glass
1758

May

12
£0 .8s. Od.
£0. Os. 8d.

£0.

8s. Od.
Joseph Cartony

Ale glass
1758
December
12
£0 .8s. Od. £0. Os. 8d.
£0.

8s. Od.
J. & R. Cartony

Ale glass
1759
March

6
£0 .8s. Od.
£0. Os. 8d.
£0.

4s. Od.

J.
&
R. Carrony

Ale glass
1759
April

24
LO .8s. Od..
£0. Os. 8d.
£0. 16s. Od.
J. & R. Cartony

Ale glass
1759
December
12

£0 .8s. Od.

O. Os. 8d.
£0.

8s. Od.
J. & R. Cartony

Ale glass
1768
May
24
£0. 9s. Od.
£0. Os. 9d.
£0. 18s. Od.
Cartony & Mitchell

Ale glass
1772
February
12
£0. 8s. Od.
£0. Os. 8d.
£0.

8s. Od.
Edward Wale

Long ale glass
1755
September
6
£0. 6s. Od.
£0. Os 6d.
£0.

3s. Od.
J.
&
R. Cartony

Long ale glass
1764
December
12
£0. 7s. 6d

£0. Os 7’/2d.
£0.

7s.
6d.
William Smith

Long ale glass
1772
January
12

£0. 8s. Od.
O. Os. 8d.
£0.

8s. Od.
William Smith

Worad ale glass
1773
June
48

£0. 8s. Od.

£0. Os. 8d.
£0.

8s. Od.
Elizabeth Smith

Total
200
£5. 7s. 8d

Houghton House
Long ale glass
1764
September
12
£0. 7s. 6d.

£0.
Os. 71/2d
£0. 7s. 6d.
William Smith

Long ale glass,

hop &
barley corn

1764
September

6
£0. 12s.

Od.
£0. ls. Od.

£0. 6s. Od.
William Smith

Total
18

£0.13s. 6d.

THEGLASSCIRCLEJOURNAL11

67′

APPENDIX 4
Numbers of objects purchased with lowest and highest unit prices
Duke &
Marquis of

Duchess of
Tavistock
Lowest Unit
Highest Unit

Glass Purchases to 1773
Bedford

1764
Price
Price

Drinking
Glasses

Ale glasses
170

£0. Os. 7d. £0, Os. 9d.

Long ale glasses
30
18

£0. Os. 6d,
£0. Os. 8d.

Beer glasses
12

£0. Os. 3d.
£0. Os . 61/2d.

Large beer glasses
2

€0. 1s. 3d.
£0, ls. 3d.

Long beer glasses
12

£0. Os. 8d. £0, Os. 8d.

Beer mugs
139
60. Os. 6d.

£0. Os. 8d.

Beakers, white
6

60. Is. Od.
£0. ls. Od.

Cans, half-pint
114
£0. Os. 6d.

£0. Os. 6d.

Cider glasses
4

£0. Os. 5d.
£0. Os. 5d.

Flutes
48

£0. Os.10d.
£0. is. Od.

Gills, green
12

£0. 1s. 6d. £0. 1s. 6d.

Glasses, type unspecified
58
£0. Os. 3d.
£0. Os.10d.

Glasses, blue
48

£0. Os. 5d.
LO, Os. 5d.

Lemonade glasses
50
60. Os. 6d.
£0. Os. 6d.

Lemonade cans, cut and gilt
6

£0. 2s. 6d. £0, 2s. 6d.

Mugs, half pint
217

12
£0. Os. 6d. £0. Os. 7d.

Mugs, size unspecified
36
60. Os. 7d.
£0. Os. 9d.

Tumblers
133

12
£0, Os. 3d. £0. Os. 6d.

Tumblers, cut and gilt
6

£0. 3s. Od. £0. 3s. Od.

Wine glasses
947

72
£0. Os. 3d.

Ea Os. 7d.

Wine and water glasses
122

18
O. Os. 5d.
£0. 1s. Od.

Carafes and Decanters

Carafes
104

12
£0. Os, 6d.
£0. 1s. 9d.

Decanters
273

Half pint, cut bottom & stopper
£0. ls. 3d.

£0. ls. 3d.

Pint
£0. Os, 6d

£0. 2s. Od.

Quart
£0. Os,101/2d.

£0. 3s. Od.

Two quart
O. 2s. Od.

£0. 4s. Od.

Three quart
O. 3s, Od.

£0. 3s. Od.

Stoppers
108

£0. Os. 4d.
£0, Os. 4d. doz

Funnels
2

£0, Os. 6d. £0. Os. 6d.

Table Glass
Butter basins and covers
5
£0. is. 6d.

£0. 2s. Od.

Cruets
20
60. Os, 61/2d.
£0. 4s. 6d.

Mustard liners
5

£0. Os. 6d.

£0. 3s. 6d.

Mustards
31
£0. Os. 6d. £0. 2s. Od.

Patty pans, diamond-cut flint
6

£0. 6s, Od. £0. 6s, Od.

WOBURN GLASS PURCHASED

THE
GLASS CIRCLE
JOURNAL 11

Duke &

Duchess
Marquis

of
Tavistock

Lowest Unit
Highest Unit

Glass Purchases to 1773
Bedford
1764
Price

Price

Table Glass continued

Salts
30
8
£0. Os. 4d.
£0. is. 6d.

Cut salts
14
£0. is. 9d.
£0. 2s. 6d.

Dessert Glass

Cut glass vessels
12
£0. 1s. 6d.
£0. 1s. 6d.

Jelly glasses
196
12
LO. Os. 3d.

£0. Os. 9d.

Syllabubs
12

12
£0. Os.10d.
£0. Os.10d.

Salvers, 1709
10
£0. 2s. Od.

£0. 3s. Od.

Salver, 1773
4
£0. Os. 3d.
£0, Os. 3d.

Finger/Water Glasses

Water glasses/cups
104

£0. Os. 6d.
f0. Os. 6d.

Saucers for water glasses/cups
90
£0. Os. 6d.
£0. Os. 6d.

Finger glasses and saucers
8
12

£0. Os. 6d.
£0. Os. 6d.

Wash hand cups/glasses
60
£0. Os. 6d.
£0. Os. 6d.

Saucers/plates for them
60
£0, Os. 6d.

£0. Os. 6d.

Various Bottles

Bottles
3762
£0. 0. 2d
£0. Os. 3d.

Toilet Bottles, cut
6

£0. 7s. 8d.
£0. 7s. 8d.

Urine glass
1

£0. 1s. Od.
£0. 1s, Od.

Other bottles
21

£0. Os. 6d.
£0. Os, 6d.

Writing Equipment

Ink squares/well
7
£0. Os. 3d.

£0. Os. 3d.

Optical

Spectacles
3
£0. 7s. Od.
£0. 7s. Od.

Convex glass in case
1

£0. ls. 6d.
£0. 1s. 6d.

Opera glass & case
1
£0.16s. 6d.
£0.16s. 6d.

Pocket glass
1

£0.12s. Od.
£0.12s. Od.

Lighting
Lamp
1

£0. is. 6d. £0. is. 6d.

Girandoles
2
£4. 4s. Od.
£4. 4s. Od.

Lustres
4

Garden

Bell glasses, 1766
50
£0. 3s. Od.
£0. 3s. Od.

Melon glasses
200
£0. Os. 9d. ca.
£0. Os. 9d. ca

Pieces of glass unspecified
28

Total glass in records seen
7364
262

WOBURN GLASS PURCHASED

THE GLASS CIRCLE JOURNAL

APPENDIX 5
Glass purchased in Paris or Versailles, prices in ‘lyres, sols and deniers
Lowest Unit
Highest Unit

Type of Glass
Amount
price
price

L. S. D.*
L. S.

JD,*

Champagne glasses
120
0.

5. 0
0.

Goblets, various
140

3. 0.
0.

Large glasses, various
18

5. 0.
O. 10.

Large cut glass
3

5. 0.
2

Liqueur glasses
24

7. 0
0.

Wine glasses, ordinary
529
0.

1. 3
0.

Cut or cut and engraved wine
0.

7. 0
O. 10.

Carafes for water
181
0.

2. 0

O. 12.

Carafes for liqueur
6
1.

4. 0.
1.

Flacons
7
1.

0. 0.
1.

Stoppers
6
0.

4. 0
0.

Bottles, price for 100
1425

19. 0. 0
26. 0. 0.

Mustard, Bohemian cut crystal
1

1. 4.
0.

1. 4.

Double salt, Bohemian cut crystal
2
2. 10. 0.

2. 10. 0.

Salt, cut crystal
9

0. 13. 0.
O. 13. O.

Huilier with cut crystal carafes
2

0. 0.

Plateau
2

4. 6.
0.

4. 6.

Dragoit (?) Bohemian cut crystal
36

4. 0.
0.

4, 0.

Ice cream goblets, crystal
60
0.

5. 0.
0.

5. 0.

Hollow crystal columns
48

4. 0.
1.

4. 0.

Crystal ramp for candles
8
0. 12. 0

0. 12. 0.

Candlestick
6
0.

8. 0.
0.

8. 0.

Inkwell
1

6. 0.
0.

6. 0.

Total
2634

Glass Hired
Hire Charge

Champagne glasses
72

8. 0.

Ice cream goblets
24

1.
4. 0.

Cristal glasses
72
2.
8. 0.

Cristal glasses, plain
6

8. 0.

Goblets
48
1. 12. 0.

Carafes, high quality
48
1. 12. 0.

Crystal water caraffes (were broken)
6
O. 12. 0

Total
276

*Livres, Sols, Deniers
WOBURN GLASS PURCHASED

THE GLASS CIRCLE JOURNAL 1

DOCUMENT 1

1709
Glassmen Cha: Savage & Jo: Cartony

bill for glasses & c paid in full 4
th
June

£3.9:
No 17

[On other side]

The Right Hon
Her Grace the Dutches of Bedford

Bought of Cha. Savage & Jo Cartony

June 4 Doz small Jelly Glasses

0: 12: 0

2 Doz ditto larger

0: 8: 0

4 Ditto no feet

0: 1: 4

2 Large venison ports

0: 2: 8

8 Smaller ditto

0: 6: 0

2 glase funnelIs

0: 1: 0

a pair of Large Glase Salvers

0: 7: 0

2 pair Smaller

0: 10: 0

2 pair Smaller

0: 8: 0

a box to pack in

0: 3:0

£ 2: 19.0

1 Doz Sillabub Glasses
O. 10.0

3. 9. 0

Received this 4th of June 1709 of his Grace the

Duke of Bedford by payment of David Middleton three pounds nine shillings in full of this

bill and all other demands By me Ch: Savage

£3: 9.

