Brilliant cutting

Brilliant cut glass is associated with traveller and fairground culture and communities. It is also synonymous with the British pub and pub culture.

Brilliant cut glass in the UK became popular during the late 19th and early 20th centuries, influenced by earlier European and American glassmaking traditions. Most towns would have had cut glass craftsmen, gilders and signwriters. The technique involves deeply cut, intricate geometric patterns that enhance light refraction, creating a sparkling effect.

British glassmakers, particularly in regions like Stourbridge and Manchester, became renowned for their high-quality cut glass. Stourbridge, a historic glassmaking hub, saw firms like Thomas Webb & Sons and Stevens & Williams producing exceptional pieces. Manchester, home to James Powell & Sons (Whitefriars), also contributed to the industry.

The style peaked in popularity during the Victorian and Edwardian eras, often used for decorative tableware, vases, and chandeliers. However, with the decline of hand-cut glass production in the mid-20th century due to mechanization and changing tastes, the industry waned. Today, British cut glass remains highly collectible, with antique pieces sought after for their craftsmanship and brilliance.

• Crystal glass
• Sign painting / signwriting
• Reverse glass sign painting
• French embossing / acid etching
• Silvering

• The craft is labour intensive which puts people off learning it. It takes dedication and a lot of time to hone your skills.
• The grindstones used to brilliant cut glass are principally of aluminium oxide, although historically they were made of sandstone from Craigleith in Edinburgh. Diamond impregnated wheels can be useful for roughing out. For some years it was difficult to source the wheels, however, there is now a source of new grinding wheels in the UK which is making the craft more accessible again.
• The high cost of the materials and labour compared to the low cost and high speed of computer designed vinyl graphics reduces the number of clients willing to commission work.

The Brilliant Cutting Consortium

This is a training project set up by three skilled brilliant cutters in England, Latvia and the US, with the aim of increasing skills levels in the craft and passing on skills to the next generation. The course provides three days of training in either of the three locations:

• Torquay, England with Dave Smith
• Riga, Latvia with Tits Rinkis
• Littleton, Colorado with Pat Minervini

Individual craftspeople:

• David A Smith MBE
• S Taylor and Sons 
• Cheshire Stained Glass 
• Monkseaton Glaziers and Stained glass studio 
• Stuart Reddy, RS Glass Design 
• James Witchell
• John Williamson, Ellison Art Glass
• Stuart Owen Norton
• Steve Robey
• Dave Thomas
• Aaron Stephens
• Eddy Bennett

• Dreiser, P, and Matcham, J, (1982) The Techniques of Glass Engraving (London: Batsford)
• Duthie, Arthur Louis, (1982) Decorative Glass Processes, 1908 (London: Dover reprint)
• Frost, AC, and McGrath, R, (1961) Glass in Architecture and Decoration (London: The Architectural Press)
• M Girouard, M, (1984) Victorian Pubs (Yale University Press)
• B Stewart, B, (1983) Signwriting; a craftsman’s manual (Wiley-Blackwell)