Add Flare to Modern Tables with Beautiful Vintage Glassware

I have received many comments regarding the vintage glassware I use for styling tablescapes. So I thought I'd focus on that glassware today by sharing why I use it and how it adds flare to modern tables.

 

I'll start by saying I love crystal and glassware! I love the way it affects the play of light across the table whether it's from sunshine, candlelight, chandeliers or lamps. The shape, decoration, composition and clarity of the glassware make nearly endless combinations that add beauty and enjoyment to functional tableware. 

 

Today I'm concentrating on drinkware, though glass plates, vessels and candle holders all add their special touch to tablescapes. I also often use contemporary stemware and glasses for my tables, but I think by using vintage glassware you add a unique accent that makes a more personal statement. 

 

Navarre by Fostoria, 1973-1982

 

Fostoria began producing Navarre with its beautiful etching in clear glass in 1936. It proved to be their most popular pattern so they added several colors to the line beginning in 1973, which is why my azure stemware has an older feel to it.

 

 

In Spring Tablescape with Azaleas and Birds only the glassware is vintage. Navarre contributes its etch pattern and color to the organic swirl of leaves, flowers and vines on the tablecloth. Its delicate stem and bowl contrasts with the bold rattan chargers.

  

Classic Amethyst by Fostoria, 1949-1964 
   

Classic Amethyst combines the columnar look of ancient Greek temples with the strong curves and lines of the mid-century design style. The wine glasses are a bold contrast to the whimsical touches of bunnies and butterflies. 

Their deep vibrant color provides a strong presence as one of several purple accents on the Springing towards Easter Meadows table. 

 

Cranberry Optic Swirl by Steuben, c. 1903-1935

 

It is often difficult to pin down exact dates for glassware that is now considered antique, but this range corresponds to Steuben's innovative style under Frederick Carder. An example of art glass, this pattern spans the Arts and Crafts and Art Nouveau periods and has features of both. 

  

The striking shape of the bowl's swirling pattern and plain stem with a simple wafer work beautifully with the minimal approach to a Christmas in Red and Gold. Steuben's innovation continued in later decades when they collaborated with leading modern artists.

   

Imperlux, 1950-1975 (pattern unknown)   

 

Imperlux lead crystal is an example of cut-to-clear, where the outer layer of colored crystal is cut to expose the clear base. A couple of my stems still have their original labels which note that they were produced and hand-cut in the German Democratic Republic (East Germany). They were subsequently imported by a New York glass company. 

    

 

While I have been unable to determine a pattern name, the cuts include grapes, leaves and geometric lines which add to the exuberant mix of Patterns in Blue for Thanksgiving and deepens the color play. I also love their intricately cut stems and bases,  

    

Tiara by Towle, 1983-     

    

Tiara began production later than the previous glassware and crystal patterns. By the eighties the size of stemware had begun to increase with a corresponding heavier weight in the hand. 

  

Made in Poland, these lead crystal goblets are 8 5/8 inches tall, with very modern circular and linear cuts. Their proportions make them compatible with the larger size of contemporary dinner plates as seen in Silver and White for Embracing January as well as the accompanying plain wine glasses.  

   

Margo by Tiffin, 1960-1967 

 

Unlike most of the glassware I've collected, our Margo iced tea glasses were inherited by my husband. I love their elegant lines and simple etchings which look a bit like waving grass atop short geometric stems. Margo reflects mid-century changes in preferences for simpler lines and clear stemware rather than colored glass for dinnerware.

 

Margo's casual style fits in well with the other unpretentious elements of A Bit of Whimsy at the End of Summer, all of which are contemporary designs.

 

Windswept by Libbey Glass, 1962- 

      

Windswept is a variation on a glass first introduced in 1930 (“Candlelight”), modifying the bowl cuts with a minimalist pattern of windswept leaves and adding a multi-sided stem. 

   

Along with Margo, several Windswept glasses were inherited by my husband. We were later pleased to find more at several antique/vintage malls. Their design is restrained and goes particularly well with fall-themed tablescapes, such as A Seasonal Table for Thanksgiving, where they are the only vintage element used. 

 

Louisa by Jeannette (Floragold), 1950s

  

It's no secret that I gravitate to beautiful stemware, but I didn't want to leave the impression that I have no vintage drinking glasses. Because I do! Let me introduce Louisa, one of the patterns in Jeannette's iridescent line called Floragold. This is molded rather than blown glass, with two visible seams, covered in vining flowers. It has an interesting shape consisting of a rounded tumbler atop a square base that flares outward.

  

 

I use Louisa glasses most often in the fall and summer, primarily because I love their amber color that pairs so well with the vivid colors of those seasons, illustrated by how well they coordinate with the pumpkins in Leaves and Pumpkins on a Fall Table. You can also find matching plates and bowls in the pattern. I have a large pitcher that makes a lovely set for gatherings.

 

Holly by Fostoria, 1942-1980

 

Holly is one of those workhorse patterns that you can rely on. It's clear blown glass with a sculpted stem and a band of what is usually described as laurel leaves just below the rim. Why it was named Holly is beyond me! Its long production period tells you how popular it was and it is relatively easy to find online or in vintage shops.  

   

Holly easily fits in any type of setting — casual and fun like the tablescape preceding this one (paired with Louisa) or romantic and elegant as in A Little Romance for Valentine's Day surrounded by luxurious fabric, candles and vintage Marchioness champagne flutes.

   

Versailles by Fostoria, 1929-1938

   

The Versailles stemware has Art Deco styling both in the fluted stems and featured on the bowl, with its etched floral and geometric motifs entwined in a striking design. Versailles was produced in four colors; I have the topaz color which is a lovely shade between yellow and amber. Other colors were produced for a longer period of time.   

   

The classic form and intricate details of Versailles effortlessly combines with all the other elements on the Thanksgiving in the Meadows and Ponds table despite being nearly eighty years older. 

 

Wisteria by Fostoria, 1931-1938 

Wisteria is another beautiful example of elegant glass, with a clear columnar stem flaring to support an optic bowl. The bowl gradually lightens from the stem to the rim. The lovely lavender color can change with various lighting. In general, vintage glassware in lavender is scarcer than those that are clear or in other colors.

The graceful form and lovely color of Wisteria completes the elegance of Artistry and Romance and echoes the color of the violets in the dishes.

So you may be wondering what is elegant glass? Elegant glass is different than depression glass although they overlapped for a period of time. Elegant glass is high-quality glassware, often with elaborate designs and details, produced primarily in the first half of the twentieth century. Hand made, whether pressed, blown or a combination of the two, it involved many steps to achieve a finished product. Elegant glass was only sold in fine department stores and was frequently found on wedding registries.  

I hope that I've inspired you to search for lovely examples of vintage glassware of all types that will coordinate with your tables with unexpected flare. 

 

Details for the all the tables can be found by clicking on their post titles.  

    

     

     

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