WOBURN GLASS PURCHASED

Apt

1
1
0′

THEGLASS CIRCLE JOURNAL11

DOCUMENT
2

No..266 1753 May 7
China Man

Jos & Robt Cartony

from 24 Jany}
to 27 April} 1753

£9.56

Tea Jar sign
London 24 Janry: 1753

His Grace The Duke of Bedford – [hand written]

Bought of Jos & Robt Cartony.

at the Corner of Long. Acre next Drury Lane, who

Sells all sorts of Fine Teas, Coffee, Chocolate, China and Flint Glass.

Wholesale and Retail

2 Doz Plane Wine Glasses

6 1/2 pint Glass Muggs

1 Doz Water Glasses & 1 Doz Saucers
2: 2 Quart Decantors: 2 Quart & 2 Pint

2 Cruerts Cutt Stoppers & Bottoms

Cases to Pack in

Feb: 1

9 Wine Glasses

1 1/2 pt Mugg
2 large Beer Glasses

21/2 pt Decantors Cutt Stop”
&

Bottoms

21 6 Blue China cup & Sauc”

Mar: 15 4 Doz Worm Wine Glasses
1 Doz 1/2 pint Muggs

21 6 2 Quart Decanters

1 Doz 1/2 pt Muggs

14 6 Doz Worm Wine Glasses

2 Doz
1

/2 pint Muggs

6 Quart Decanters & Stop

4 Pints Ditto

Case & Box to Pack in

27 9 Doz Large Stoppers
5 Mustard Glasses

[On other side of paper]
Reced this 7 May 1753 of His Grace the Duke of

Bedford by John Branson nine pounds five

shillings a Six pence[sic] in full of the within
Bills
@ 5/-

@ 6d

0:
0:
10

@ 6′
0:
12

0:
13

0:
2
6

@ 5
0:

3
9

0:
6

0:
2
6

0:
2

0:
6

@ 6/
1:

@ 6d
0:
6

0:
15

0:
6

@ 6/-
1:
16

@ 6/
0:

@ 2/
0:

@ 1/6
0:
6

0:
4

0:
3

@ 8a
0:
3
4

£9:
5
7

£9.5,6

Jo Robt Cartony

WOBURN GLASS PURCHASED

DOCUMENT 3

No. 232 [in red]

1755 May 10
th

China Man

J & R Cartony

from 28 Ap )1755
to 9 May)
THE

GLASS
CIRCLE JOURNAL 11

£10.16. 6

[On other side]

London ’28 Apr: 1755

His Grace The duke of Bedford

Bought of Jos: & Rob’: Cartony.

at the Corner of Long. Acre next Drury Lane. who

Sells all sorts of Fine. Tea’s, Coffee, Chocolate, China and Flint Glass.
Wholesale and Retail

6 Doz: Worm wine Glasses
@ 6/

13 doz: 1/2 pint Wine & Water Ditto
@ 10

10
–

15 2 Quart flint decanters
@
3
/
2:

5
–

1:3 quart ditto
0:

4
–

6 Quart ditto

12
–

1 doz: 1/2 pint flint Cans
0:

6
–

3 doz. flint Carraffts for water
0:

18
–

6 pint ditto decanters
0:

9
–

6 doz: Table plates)

6 doz: Soop ditto ) for ye use
1:

2 doz: fruit ditto )

1 doz: bason ditto Ye use
0:

1
6

May 9

2 doz: blue China Plates
@ 13/
1:

1 doz: flint 1/2 pint Cans
0:

1 doz: Colourd China plates Yr own
0:

Box to pack in …
0:

£10:
16
6

Reced this 10th May 1755 of his Grace the
Duke of Bedford by John Branson ten pounds

sixteen Shill & six pence in full of the above

£.10.16.6

P Rob’ Cartony

WOBURN GLASS PURCHASED

THE GLASS CIRCLE JOURNAL 1 1

DOCUMENT 4

N° 434 [in red] 1759 Sept 10

China & Glasses

Jo’. Robr Cartony

from 17 April 1759
to 26

£13.9.6 [ticked above in red]

Cartony[at bottom of the same sheet]

[On other side of paper]
[printed]London 1759 [handwritten]

His Grace the Duke of Bedford [handwritten]

[Frame enclosing a tea cannister inscribed on ribbon] FINE HYSON TEA
Bought of Joseph Cartony & Son,

at the Corner of Long Acre next Drury Lane, who

Sells all sorts of Fine Tea’s, Coffee, Chocolate, China and Flint Glass.
Wholesale and Retail

Apr 17
8 Doz Twisted Wine Glasses
@

6/
2:

2 1/2 Doz 1/2 pint Glass Cans
@

6/
15

3 Doz Carraffts for Water
@
8/
1:

6 3 Quart Decanters
@

3/6
1:

1 Doz Quart Ditto & Stoppers
@

2/
1:
4

2 1/2 Doz Wine & Water Glasses
@

12/

1:
10

2 Doz Ale Glasses
@

8/
16

6: 2 Quart Decanters & Stoppers
@
3/
18

12 Pint Ditto & Stoppers
@

1/6
18

21
2 Doz Enamd Wine Glasses

6/
12

1 Doz Moulded Water Glasses
@
6/
6

1 Doz Cutt Glass Vezels
@

18/
18

For the use of 11 Doz plates
@

1/6
16

26
6 Larg [sic] Mustard Glasses

@
6′
3

£13:
9
6

Reced this 19 Sep’1759 of His Grace the Duke of
Bedford by John Branson thirteen pounds
nine shillings & six pence in full of

£13.9.6

P Rob’ Cartony

WOBURN
GLASS
PURCHASED

THE GLASS CIRCLE JOURNAL 11

DOCUMENT 5

No. 507

1768 July 12th

Cartony & Michell
Glass
£8.6

[On other side of page]

[On left is the royal arms with motto]
His Grace The Duke of Bedford

1768

Bot. of Cartony & Michell,

Tea Dealers and Glass Sellers
To His Majesty

At the Kings Arms and Golden Bottle

opposite Somerset House in the Strand LONDON

Jan’Y 4
Feb 10
[Pints over crossed out]

4 Decanters [Curt Bottoms & Stopers]

6 Do
6

May 20
4 Doz small Beer Glass Muggs

8′

12 Quart Decanters Curt Bottoms & Stopers
1:

6 2 Quart Do
3′ 6
1:

6 Pint Do
2″
12

2 Doz Ale Glasses
9′

4 Doz Wine Glasses
6′
1:
4

2 Cases to pack inn (sic)
8

£8
6

Recd July 11′ 1768 of his Grace the Duke of Bedford by Mr. Beaumont
Eight Pounds Six Shillings in full of this Bill

For Messrs Cartony & Michell
James Boys

£8.6.0

WOBURN GLASS PURCHASED

THE G LASS CIRCLE JOURNAL11

DOCUMENT
6

No 231 William Smith

China Man
£24.5 2

No 231 [in red]

The Most Honorable the Marquess of Tavistock
Bought of Will”‘ Smith

1764
September 10

[Long list of crockery ending with]

1 Sett Crewits & Casters 5 glass

those all ye china box
Except 12 china plates in ye other
Box

Continues in ye glass box
5.

£15.

£
14.

s
0

12 handle Glass mugs
8.

6 Plain wine & water glasse
4.
6

12 half pint Tumblers
6.
,

12 finger Glasses & Saucers
12.
,

2 dozen plain wine glasses
8.
–

4 doz wormd Do 2 sorts
1.

4.
0

12 2 sorts wine & water glasses
12.
,

12 long Ale glasses
7.

6 Ditto hop & barly corn
6.

12 Flourd Jellys
6.
0

12 handle Sillybubs
6.

6 Crewits Cut Tops
6.

In the

hamper
6 large Round Decanters

15.
0

6 larger quarts cl°
10.

6 French wine quarts
9.

6 Pint ditto
6.

12 Crafts
12.

8 Salts
2.

2 large Case & Hamper
10.

8:
11.
2

Brought over
15:
14.

24:
5.

Reced ye 28 Decr 1764 of the

most Honrabel the Marques of

Tavistock by Mr Thomas Bridgman

The sum of twenty four pounds five

shillings & 2d being y° full contents of
The above bill by Win Smith

WOBURN GLASS PURCHASED

THE GLASS CIRCLE JOURNAL 11

DOCUMENT 7

No. 583
1772 March 9th

Edward Wale

Glass & Earthen Ware
£4 1 3

[On other side of sheet]
FebY 25th 1772

Her Grace the Dutchess of Bedford Debtor to Edward Wale
£
s
d

1
10

0
12
0
0
8
0
0
9
0

0
7
0

3
6
0

15
3

£4
1
3

1 Dozen of wine decanters cut stoppers

1 Dozen of wine & Glasses

1 Dozen of ale glasses

3 Dozen of wine glasses

1 Dozen of Glass mugs

Bill annexed

[On attached sheet]
FebY 26th 1772

to Edward Wale

Her Grace the Dutchess of Bedford Deb’
£

s
d

1 large teapot
0
3
0

1 Dozen & half jellys
0
6
0

lent 6 Dozen of china plates
0
3
0

7 Dozen & a half ofjelys [sic]
0
1
9

4 Salvers D°
0
1
0

4 teapots
0 0

0
15
3

Reced March 9th 1772 of Her Grace the Duchess of

Bedford by P Beaumont Four pounds one shilling and three

pence in full of the above bill

f4. 1. 3

Edward Wale

WOBURN GLASS PURCHASED

THE

GLASS CIRCLE JOURNAL 11

MODELED ET TAILES

DE CRISTAUXANGLAIS
byJohn P Smith

I
n

2009 the Victoria and Albert Museum,

London acquired a Morocco leather

bound book’ with 23 pages of ink drawings.

There is no text whatsoever except for some

numbers under the illustrations which have

been pasted over with plain paper.
The 23 pages of ink drawings are all

apparently by the same hand, and some of
the pages are watermarked 1824. The paper

size is 21.5cm (8 ‘/2 in) by 12.8cm (5in).

There is no clue as to why this manuscript

book was produced but it is probable that it

was a salesman’s book for use in Paris where
English cut glass was still very fashionable.
There are very few surviving documents

of this period illustrating the glass-makers
products, either as catalogues or in drawings

and painting. The Victoria and Albert
Museum has some drawings from the

Blades Manufactory, all undated, and The

Birmingham Museum and Art Gallery’ has

a printed catalogue dated 1812 of chandelier
drops by P & C Osler. There are also a

few surviving trade cards but it has been

suggested that these use generic rather than

specific illustrations.

There is no date on this document but it

cannot date before 1824 and is unlikely to
be after 1830. The whole book is illustrated

here, with just a few comments on some of

the pages.

What is not illustrated is also interesting.

There is very little table ware, with no butter
dishes, no plates, no dishes for fruit, with or

without stands, no celery vases, no tazzas or
epergnes and only one vase.
Notes

1.
Accession number

E.761-67-2008 in the
department of Prints and
Drawings

2.
Osler’s Crystal for Royalty

and Rajahs,
John P Smith

Mallett London 1991
pp. 15-17

.
te
r

D.E.LES . ET
T.A L

CR.-31:A TT

ANGLAIS

CRISTAUX
ANG LA1S

PAGE 2

Two of these decanters

are on pedestal feet.

2
&2
t}y
2

41
2

0j,

AWIPM11111110.41/1.42..

ill .IE1Jl
3

c477VA. •
k.a
,
V12•CI

1,1)11111

THE GLASS CIRCLE JOURNAL 11

PAGE
I

Note the early use of

a facetted ball stopper.
Decanters at this period
were sold partially by

weight. Note that this

image is reproduced as

photographed. All other

images have been digitally

enhanced to improve

clarity.

CRISTAUX ANGLAIS

THE GLASS CIRCLE JOURNAL 11

/e{
40;

I
z,

VOW
MA%

2
A

Asik&Alke,

PAGE
4

Cream and water jugs. Note

the double spouted cream jug.

74
,

41F4
4
0047K-

‘&

aft
“..
14..
.te
tt

ert:

nsszorceN0
PAGE 3

Judging by their weight these

carafes are at least pint sized
and not drawn to the same
scale as the matching tumblers.

CRISTAUX ANG
LA’S

PAGE 5

Probably clear white

wine glasses.

PAGE 6
All champagne glasses except

KN./
&

2 that seem rather

small. No. 4 is engraved with

vine leaves.
80

THE GLASS CIRCLE JOURNAL 11

CRISTAUX ANGLAIS

PAGE 7 (AnovE)

All these glasses

forms are known

in green glass for

white wine. Note

the
4
Roe-mur

type glasses.

THE GLASS CIRCLE JOURNAL 11

PAGE
8

Eight rummers, one being uncut,

and two tumblers.

CRISTAUX ANGLAIS

44mummur

‘111
n
1111111M

PAGE 9

Five jelly glasses, 5 custard glasses, 3 wine

glass rinsers and one finger bowl.

fill lIIlllflUlllIlIIDIlfl

PAGE TO

Nine cut salts on stands and 12

without stands.

—- •

011impown5’
1,

:,
n
•
•
•
AZ

–

•9

n
4
n
4
>
<%.; ', r - " “3. 41 6 % 7 '4 C4 4 75. 8 2 THE GLASS CIRCLE JOURNAL 11 AM AVEri/ CRISTAUX ANGLAIS THE GLASS CIRCLE JOURNAL 11 83 PAGE 12 Two elaborate double candlesticks, the right with ormolu arms. ouNameirroamalatv 11- CRISTAUX ANGLAIS PA E II Ten cut candlesticks with icicle or rule drops. Note the metal sconces showing in numbers 3 and 8. PAGES 13 & 14 Two 2 branch candlesticks with ormolu arms. 84 THE GLASS CIRCLE JOURNAL 11 C RI STAU X ANG S THE GLASS CIRCLE JOURNAL 11 85 C RI STAUX ANGLAIS di V,4 li ) 1Y kil if+ . I. • It fel 111, ( I i 1 1 11110 , Tl WM r f,47,1,R1pri g a r tarA4q fiabresIVIN01) ' 10 + 0.11,4 4 04)) 4 f er:4411 1 414)11 gt )10 e 4 16116% OA) opp VO*10 + 10 %Op Ye 4.1 4 0 A As 10 oto4vIla) A OA )40 0 4 9 04 1 '» Om, 4 op elf ts) is • 0. 41 11 11 11 VI))) 4. A +6 iniv d o a l 0 s 0 a 4. 0+6 AV al stib e • Vit WO • 44trii) fil •TO 0 alleidt ittl, arMtf, x Alto ito .iv \A chNh" PAGE 15 An eight light chandelier of typical regency 'waterfall' form. PAGE 16 Six light chandelier with the nozzles attached directly to the ring. Ini A I , i 1 1 ' 4.4t.1/4N II le , 0 0 4 4 I.; oil, 41 o, iik /0, Ty, 70 A II sql. i 1 Ap04 0 0AN40 tr40,0% 4 All I ' 4 kopp 9 4 4,0 ,),14 K :4110 01) 03 kliV0 I . 0 . 010 , 046w.vo . Ave40+0.0im ktots vott0M11 - 51 r ,,, - tot Atm • e . %VA 4 NI (' 1 +# 44.4,— ,. . 4 op wool OM re 4 C4 Wit r ib il it 0 4 . 0 t. 1 - 0 -it 1 l 1 004, t• 0 . t0i - ostm, a, •:. 0 0 - 40A c.#0 0 Aij) des K. 4 ** 0 0 86 THE GLASS CIRCLE JOURNAL 11 CRISTAUX ANGLAIS THE G LASS CIRCLE JOURNAL 11 87 CR1STAUX ANG LA'S 44 \1. 1 1: - t-Hwk. .40) . lyy 7704 1 /At , ' 1 7 4 41 , 1 1 1. 6 A*; ««S n qP., to) KaOttiVAri) 3 4 , 47 Imo; Ore 0:4 -t itiro) us OJAI ok uttleittirvi tiro trio . o 04.• •• eitsko ktluto l opli ovirver4(4/;i. OM WI (44 4 01 0 OA • 4 .,:: • O • l&NEEVYseee i 1;:, MI • *;; • ," ite;7 4,0, '45 WV/ vl PAGE 17 Six light chandelier with ormolu arms. PAGE 59 • Seven toilet water bottles and a cut flower vase 88 THE GLASS CIRCLE JOURNAL 11 PAGE 18 Eight toilet water bottles. CRISTAUX ANGIAIS THE GLASS CIRCLE JOURNAL 11 89 Riad f f WIN • _ tip 1 , P - 1 1 C•N PAGE 21 Three hanging candle lanterns with smoke cowls to protect the ceiling from soot. Note that the bottom finial unscrews to aid changing and lighting the candle. PAGE 20 Three hanging sunitinbra lamps with Argand lights. The oil is stored in the hollow circular ring and falls by gravity onto the tubular wick below, an updraught through the wick ensures a bright flame and the cap underneath the wick catches any oil falling from the bottom of the wick. CRISTAUX ANG LAIS THE GLASS CIRCLE JOURNAL 11 90 PAGE 22 Three hanging lanterns with smoke cowls, two with hanging Argand lamps and one with a Argand sunumbra lamp standing on the floor of the lantern. PAGE 23 Eight toilet water bottles, one in the form of a cruse. C RISTAUX ANGLAIS THE G LASS CIRCLE JOURNAL I I URANIUM GLASSES THEIR IMPORTANCE IN THE 19TH CENTURY Guenter Doere Leibniz Institute for Solid State and Materials Research, Dresden/Germany Eike Gelfort Federal Office for Radiation Protection (BfS), Salzgitter/Germany 01 I n the second half of the 19th century uranium glasses were popular because of their yellow-green colouring and the display of colouring related to the incidence of the light. The popularity of uranium glass led to a considerable increase in the demand for uranium. The fluorescence of uranium- bearing glasses accompanying its colouring effect turned out to be of advantage for studying and illustrating gas discharge phenomena and stimulated developments of apparatus and glass technology. Consequently the X-rays discovered during experiments with fluorescent gas discharge tubes gave rise to analogies with the fluorescent properties of uranium minerals. From autoradiography this led to the discovery of radioactivity. The present article is concerned with showing in context the complex interactions originating from uranium glass and relating to economic, technological, scientific and aesthetical aspects. Uranium Glasses Uranium was discovered in 1789 at Berlin by the pharmacist and chemist Martin Heinrich Klaproth. He discovered the element in the mineral pitchblende from a mine called Georg Wagsfort in Johanngeorgenstadt in the Saxonian Ore Mountains (silver has been mined there since 1680) with the mine name "Georg wage es fort"'. He explained his choice of name: ,Until a better fitting name may be found I will call it Uranite, a name I am borrowing, following the example of the old philosophers, from a planet, namely from lately discovered Uranus'. It was also Klaproth (1743 — 1817) who discovered titanium and zirconium. He was first Professor for Chemistry at the then recently founded Berlin University, today's Humboldt University, and before then he had been director of the Chemical Laboratory of the Prussian Academy of Sciences. Klaproth had stated that (glass) fluxes could be coloured using uranium compounds, however, no evidence of such early uranium glasses is known. The reason for this may be the efforts to keep the secrets of a successful production. But the knowledge of how to successfully colour glass using uranium could be kept secret only for a short period of time. On the one hand, family relations among the great glass maker families Riedel, Pohl, and Meyr contributed to the exchange of knowl- edge, on the other hand direct transferral of practical experience by travelling glass maker journeymen or master glass melters helped spread the knowledge. Early evidence is given by the ;Geheitne Rezeptbuch des Glasmeisters Johann Baptist Eisner in Klosterniuehle, 1842- 1862" 2 , (the secret recipe book of the glass master Johann Baptist Eisner in Klosterm- uehle), produced in Klasterski mlyn, Bohe- mia. In this book uranium is mentioned as a glass colourant with the melted uranium glasses being given the colour names cha- meleon, chrysoprase or "isabell gruen" as well as, typically enough, golden green. The latter was melted using the following recipe: URANIUM GLASSES 92 90 pounds Sand Si02 65,5% 30 pounds Potash K2CO3 22% 16 pounds Lime CaO 11% 1 pound Arsenic oxide As20, 0,72% 1 pound and 2 loth* Uranium oxide UO2 0,78% * ancient measurement unit, 1 loth — 17 gr ILLUSTRATION I Uranium glass, about 1890 (historicism)from Bohemia, anna grun glass with brick-red overlay; carafe with stopper; views of Marienbad named all- around: „Ferdinandsbr", „Waldbrun", „Ambrosittsbra" and „Karolinenbru" as well as the inscription „Clard: decorated with ornamental, circumferential ribbons; height 16.5cm. When uranium glasses were first manu- factured remains unclear. There are pieces bearing a date from the first third of the 19th century when serial productions were suc- cessfully carried out at different places. Naming of the ura- nium glass colours annagelb' and anna- gran' goes back to the glass painters, glass works masters and glass manufacturers from the Riedel fam- ily in Bohemia. The oldest trace leads to the glass works mas- ter Franz Xaver An- ton Riedel (1782 to 1844, Antoniwald). At the Kenner works in Antoniwald (An- toninow nad Kamen- ici) he successfully experimented with uranium and named the yellow uranium glasses 'anna yellow' after one daughter and the green uranium glasses eleonora green' after the other. In 1840, his nephew Josef Riedel (1816 to 1894, b. Haindorf, d. Polaun) married the older daughter Anna Maria Theresa Riedel (1819 to 1855, b. Antoniwald, d. Klein Iser) and extended the glass production in Bohemia with great success. Around 1890 he owned five glass works and a glass refinery with a workforce of about 1200 men. With his successful productions and his marriage to Anna Riedel, the 'Glass King of the Iser Mountains' as Josef Riedel was called at the time, contributed his share to the fact that uranium glasses are still, to this day, called annagelb and annagrun. Uranium-bearing glasses were widely used in the Biedermeier period. The simple spa beakers, which could be given away as a souvenir, and the often heavily decorated friendship glasses of the North-Bohemian world-famous spas like Karlsbad or Marienbad, were often made of an- nagelb glass or the vividly coloured eleonora green type of glass. With the overlay technique urani- um glass was used as the glass base (illustration 1). Until into the late 19th century many con- sumer articles, such as jewellery, beer glasses, egg cups, small bottles of all kind, jugs, cande- labras, bowls and dishes, drawer and bell knobs, writing utensils, table centrepieces and vases were made from ura- nium glass, and anna glasses were often paint- ed either colourfully or in gold and silver col- ours. From Bohemia uranium glass blanks were delivered to other countries to be fur- ther painted or cut. Art nouveau artists discovered uranium glass for their work. Around 1900 all kinds of art items were made from uranium glass, THE GLASS CIRCLE JOURNAL 11 URANIUM GLASSES THE GLASS C1RCLE JOURNAL 11 93 both translucent and opaque compositions. Since about 1890 cut and etched overlay glasses were produced in Bohemia and Si- lesia, for instance by the glass refinery F. Heckert at Petersdorf/Hirschberg in the Gi- ant Mountains (illustration 2). These were thick-walled flower vases made of frosted uranium glass overlaid in brick-red, bearing a cut and etched spray as well as the sig- nature of Heckert. Judging by radioac- tivity the glass con- tains less uranium than most of the glasses from the Bie- dermeier period 4 . Latterly uranium glass was made into art work, evidence of which is given by a 1930's freely blown and formed glass bowl from Lauscha/Thuringia (illustration 3) 5 . 6 . A description is to be found in 5 : 'Uranium glass; boat-shaped, reeded bowl with wavy edge; the stem consisting of a hollow baluster-shaped base and a massive stem with two inserted rings and a pressed ball knop, on a broad foot. On the bowl and around the stem there are two mythical creatures each with wings and tail fin: From the middle of the 19th century urani- um production experienced a strong rise due to the demand for uranium colourants. On 1 Apr 1852, the "Sachsische Bergwerks-Zeitung" (Saxonian mine-magazine) from the Ore Mountains published the announcement of an auction for uranium pitchblende. The re- sult achieved on 17th April of the same year made an interested party comment ': 'Remarkable increase of a deposit in the Johanngeor- genstadt Bergamtsrevier (board of mines district). Because of the ongoing efforts of chemists to give glasses a beautiful yellow green colour, a knowledgeable person suc- ceeded in achieving more value for uranium pitch ore, which is to be found in the Johanngeorgenstadt Bergamtsrevier but has en- joyed little attention so far because no use could be made of it. Therefore bids for the deposit reached the extremely high price of 160 to more than 200 rhaler per hundredweight:' The high price of up to 200 dialer per hundredweight of pitchblende can clearly be explained by the increasing demand of glassworks for their production of yellow green coloured glass composition. In the Joachimsthal area pitchblende, which was at first picked up from the tips and kept in the mines, was used to an increasing extent. In the Ore Mountains the depth-related succession of elements is repeatedly found in the formation: bismuth, cobalt, nickel, silver and finally uranium at the greatest depth. From time immemorial this polymetallic nature of ore deposits has been called 'Formation der Edlen Geschicke' 8 (Translator's note: ancient technical term formation of the noble fossils In earlier times they believed that there was a progressive transition of deposits into more noble metals.). In the ILLUSTRATION 2 Uranium glass, around 1905 (art nouveau)from the glass refinery Fritz Meckert in Petersdorf/Silesia; thick- walled anna green flower vase overlaid with brick-red flux, decoration: curling spray; height 13,5 cm; Landesmt4SCUM Mainz, Germany. URANIUM GLASSES 94 THE GLASS CIRCLE JOURNAL ILLUSTRATION 3 Uranium glass, around 1930, lampwork of the Thuringian art glass blower Arno Greiner-Leben; anna green chocolate bowl on a base of Venetian type; height 26.5 CM; MUSCUrnfuer Glaskunst Lauscha/Tbueringen. old times of silver mining the emergence of uranium pitchblende was considered a bad sign and not mentioned in many mine reports as it usually announced reduced silver concentrations of the ore veins. Uranium pitchblende was considered useless, wild, and parasitic and was either put on waste tips or, when kept in the mines, used as backfill. In different periods of time, considerable amounts of uranium ores were collected not only from the tips, but also from old mines. After the collecting phase the period of mining began. Following the use of uranium as a colourant (chromophore) from 1853 onwards mining of the mineral was started in Joachimsthal, soon reducing the unfavourable economic consequences of declining silver production URANIUM GLASSES THE GLASS CIRCLE JOURNAL11 95 ore mining in Central Europe between 1850 and 1900. Within half a century, this mining realized about 730 tons of ore in total in Saxonia and Bohemia. This could be made into at least 200 tons of uranium colourants. Small amounts were used in photography. The percentage used by china painters since the beginning of the 19th century was also insignificant as the colourant was almost exclusively needed for thin decorative layers. Therefore, more than two thirds of the uranium colourants produced up to 1898, that is 120 to 160 tons, must have been used for the production of uranium glass in Central Europe 9 . Consequently, the aforementioned quantity was enough to produce about 14,000 tons of uranium-bearing glass ware". Pitchblende (uraninite, UO 2 ) and uranium oxide-sodium (sodium diuranate, Na 2 U 2 0 7 ) were the materials used, with the colours annageib being produced by a uranium concentration of up to 1%" and annagran by up to 0.3% . 12 In the beginning it was quite difficult to melt uranium glasses. Impure raw materials and strong reduction conditions in the Bohemian furnaces with their direct wood firing put a strain on the melting process. It was only after the introduction of the Siemens regenerative furnace in 1867 that these technical problems could be solved in a satisfying way. One of the first furnaces heated by regenerative wood gasification and later by coal firing was constructed in Josef Riedel's glassworks in the village of Klein-Iser (Mala Jizerka). Uranium - Fluorescence Fluorescence of uranium glasses is the most important identifying characteristic to the antiques trade. When illuminated by ultraviolet light, uranium glass emits a very intense green to yellow light. This so-called "dichroism of uranium" was the reason for uranium glasses being so popular and Ied to their widespread use in the second half of the 19th century. At the time, the term was used to describe the phenomenon of "uranium glasses shimmering" in daylight, which means the glass appears yellow when looking through it whereas it shows a swaying play of colours with light falling on it . G. G. Stokes and J. Brewster were the first to observe this phenomenon with fluorspar in 1852, and Alexandre Edmond Becquerel" later (1876) investigated it using the crystals of the double salt uranyl and potassium sulphate (UO 2 SO 4 K 2 SO 4 • 2 H 2 0) They observed that uranium glass appears yellowish when looking through it, that incident light produces green, and that both effects often interact results in a certain dichroism. The 'dichroism of uranium glasses'', mentioned in literature, is not a property corresponding to the defined concept of dichroism in crystal physics and the property of anisotropic minerals, restricted to the light passing through them. Fluorescence means the phenomenon of incident light being partly absorbed and partly re-emitted as radiation of longer wavelength. Fluorescence occurs when the energy state of a molecule spontaneously changes from an excited state to a lower energy level caused by ultraviolet light while emitting (yellow- green) light. This photoluminescence of uranium in glass shows an absorption peak at 497 nm and a fluorescence peak at 535 nm'''. It is based on the linear bivalent uranyl cation (0 = U = 0)2+,in which uranium is hexavalent. The preferred oxidation number with uranium is +6. Oxygen atoms are firmly bound because the small distance between them corresponds to a double bond, resulting in an uranyl cation that emits a typical molecular band spectrum" within the optical wavelength range from A. = 470 to 690 nm. The strongest instance of this uranyl fluorescence can be URANIUM GLASSES 96 THE GLASS CIRCLE JOURNAL 11 found with potash glasses (K 2 CO 3 , potash as glass former and as flux to reduce the melting temperature). Glass melts with mainly basic compositions show little to no fluorescence at all, It may be quenched in the glass matrix by adding heavy metal ions like lead"; with an iron content of more than 0.03% quenching of fluorescence may also be observed. The degree of fluorescence quenching can be influenced by the concentration of added chromopores resulting in different shades, so that a range of differently coloured uranium glasses has been gradually developed. Uranium-bearing glasses containing uranates with the valencies 4 and 7 show no fluorescence at all. Due to these results uranium glass became very popular and caused scientists to investigate their observed behaviour. Important discoveries were made in the course of these studies, either in the context of or in interaction with, the yellow-green fluorescence of uranium glass. Uranium Glass — X-Ray Radiation About the same time as the developments in glass technology, art and economics as described above, electro-physical research experienced a huge upturn. One of those bringing forward this development was the glass technician and mechanic Heinrich Geissler (1814 to 1879). At an early stage his father and teacher Georg Geissler made him aware of the increasing importance of glass apparatus engineering. So around 1840 he left his economically weak Thuringian home region There is evidence of a several- years-long stay in Delft. Around 1850, Geissler founded his later to become world- famous workshop for physical and chemical apparatuses in Bonn. In 1868, Heinrich Geissler was given an honorary doctorate for his complete scientific and technical works by the Philosophical Faculty of the Rheinische Friedrich-Wilhelms University in Bonn. Detailed acknowledgement of his life is to be found at Eichhorn. 16 By developing permanently vacuum-proof and ground-in taps, which he used as input and output valves, Geissler realized the idea of a vacuum pump, in which the liquid mercury was to take over the role of the ideal sealing flask to enable him to approach a Torricellian vacuum through a mercury column. At the same time he also perfected the low-strain and therefore vacuum-proof fusion of metal and glass. These were the preconditions for realizing spectral tubes in accordance with the ideas of his partner and scientific promoter, the mathematician and physician Julius Pluecker from the city of Bonn (1801 to 1868). The discharge of an electrically excited highly diluted gas was forced to pass a capillary gooseneck in the middle part of the discharge tube and to develop a high luminance at this point, which made it accessible to an optical spectrum analysis. During their analyses Pluecker and his student Wilhelm Hittorf (1824 to 1914) noticed that the part of the discharge issuing from the cathode has an independent significance. Eugen Goldstein (1850 to 1930), who continued to study this phenomenon and also described the reverse discharge by examining the "canal rays'', coined the expression cathode rays". Much as the scientific and technological preliminary works were demanding and the scientific yield of the experiments was high, the initially used gas discharge tubes were quite simple structures on the surface. But the glass blower needed to earn his living and a critical public and interested students were to become enthusiastic about these new ex- periments and phenomena. Furthermore it was tempting to explore the ins and outs of the new phenomena and structures also in their geometrical and aesthetic dimensions. That gave birth to those artfully designed and popular discharge tubes producing at- URANIUM GLASSES THE GLASS CIRCLE JOURNAL 11 97 That gave birth to those artfully designed and popular discharge tubes producing at- tractive luminescent phenomena, that we call Geissler tubes today. At first, and in German usage until the early 90's of the 19th century, all types of gas discharge tubes were called Geissler tubes. Due to the differentiation into 'Pluecker, 'Geissler', 'Hittorf, 'Crookes; etc. tubes, introduc- tion of which was partially explained by reasons of dif- ferentiation but was probably caused by priority and compe- tition reasons — and is not always un- derstandable from a physical perspec- tive; nowadays this term is applied in a restrictive way to the decorative arid, in scientific sense, pure discharge tubes. This pursuit of the attraction of the electrically ex- cited luminescent phenomena was ac- commodated by a remarkable property discovered in urani- um glass: "The beau- ty of these luminous effects (the lumines- cent phenomena in the Geissler tubes) is enhanced by the phenomena of phos- phorescence, which the electric light produces in uranium glass and in certain salts ... of strontium and calcium..:'" (illustration 4). In fact, early orginal tubes from the workshop of (and maybe made by) Geissler, kept in the Physi- cal Institute at Bonn University, show fused inserts of uranium glass. Maybe the first hint in scientific literature that Geissler included uranium glass can be found in Seelhorst 18 . The quote cited above makes it clear that re- search into gas discharge phenomena aroused huge interest, particularly in England. Con- sequently it was the London chemist William Crookes (1832 to 1919) who came back to the lu- minescence proper- ties of uranium glass with scientific inter- est. Amongst other experiments, he de- scribed the discharge path through a series of three independ- ently manufactured tubes,"one of uranium glass phosphorescent in dark green colour, another of English glass phosphorescent in blue, and a third of soft German glass, of which the major- ity of apparatuses be- fore you is made and which phosphoresces a bright apple green." Obviously, the 'soft German glass' is the famous Thuringian glass, which at first was used because of its good processing properties, but which then gained independent significance with the construction of discharge containers be- cause of its luminescent properties caused by the raw materials. ILLUSTRATION 4 Decorative Geissler tube with uranium glass-insert as a 'goblet" to demonstrate or popularize gas discharge phenomena. Right: enlarged detail. Filling pressure 3 mbar, air, height 60 cm; following R. Pressler from W Linschmann, Cursdorf/ Thueringer Wald, private property, photography: Fotografik Rauchfuss Dresden URANIUM GLASSES 98 THE GLASS CIRCLE JOURNAL 11 as a research instrument's, later as a teaching aidm to prove the rectilinear propagation of cathode rays. It made use of both the electrical excitability of luminescence in Thuringian glass and the effect's fatigue — unlike uranium glass — which could be observed with longer radiation exposure. Fischer glassworks, existing in Ilmenau 21 until 1978, are said to have cultivated these properties without the glass composition having become known to the last detail. Today's apparatus makers have made themselves independent from those special glass properties and build a luminescent screen into the Maltese Cross tube 22 . In an analytic sense, Goldstein was probably the first to use the luminescent properties of glass. In the course of a scientific debate with Crookes about the mutual influence of cathode rays he built a surface detector by applying finely ground luminescence-capable hollow glass on a level substrate and inserting it into the discharge container 23 . This enabled him to obtain detailed information about the radiation geometry in his experimental arrangement. But also in another context he kept coming back to the luminescent properties of the glass. For instance when his experiments regarding the 'diffuse reflection of cathode radiation 24 proved the existence of cathode rays outside the primary paths of rays. However, it can not be taken from this or his later published scientific works whether he had uranium glass at his disposal or whether he was satisfied with or had to accept the luminescent properties of Thuringian glass. After all, in later papers that had not been published there is the consideration that maybe the luminescence of glass was not only primarily excited by cathode radiation but also by the UV radiation which accompanies cathode radiation in highly rarefied-air discharge tubes". It could strongly indicate that he used uranium glass. About 10 years later, Heinrich Hertz (1857 to 1894) gave a decisive impetus to gas discharge physics. Following his sensational works on producing, distributing and receiving electromagnetic waves, Hertz had been appointed successor of Rudolf Clausius at the Rheinische Friedrich-Wilhelms University at Bonn. In the neighbourhood of the Geissler workshop he once again turned his attention CO experiments with gas discharge tubes. For instance, he put a disc of uranium glass in the discharge path of a cathode ray tube and covered the glass with a thin metal foil towards the cathode. Notwithstanding, the uranium glass fluoresced during discharge. The way the experiment was performed and the ingenious construction of the tube — Hertz could deflect the cathode ray using a strong magnet and could then observe the fluorescent spot also migrating out from the uranium glass, and he attached some mica splinters to the metal foil which tasted a clear shadow - ruled out the possibility that the uranium glass might have received the exciting energy by secondary effects or by microscopic defects in the foil. It was proved that cathode rays are able to penetrate thin metal foils 26 . Hertz encouraged his assistant Philipp Lenard (1862 to 1947) to use this effect and build a new discharge apparatus which could release the cathode rays through a thin window, the 'Lenard-window', into the atmosphere or into another experimental space, for instance one that could be evacuated. The possibility of investigating cathode radiation outside of discharge spaces and uninfluenced by the impact of energies and forces in these spaces, was to bring about new insights into the nature of this radiation. The works of Lenard 27 stimulated the further development to a considerable extent. Cathode rays were identified as an electron current. The mass/charge ratio of the electrons could be defined as a universal natural constant. However, the spectacular URANIUM GLASSES THE GLASS CIRCLE JOURNAL 11 99 climax of the stage of physical research described herein was the discovery of "a new type of radiation" by Wilhelm Conrad Roentgen (1845 to 1923) 28 . It remains to add that in spring 1896, when Lenard, deeply disappointed, searched for the X-rays he had overlooked until then at his tube, he also included, following Hertz, uranium glass beside other luminophores in his experimental arrangements and used it to confirm the radiation. 29 ' 3 ° Based on the attraction of the phenomenon, the above reflections on the role uranium glass had in the context of physical apparatus construction refer to the visually perceivable luminescence property. However, there is one technical aspect that should not be left out. Uranium glass had early been regarded as a glass that 'had the property to fuse with all glass types used in Germany' 31 . From today's perspective it is hard to say whether adding uranium was really the cause for the suitability of uranium glass as a transition glass. Perhaps the admixture only served to colour an already appropriate glass to be able to distinguish it from the other glasses during production and at the object. In the US in the 20th century uranium glasses were offered especially, but not ex- clusively, from this point of view. Also this aspect corresponds with properties of the Thuringian glass. Besides good processability in the flame and regarding the possibility of melting-in platinum electrodes, later also of wires from nickel-iron alloys, the Thuringian glass also proved to be easily permeable for X-rays. Otto Schott and the glassworks pro- prietor Emil Gundebach 3 " from Gehlberg successfully worked on the targeted further development of these properties. As a result it can be said that uranium glass accompanied the development leading to the discovery of X-rays — built into the most diverse apparatuses, Uranium glass saw uranium ore develop from a silver mining waste product into an economic factor in the context of the glass industry. Intense scientific investigation into its fluorescence led, almost at the same time as the discovery of X-rays, to the discovery of natural radioactivity. Uranium - Radioactivity Apart from fluorescence, radioactivity is the second characteristic of uranium glasses. It is caused by the radioactive decay of the element uranium and its successive products. In Paris Antoine Henri Becquerel (1852 to 1908) discovered this phenomenon through radioautography of fluorescent uranium salts and reported it to the Academie des Sciences on 24 February 1896 3 . A. H. Becquerel was professor and director of the National Museum of Natural History and from 1895 professor for physics at the Paris Polytechnic. Like his father, Alexandre Edmond Becquerel, he researched, amongst other interests, the luminescence in uranium salts (temperature dependence of phosphorescence and fluorescence). From his father's laboratory he had taken over a piece of the mineral potassium uranyl sulphate and had put it on a photo-gelatine-plate wrapped in dense black paper. By doing this he investigated a question brought up by Henri Poincare (1854 to 1912), whether intense fluorescence might possibly be accompanied by the invisible X-rays (Roentgen-rays). This question resulted from Roentgen's discovery that the new rays evolved at the very point at which the cathode rays meet the glass wall of the discharge container and excite fluorescence". The uranium mineral caused a blackening, signalling radiation. However, Becquerel be- lieved, as with the development of X-rays, the process would need a primary energy source, and he exposed the uranium salt to solar ra- diation. Further tests, ironically favoured by bad weather and very little solar radiation, finally made him realize that the process URANIUM GLASSES 100 THE GLASS CIRCLE JOURNAL 11 takes place without external energy supply and consequently works also in the dark'''. In May 1896 he declared that until then it was not apparent from where the uranium took the energy it emitted with such constant per- sistence, and in April 1897 he noted that the radiation of the uranium had not declined in the course of one year;" in this way radioac- tivity was described for the first time. In 1903 A. H. Becquerel as well as Pierre and Maria (Sklodowska) Curie were awarded the Nobel Prize for discovering radioactivity in connec- tion with the extraction of the elements polo- nium and radium. As with Roentgen-rays people talked of Becquerel- rays at that time. They originate in the radioactive decay of the atomic nuclei of so-called radionuclides (like U-238, characterised by the nucleon number 238, the sum of protons (92) and neutrons (146). In different ways it results in the emission of + alpha radiation: beam in form of helium nuclei (alpha particles) • beta radiation: beam in form of electrons (beta particles) • gamma radiation: electro magnetic waves (photon ray) Measuring radioactivity consists in defining of decays of radionuclides per unit of time. The unit of activity is the Becquerel (bq) (1 Becquerel equals 1 nuclear decay per second). For the pure, metallic uranium found in nature (with the radionuclides U-238 = 99.2749%; U-235 = 0.7205%; U-234 = 0.0055%) the overall specific activity is 2.54 x10 4 Bq/g. Decay of uranium-238 takes place very slowly. Its half-life is 4.468 x 10 9 years, i.e.: in a period of time of 4.5 billion years 2 g U decay to 1 g U. Consequently radiation intensity is quite low. The greater part the decay of U-238 takes place through direct emission of alpha particles and the smaller part through the simultaneous emission of gamma radiation as well as of one alpha particle per nucleus and results in every case in thorium Th-234. With a half-life of 24.1 days radioactive thorium decays into proactinium (Pa-234), emitting beta radiation, which in turn decays into U-234 with a half-life of 6.7 hours while emitting beta radiation. The decay continues via further radionuclides of the uranium- radium-series until the stable lead (Pb-206) is reached. The decay of uranium 235 with a half-life of 704 million years by emission of one alpha particle per nucleus produces the radionuclide Th-231 and further radionuclides in the actinide series. After uranium has been chemically separated from all other elements of the decay series, those radionuclides that may be measured quickly are the following: U-238 (gamma and alpha emitter); Th-234 (first beta emitter then gamma emitter); Pa- 234 (first beta emitter then gamma emitter); U-235 (gamma and alpha emitter); Th-231 (first beta emitter then gamma emitter). Due to short half-lives of the radionuclides Th-234 and Pa-234 these are at equilibrium with the uranium decay after less than one year following the separation of the uranium from the other elements of the decay series. All other nuclides of the series have significantly longer half-lives (U-234 — 250 x 10 3 years, Thorium 230 — 80 x 10 3 years) and therefore emerge only very slowly to be further emitters. Measurement of this radioactivity can be carried out with different detectors such as Geiger-Mueller-counters, semiconductor detectors, scintillators as well as secondary counters and spectrometers. Radioactivity determination measurements show:- • Activity of a green uranium glass tumbler (369 g) = 5230 bq ± 2600 bq; • Activity of a yellow uranium glass bowl (577 g) = 19650 bq ± 10000 bq. 36 + Most natural foods around 40bq per kilo. URANIUM GLASSES TFIE GLASS CIRCLE JOURNAL 11 101 • Drinking water .4 - 4 bq per litre. • Some spa waters up to 20,000 bq per litre. • Average man aged 20 to 30 weighing 70 kilos (11 stone) 7400 bq These figures illustrate examples from daily life. In terms of order of magnitude it is seen that the activity of uranium glasses can be considered negligible it its effect, Editor's note. The Japanese Scientist, Mr. Ken Tomabecki, notes in his book (Uranium Glass 1995) that sleeping with your (small Japanese) wife or sleeping with an annagriin tumbler exposes you to roughly the same amount of radiation. And you keep your annagriin glass in a cabinet! Concluding Remarks and Thanks . Manifold as the colour play of uranium glasses are the interaction facets between glass technology, mining economics, aesthetics, and science accompany the history of uranium glass in the 19th century. Even if the events described herein are subjectively marked and determined by various coincidences, the connections are immense. Therefore the history of uranium glass may count as an example for the concatenation of economy, technology and engineering, science, and zeitgeist. The authors would like to acknowledge quite a few discussions and references in the course of their considerations. Special thanks go to the partners in conversation, namely Prof. Dr. Karlheinz Althoff; university professor emeritus in Bonn, Prof. Dr. Klaus Huebner, university professor emeritus in Heidelberg, Siegfried Pressler, retired glass blowing master in Cologne, and Kurt Wallstab, retired glass blowing master and art glass designer in Griesheim/Darmstadt. The authors are indebted to Rudolf Hoffmann from Lauscha, and to Juergen Karpinski and Steffen Rauchfuss from Dresden for their permission to use photographic materials. Bibliography 1. Kirchheimer, F.: Das Uran und seine Geschichre. Sutrgart: E. Schweitzerbart'sche Verlagsbuchh., 1963. 2. Blau, J.: Das geheime Rezeptbuch des Glasmeisters Johann Baptist Eisner in Klostermuehle 1842-1862. Glastechn. Ber. 18(1940) I, S. 12-20. 3. Zenker, K.: Die alien Glashuetren des Isergebirges. Schwa-bisch-Gmuend: Leutelt-Ges., 1968. 4. Pazaurek, G. E.: Moderne Glaser. Leipzig: H. Seemann Nachf., 1901. 5. Hoffmann, R. u. Karpinski, I: Thueringer Glas aus Lauscha und Umgebung. Leipzig: E. A. Seemann, 1993. 6. Hoern, H.: 400 Jahre Glas aus - Ibueringen. Lauscha: Museum fuer Glaskunst, 1995. 7. Sachs. Bergwerks-Zeitung des Jahres 1852, S. 108. 8. Flach, S.; Gelforr, E.: Pechblende, das fuer Georg Agricola unbekannte Uran-Mineral im Erzgebirge. Metalla (Bochum) 7.2 (2000), S. 37-46. 9. Kirchheimer, F.: Zur Verwendung von Uranfarben in der Keramischen Industrie des 19. Jahrhunderts. Keram. Z. 16 (1964), S. 272. 10.Kirchheimer, F.: Uranglaser in alter Zeit. Glastechn. Ber.36, (1963) 12, S. 488-490. 11.Randau, P.: Die farbigen, bunten und verzierten Glaser. Wien u. Leipzig: A. Hattlebens; 1905 (Chemisch- technische Bibliothek Bd. 286). 12. Brummeisl, A.; Lieckfeld, G; Schoeffl, P. et al.: Ruche Anwendungen von Z = 92-Uran. Fortschritte im Strahlenschutz; Publikationsreihe des Fachverbandes fuer Strahlenschutz e.V.; Bd. I. Strahlenschurz fuer Mensch und Umwelt. Koeln: TUEV Rheinland, 1991, 13.Becquerel, A. E.: La Lumiere, ses causes et ses effects. (Bd.1), Paris, 1867. 14.Thiene, H.: Glas. (Bd. 1). Jena: Gustav Fischer, 1931. 15.Pringsheim, R; Vogel, M.: Lumineszenz von Fluessigkeiten und fester Koerpern. Weinheim: Verlag Chemie, 1951. 16.Eichhorn, K.: Heinrich Geissler, Leben und Werk eines Pioniers der Vakuumtechnik. Remscheid-Lennep: Deutsches Roentgen museum, 1994. 17.Guillemin, A.: The forces of nature - a popular introduc-tion to the study of physical phenomena. London; Mac-millan, 1877 (3rd Ed.). Von I N. Lockyer erganzte UEbersetzung von Guillemin, A.: Les Phenomenes de URANIUM GLASSES 102 THE GLASS CIRCLE JOURNAL 11 la Physique. Paris: Hachette 1869 (2'6me Ed.). 18.Seelhorsr, G.: Lieber fluorescirende Fluessigkeiten in Geiss-ler'schen Roehren. Ann. Phys. Chem. 137 (1869) S. 167-170. 19.Crookes, W: Strahlende Materie oder der vierre Aggregatzustand. Leipzig: Quandt & Handel, 1879. (Autorisierte UEbersetzung eines Vortrages, gehalten auf der 49. Jahresversammlung der Britischen Association zur Foerderung der Wissenschaften in Sheffield am 22. August 1879). 20. Pressler, R: Physikalische Lehrmittel, Katalog. Cursdorf/ Thuer. Wald: Rudolf Pressler, Werkstritten fuer physikalische und chemische Lehrapparate, 1927. 21,Fischer, A. et al.: Glaswerk Gustav Fischer (1907-1978), Aufstieg und Niedergang aus Familiensicht. In: Glas in Ilmenau, Beittige zur Geschichte der Glaserzeugung in der Region Ilmenau. Ilmenau: Foerder- und Freundeskreis Ilmenauer Glasmuseum, 1998. 22.Leybold: Produktkatalog Naturwissenschaften, Huerth: Leybold Didactic GmbH, 1998. 23.Goldsrein, F.: Ueber electrische Lichterscheinungen in Gasen. Monatsber. der K. Acad. d. Wiss. zu Berlin vom Januar 1880. Auch in Ann. Phys. Chem. N. F. 12 (1881) S. 90-109, Tafel I, Bild 15-24. 24. Goldstein, E.: Ueber die Reflexion electrischer Strahlen. Monatsber. der K. Acad. Wiss. zu Berlin v. 7. Juli 1881. Auch in Ann. Phys. Chem. N. F. 14 (1882) S. 246-277, Tafel III, Bad 1-35. 25.Huebner, K.: Univ. Heidelberg, Kirchhoff-Institut fuer Physik, Pers. Mitt. 2001. 26. Hertz, H.: Ueber den Durchgang von Kathodenstrahlen durch duenne Metallschichten. Ann. Phys. Chem. N. F. 45 (1892) S. 28-32. 27.Lenard, R: Ueber Kathodenstrahlen in Gasen von atmospharischern Druck and im aussersten Vacuum. Ann. Phys. Chem. N. F. 51 (1894) S. 225-267, Tafel IV, Bild 1-12. 28. Roentgen, W. C.: Ueber eine neue Arc von Strahlen (Vorlaufige Mixteilung). Aus den Sitzungsberichtcn der Wuerzburger Physikal.-medic. Gesellschaft, Wuerzburg 1895. Auch in: Ann. Phys. Chem. 64 (1898) S. 1-11. 29.Doerfel, G.: Selbstdarstellung und Legendenbildung um das Mueller-Unkelsche Lenard-Rohr. Int. Z. Geschichte Ethik Natures, Techn. und Med. 8 (2000) 5.244-258. 30.Lenard, R: Laborbuecher (hier Laborbuch E 17, 1893-1896); aufbewahrt im Deutschen Museum Muenchen. In Teilen transkribiert und reproduziert in: Ruff, B.: Lenards Arbeiten und Ausserungen ueber Roentgenstrahlen. Univ. Heidelberg, Staatsexamensarbeit 1997. 31.Ebert, H.: Anleitung zum Glasblasen. 5. Aufl. Leipzig: Johann Ambrosius Barth, 1921. 32.Huebscher, M.: Thueringer Glas - Werkstoff der ersten Roentgenroehren. In: 100 Jahre Roentgenstrahlen - Thueringer Beitrage. TU Ilmenau, Ilmenau 1995. 33.Huebscher, M.: Erste Roentgenroehren Meilensteine der thueringischen Glasb1aserei. VD G-Nach richten 22 (1996)1, S. 34-41. 34.Becquerel, H.: Emission de radiations nouvelles par l'ura-nium merallique. Comptes Rendus hebdomadaires des se-antes de l'Academie des Sciences, Paris 1896, S. 1086-1088. 35.Radvanyi, R.; Bordry, M.: Die Entdeckung der Radioaktivirat. Spektrum Wiss. Dossier, 1 (1997) S. 12-21. 36.Bamayr, R.; Bruehl, S.; Rist, 0.: Urati-Lichtschutzglas. Prax. (Phys.) 44 (1995) 3, S. 25-32. English translation by Karin Avdic and others. Address of the authors: Prof. Dr. G. Doerfel Dr. E. Gelfort Zauckeroder Str. 5 Donarstrasse 24 D-01159 Dresden 0-51107 Koeln E-mail: [email protected] E-mail: [email protected] Editors' note. This article was first published in in the DGG (German Society of Glass Technology) Journal in 2002., a Journal not readily accessible in the UK. It was brought to our attention by John Westmoreland, before retirement a scientist working in the nuclear power industry,who suggested that it should be brought before a wider audience. We discussed whether the more technical part of the paper should be omitted, but as many of our members are scientists or members of the medical profession we decided to print the entire paper. URANIUM GLASSES THE GLASS CIRCLE JOURNAL 11 E HILLEBAUER FREELANC COPPER WHEEL ENGRAVER WHO LIVED IN LONDON AND CARRIED OUT WORK FOR POWELL'S WHITEFRIARS GLASSHOUSE By Jeanette Hayhurst 103 T he glass of James Powell at Whitefriars has always been synonymous with high art and design. There are several aspects of the glass designed by James Powell however that have not been fully answered. Why he copied designs of historic glass is easier to answer than a second question; who were his engravers? The 'Glasses of Histories' as Powell called them, (we would now call them reproductions), were made to satiate the appetite for items after the antique. In order to achieve these copies in glass the Whitefriars glass blowers had to learn new techniques. The copying of the vase from the 1475 painting by Van Deer Goes in the Uffizi Gallery meant developing the technique of applying fine tears. James Powell saw the beauty of this technique and this inspired him to design the teared services that were in the forefront of modern design. (Plate 1) A service was also developed from an example of a dimpled glass bottle found at Pompeii (Plate 2) and the'Roman' cut service, pattern number 2425, was inspired by a bowl in the British Museum. The original copy was made in 1894 in the slightly green glass used by the Romans whereas the commercial service was made in clear glass. The second question has been difficult to answer. The Powell pattern books from the 1860s include both simple and sophisticated engraved table glass but there seemed never to have been an engraving workshop 'in house: Without a recognisable engraver's hand it is difficult sometimes to discern whether a piece is by Thomas Webb or James Powell as they both made delicate drawn stem glasses PLATE T (BELOW LEFT) Two teared goblets. JrAmurre HAYHURST PLATE 2 (BELOW) A roman dimpled tumbler and Powell glasses inspired by this design. Jrnmarin1-1...1.1. HILLEBAUER PLATE 3 Wedgwood Rockingham Vigorian teapot. JEANETTE HAYHURST Plate 4 Teapot detail, showing humming bird. JEANETTE humming HILLEBAUER 104 THE GLASS CIRCLE JOURNAL 11 105 THE GLASS CIRCLE JOURNAL H PLATE 5 Detail of teapot lid. Junem Hayhtlesr PLATE 6 Base of teapot showing signature. Note no impressed 'Wedgwood' mark. Jeanecre Hayhursr Hi LLE BAU ER 106 THE GLASS CIRCLE JOURNAL 11 PLATE 7 Small Wedgwood teapot made to be retailed by Whitefriars in their shop in Conduit Street, London. John P Smith PLATE 8 Base of teapot. Note `Wedgwood' impressed into the body of the pot. P snail Vti F7.) 4' 1;0 F — Tr 7 s..,7P1 r njJ c tare filo r 3 0 / VT I S 7 n _ 1 ) ' '? 7 ,1* 1;" without a swelling at the base of the stem. A few years ago the author attended a sale of predominately 18th century glass in Hove. Amongst the items for sale was an odd lot of 'Victorian engraved items which included a tumbler engraved by O'Fallon for Thomas Webb of a cart being drawn by two mystical beasts and a few unremarkable items. Also in the lot was a strange brown glazed pottery teapot decorated with copper wheel engraving and signed on the base E Hillebauer 1885. (Plates 3 & 4) This was a mystery. These teapots, with a thick brown glaze known as Rockingham Vigorian, were made by Wedgwood and, if decorated, either by copper wheel engraving or possibly acid etching, the decoration was attributed to John Northwood of Stourbridge.' This design technique was allegedly introduced by John Northwood in 1878/9 a little time after Northwood had assisted Wedgwood in `finishing' copies of the Portland Vase. 2 The author's call to the Wedgwood Museum regarding Hillebauer drew a blank. A search on the internet found nothing and a call to Broadfield House Glass Museum had the same result. This indicated that Hillebauer was probably not from Stourbridge or HILLEBAUER THE GLASS CIRCLE PDURNAL 1 107 PLATE 9 (ABOVE LEFT) Detail of wine glass engraving. .111AKETTE HlY/LLILI, PLATE I0 (FAR LEFT) Detail of wine glass engraving. J" , i rc HAY...ST PLATE II (LEFT) Detail of wine glass engraving. IVA,ETTI 11A, CLIss, FIELEBAUER PLATE 12 Decanter engraved with a bird. JSANSTTH HAYHURST 108 THE GLASS CIRCLE JOURNAL II_ associated with the Northwoods. So who was he and where was he working? David Vice, a collector and researcher of engraved Stourbridge glass, was approached to see if he had found any reference to Hillebauer. He had discovered that E Hillebauer was in fact a London engraver who had been recorded as working at 18 Temple Street in 1876. In1884 his son joined the company. By 1885 he was working at 5 Whitefriars Street and by 1900 his workshop was at 5 Albion Place. In the book published by the Museum of London to go with an exhibition of Whitefriars glass in 1995 3 there is a mention of Edward John Hillebauer as an engraver of glass for the 1896 Arts and Crafts exhibition but the book makes no mention of the designs. There was also a mention that he had an address at 5 Whitefriars Street and it was suggested that he had engraved the six vases engraved with flowers and mottos illustrated in the book. The 1907/1911 ledgers mention payments to Hillebauer, but again these give no indication as to what designs he engraved for the company. A blank had been drawn, but, as it was still a very interesting item, the teapot went into the author's study collection. As the author said in her talk given to The Glass Circle in 2009:- 'A few months later I was poking around in my 'study' cupboard, trying to find a James Powell champagne glass to show to his great grandson Tony Wigg, when I moved a little glass engraved with a humming bird that had a serious chip. As I looked at it my heart jumped: the bird was a similar bird to the one on the teapot lid and obviously by the same hand. Here was a direct link between the Wedgwood teapot and Whitefriars, who stocked Wedgwood cream ware. (Plates 7 & 8) So, did Wedgwood supply the teapot to Whitefriars, and was it possible that we could identify one of the Whitefriars engravers?' All of the author's engraved Whitefriars glasses were examined to make comparisons, thus enabling the attribution of items engraved with these very particular humming birds, as well as other birds, to Hillebauer. The birds were probably taken from John Gould's The Family of Humming Birds HILLEBAUER THEG LASS CIRCLE JOURNAL 11 h i , • 109 IIILLEBAUER PLATE 13 Detail of decanter engraved Virtue Ne'er Grows Old . 1E/0:1'111 11,111 , 1. I 110 THE GLASS CIRCLE JOURNAL 11 PLATE 14 Threaded vase engraved with bird j..71111 - 1,,wa, HILLEBAUER PLATE 15 A coupe glass engraved with a cobweb H.,111.4. TI i i G LASS CIRCLE JOURNAL :II 1J1 I I I LLERAUER 112 THE GLASS CIRCLE JOURNAL 11 published in five volumes between 1849 and 1861, (Plates 9, 10 & 11) The bird engraved on the Arts and Crafts decanter (Plates 12 & 13) is in the same hand. The vase is also engraved with foliage and the motto 'Virtue Ne'er Grows Old'. If we presume that the foliage was either by father or son then this would confirm that the aforementioned six vases were probably engraved by the Hillebauers. It has been assumed, up to now, that any threaded glass from about this date was made only in the Stourbridge area as it was there that W J Hodgetts registered a threading machine on 6th May 1876 even though we knew from the drawings of glass made by Whitefriars, illustrated in Mrs. Loftie's 1878 book of'The Dining Room,' that Whitefriars actually did make threaded glass at this time. However, the bird, in Hillebauer's hand, on the threaded tumbler vase (Platel4) confirms that threaded glass was indeed made by Whitefriars. With further research it may be possible to reattribute some of the items of this period that have formerly been attributed to Stourbridge to Whitefriars, The Collector Magazine of 1905 contains an amusing quote where a writer was concerned about the adoration shown by collectors to 18th century drinking glasses. He considered such adoration mundane, when, as he stated, you could buy wonderful Studio Glass from the Whitefriars glassworks. However, this article was accompanied by several illustrations, including a spider's web engraved coupe (Plate 15) that epitomises the art of James Powell. From what has been discovered we may well be secure in attributing the engraving to Hillebauer or his son. Endnotes 1. Wedgwood Vol. II Robin Refry London 1989 2. John Northwood II, Artist and Pioneer, John Northwood , Stourbridge 1958 pp.43. The author suggests that the Northwood workshop both copper wheel engraved and etched Wedgwood wares. No evidence that Northwood etched ceramics is readily available. On page 51 he illustrates seven vases, one engraved with hops and barley, three with foxgloves, and three with rather simple birds. 3. Whitefriars glass. James Powell and sons of London Wendy Evans, Catherine Ross and Alex Werner. London 1995 pp. 79,81,382 EDITORS NOTE In the last journal, number 10, in the article concerning Paul Oppitz, another Victorian London based engraver who may have done some work for Whitefriars, the author of that article stated that the Ailsa vase, now in The Corning Museum of Glass, was engraved by Paul Oppitz. David Vice pointed out to the author of that article that this was not the case, The author then consulted his original notes to find that there was no good reason why this aberration had crept in. HILLEBAUER THEGLASS CIRCLE JOURNAL 11 113 THE GLASS CIRCLE JOURNAL The Glass Circle 1 (Now out of Print) The Hoare Bills For Glass by W A Thorpe. Enamelling And Gilding On Glass by R J Charleston. Glass And British Pharmacy 16001900 by J K Crellin and J R Scott. English Ale Glasses 1685-1830 by P C Trubridge. Scent Bottles by Edmund Launert. The Glass Circle 2 A Glassinaker's Bankruptcy Sale by R J Charleston. The Bathgate Bowl by Barbara Morris. English Ale Glasses, Group 3, Tall Balusters And Flute Glasses For Champagne And Ale, by P C Trubridge. The Pugh Glasshouses In Dublin by Mary Boydell. Glass In 18th Century Norwich by Sheena Smith. Who Was George Ravenscroft? by Rosemary Rendel. How Did George Ravenscroft Discover Lead Crystal? by D C Watts. Price £8.50 The Glass Circle 3 The Apsley Pellatts by J A H Rose. Decoration Of Glass, Part 4: Printing On Glass, and Part 5: Acid Etching by R J Charleston. The Jacobite Engravers by G B Seddon. "Men Of Glass": A Personal View Of The De Bangor Family Of The 16th & 17th Centuries by G Bungard. English Ale Glasses, Group 4, Ale/Beer Glasses Of The 19th Century by P C Trubridge. Price £8.50 PUBLICATIONS Ile Glass Circle. Number 6 Glass Circle Nanthcr 114 THE GLASS CIRCLE JOURNAL 11 The Glass Circle 4 Some English Glass Engravers: Late 18th-Early 19th Century by R j Charleston. English Rock Crystal Glass, 1878-1925 by Ian Wolfenden. Reverse Painting On Glass by Rudy Eswarin. -The Manchester Glass Industry by Roger Dodsworth. The Ricketts Family And The Phoenix Glasshouse, Bristol by Cyril Weeden. Price £8.50 The Glass Circle 5 'The "Amen" Glasses by R J Charleston and Geoffrey Seddon. Glasses Fok The Dessert, I. Introductory by R J Charleston. Glasses For The Dessert, II. 18th Century English Jelly And Syllabub Glasses by Tim Udall. Possets, Syllabubs And Their Vessels by Helen McKearin. Jacobite Glasses And Their Inscriptions by F J Lelievre. The Flint Glass Houses On The Rivers Tyne And Wear During The Eighteenth Century by Catherine Ross. The Glass Carafe:18th. , 19th Century by John Frost. Price £8.50 The Glass Circle 6 The Glass Circle: A Personal Memoir by Robert J Charleston. The Elements Of Glass Collecting by John M Bacon. Glass Imitating Rock Crystal And Precious Stones - 16th & 17th Century Wheel Engraving And Gold Ruby Glass by Professor Dr Franz-Adrian Dreier. William And Thomas Beilby As Drawing Masters by Robert . ) Charleston. The French Connection: The Decorative Glass OfJames A Joblin And Co Of Sunderland During The 1930s by Kate Crowe. The Windmills: A Notable Family Of Glassmakers by Brian Moody. Joseph Locke And His Three Careers In England And America by Juliette K Rakow and Dr Leonard S Rakow. The Whittington Loving Cup by Peter Dreiser. Price £8.50 The Glass Circle 7 Dr Syntax In The Glasshouse by Cyril Weeden. 19th & 20th Century Commemorative Glass by Barbara Morris. Flashed Glass - An English First? by Robert J Charleston. Three Williamite Glasses by Mary Boydell. A Note On The Discovery Of Two Engraved Glasses From The Pugh Glasshouse by Mary Boydell. Glass From 1850-1950 In The British Museum by Judy Rudoe. Some Chemical And Physical Characteristics Of Ancient Glass And The Potential Of Scientific Investigations by Dr Julian Henderson. Price £8.50 PUBLICATIONS (; LASS CIRCLE THE GLASS CIRCLE JOIRNAL TO THE G LASS CIRCLE JOU MAL 11 115 The Glass Circle Journal 8 Memories of Robert Jesse Charleston (1916 -1994) by Janet Benson, Paul Hollister, David C Watts, John Scott and Jane Shadel Spillman. Jacobite Drinking Glasses by Muriel Steevenson. The Crystal Chandelier From The King's Audience Chamber (Now The Privy Chamber) Hampton Court Palace by Martin Mortimer. Masonic Glass In England by Dr David Stuart. The Falcon Brick Cone Glass House; The Other Revolution Of 1688 by Roy G. Bendrey. Felix Slade, A Collector In Uncharted Waters, 1790 -1868 by Hugh Tait. British Studio Glass by Peter Layton. Price £8.50 The Glass Circle Journal 9 Clubs and their Glasses in the Eighteenth Century by F. Peter Lole William Beilby and the Art of Glass by Simon Cottle Shades of Red. Part 1, the Copper, Red and Ruby Glasses by D. C. Watts Judging Jacobite Glass. A symposium held at the Victoria and Albert Musuein, November 1996 + Introduction to Jacobite Glass by Geoffrey B. Seddon + The Hoards ofJacobite Glass by F. Peter Lole + Observations regarding Historical Commerorative Glass in the Ulster Museum by John Bailey + A Reappaisal of 'Eighteen Century' Jacobite Glass by Peter J.Francis + Glass for Engraving by Wendy Evans + A Transparent Failure? Historians and Curators and Jacobite Material Culture by Dr. Eirwen Nicholson Price £8.50 The Glass Circle Journal 10 The action taken by Sir Robert Mansell to preserve his patent monopoly of making glass with coal by David C Watts The eighteenth-century glass bills and inventories at Traquair House by F Peter Lole Some letters from William Haden Richardson by Jill Turnbull Nineteenth-century British glass associated with Sir Richand Wallace by Suzanne Higgott Paul Oppitx (1827-1894) by John P. Smith The Biedermeier glass engraver Dominik Biemann (1800-1857) by Paul von Lichtenberg Price £8.50 UHF, GI .1%., CittcLE lot RNA!. 8 PUBLICATIONS R c ni II 1 I, I I, 11.1 I V 111,111 1 LASS CI RCLE DIAMOND ILMILEB I 10 THE GLASS CIRCLE JOURNAL 11 OTHER GLASS CIRCLE PUBLICATIONS Commemorative Exhibition Catalogue 1937 - 1962. ar 1,71LiLSOWS Price £8.50 COMMEMORATIVE EXFIIBITFON 1937-1951 Strange and Rare, 50th Anniversary Exhibition Catalogue 1937 - 1987. Price £8.50 The Glass Circle Diamond Jubilee 1937 - 1997, incorporating English Glass for Beginners by John Bacon, John Bacon's Letters Today by Martin Mortimer and a Catalogue of English Glass to 1820. Price E5.50 PUBLICATIONS THE GLASS CIRCLE JOURNAL 11 117 Glass Collectors and rheir Collections in Museums in Great Britain. 1999. Price £8.50 GLASS COO-ECTORS Cou.ec-nons A Glass Circle Symposium held at the British Museum in 1997 Price £8.50 From Palace ro Parlour. A Celebration of 19` 1 ' Century British Glass Price £8.50 PALM:CIO PA441.01.:Ft An Exhibition at The Wallace Collection, London 2004 Price £8.50 Cyclostyled accounts of Papers given to The Circle of Glass Collectors/ The Glass Circle 1937 - 1973. Glass Circle News (1977 - present). HOW TO ORDER Although most of these publications are available it is advisable to check before placing an order. Please contact Mr L. Maxfield, either by writing or by e-mail:- Forbescroft, The Close, Hythe, Kent, CT21 4RA. [email protected] For up-to-date information and online ordering please see our web site: www.glasscircle.org PUBLICATIONS THE GLASS CIRCLE JOURNAL 11 119 Bonham 17 Fine British Sc European Glass International auctions at Bonhams New Bond Street, London Enquiries Simon Cottle +44 (0) 20 7468 8383 [email protected] [email protected] Catalogue +44 (0) 1666 502 200 [email protected] Illustrated: A fine engraved Privateer wine glass circa 1757, 15.5cm high. Sold for f11,400 in December 2008 Bonhams 101 New Bond Street London W1S 1SR www.bonhams.com/glass London -N ris • San Francisco • Los Angeles • Hong Kong • Melbourne . Dubai ADVERTISEMENT VARRis nti ques finequality 18th & 19th century English & Irish glass a AYI-IURST JEANETTE E THE GLASS CIRCLE JOURNAL 11 120 Whitefriars decanter with silver mounted cork stopper designed by Harry Powell 1904 for further information contact Marris Antiques of Sudbury Suffolk wwwmarrisanliqueglass.com email: [email protected] mob: 07841 500 644 For a selection of 18th & 19th English and Irish Glass see us at The Antique Centre Chapel Maltings Long Melford Sudbury Suffolk 32a Kensington Church Street, London, W8 41-IA 020 7938 1539 or 07831209814 Mon - Fri 10 - 5 pm ADVERTISEMENT AD VERTIS EMENT 01986 872272 07786458444 vvvvvv.trocadero.con - liques [email protected] woodbddgeAntiquesCentre: 7 Quay Street, Suffok.1P121 1 3X vvww.woodbridgeantiouescentre.co.uk Yoxford Antique 3JW _Jos .corn 122 THE GLASS CIRCLE JOURNAL 11 EIELOMOSN FINE ANTIQUES COURT CLOSE, NORTH WRAXALL,CHIPPENHAM,WILTSHIRE SN14 7AD TEL: BATH (01225) 591505 FAX; BATH (01225) 891907 WWW DELOMOSNE.00.11K A pan- o opaque white glass candlesticks tapered incised twist stems an domed feet, painted with sprays offlowers and butterflies. Height 9 inches. English, probably South Staffordshire c. 1755-60. :: - .411111111L ADVE RTIS EM ENT THE GLASS CIRCLE JOURNAL I I ANTIQUE COLLECTORS' CLUB BOOKS _send for our free complete catalogue of over 300 titles published by ACC - see details below. British Glass o va Ilvc.is AND Casters 151 , 141beir al 10 MAGAZINE ANTIQUE ,COLLECTING Antique Collecting Established over 40 years ago, the magazine offers a wealth of respected knowledge and practical information on all aspects of antiques. Available only by subscription. Receive 10 issues for only £30 (UK), £35 (overseas) with a £10 ACC book voucher for new subscribers. t CMGYM 6 Dew, JUnders,c,dra II ewe ery To take out a subscription please visit our website, or telephone +44 (0) 1394 389957 Sandy Lane, Old Martlesham, Woodbridge, Suffolk, 1P12 4SD Tel: +44 (0)1394 389977 Fax: +44(0)1394 389999 Email: [email protected] www.antique-collecting.co.uk WWW.antiquecollectorsclub.com ADVERTISEMENT

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