Cloisonné glass
Recently, while researching a property for potential heritage designation, I came across a unique feature of that property – the interior vestibule of a house that looked, at first glance, to be a lovely example of stained glass with oak framing and panels. However, as the owner pointed out to me, it wasn’t stained glass at all. The decorative glass in the vestibule is cloisonné glass. I’d never heard of it before and the owners were eager for more information, especially regarding conservation methods, so I entered the rabbit hole of online research.
What is cloisonné?
Some of us may have heard of cloisonné before, but it’s likely that we’re picturing something quite different: typical cloisonné uses coloured powered enamel laid onto a metal surface and is divided by copper, silver or gold wire that has been soldered into place, which is then fired in a kiln. This method has produced charming pieces of jewelry and even small housewares, like teapots. Some of the loveliest examples of cloisonné come from Meiji-era Japan and include vases, trinket boxes and dishes. This type of cloisonné is an ancient technique found as far back as the 3rd millennium BC in Egypt and Mesopotamia.
So, what is cloisonné glass? This type of cloisonné uses textured glass beads of different shapes and colours carefully placed on a glass plate and divided by thin metal strips, typically brass or copper. Instead of being fired in a kiln, the glass beads and wire are held in place using a type of heated fish glue and secured with an upper plate of glass glued into place.
History of cloisonné glass
The cloisonné glass method was patented by the London Cloisonné Glass Company in 1897 and from 1900 onwards licenses were granted in other European countries and the United States of America. Licensees advertised its pieces as ‘burglar-proof’ and ‘easily repaired’, unfortunately neither of which was true. The work was delicate and fragile, the glue was water-soluble and most glue substitutions caused yellowing.
The cloisonné glass technique was only popular for a brief period (roughly 1895–1920) before more durable stained-glass methods regained their dominance in the production of decorative coloured glass windows. The cost of cloisonné glass was also prohibitive as the process was much more labour-intensive than traditional stained glass. Surviving cloisonné glass windows are very rare due to this short production era and the fragility of the windows.
England
Through my research, I came across an article about a stained glass company in Newcastle, England. The owners had received a piece of cloisonné glass for a restoration consultation. Ian Wilton and his son, Neil, recognized the piece as something unusual and did their own research leading them to the London Cloisonné Glass Company.
Neil has since gone on to be a self-taught expert in cloisonné glass through hands-on experimentation with techniques and collection of cloisonné glass from around the world. He very graciously shared some of his knowledge with me over a Zoom call and his passion for the medium is very evident.
Spain
In 1898, interior decorator Frederic Vidal i Javelí sent his son, Frederic Vidal to London to learn the method of creating cloisonné glass. After only 1 year it seems that he had learned enough to build stained glass windows in the cloisonné technique in Barcelona.
Shortly after returning, he began teaching his father’s workers the new technique. However, it seems that after six months they gave up further learning on the grounds that it was too difficult. Vidal himself progressed with cloisonné glass and created some of the most elaborate and colourful designs for windows, doors, screens and lamps.
A number of cloisonné glass pieces now reside in the collection of the National Art Museum of Catalonia in Spain. Vidal’s work, including the four-panel door with its intricate design of flowers, is part of the Museums’ collection of Modern, or ‘Modernista’ art. Their collection of Modernista decorative arts includes some exceptional examples of interior decorative; objets d’art in various specialties, such as ironwork, ceramics, glasswork and jewelry.
Jordi Bonet of Vitralls Bonet is the Catalan authority on cloisonné glass and was happy to find another cloisonné glass enthusiast when I reached out to him. He was able to recommend a glass conservator from Massachusetts, Dianne Rousseau. Dianne provided some helpful information to the owners of the historic house in Waterloo regarding the conservation of their historic cloisonné glass windows.
The Local Context
Joseph and John (aka Jack) Bullas apprenticed at the London Cloisonné Glass Company early in their careers. They emigrated to Canada in the early 1900s and formed their own company, the Berlin Art Glass Company, which they later changed to the Cloisonne and Art Glass Company of Berlin. In 1916, when Berlin was re-named Kitchener, they changed their name to the Bullas Glass Company Ltd., which operated until around 2010. Well known in the Kitchener-Waterloo area for their stained-glass windows, especially the windows in St. Peter’s Evangelical Lutheran Church, Bullas Glass appears to have dropped cloisonné from their offerings by 1920.
Remaining examples of their cloisonné glasswork are rare and tend to be limited to furniture and housewares. For example, cloisonné calling card trays were produced for the wealthy and still exist.
Cloisonné Today
As I did when I first saw the glass in this historic house in Waterloo, most people mistake cloisonné glass for a type of stained glass and it remains described as such until repair work is needed.
Cloisonné windows are much heavier and more delicate than standard stained glass because they rely on glue and the tension between the glass beads and the outer panes rather than the sturdy lead frame of stained glass. Repairing a broken cloisonné window is incredibly complex, as it often requires dismantling the entire panel and managing thousands of loose glass beads due to failure of the adhesive. Unless the piece is terribly damaged, conservators recommend leaving cloisonné glass alone rather than risking causing even more damage.
The technique of creating cloisonné glass itself is virtually lost to time as the patent documents appear to have left out important information, according to expert Neil Wilton, who has been trying to reproduce cloisonné glass in his own studio.
If you think you might have a piece of cloisonné glass of any kind, feel free to reach out!
Sources:
Meiji Vase: https://melbourneblogger.blogspot.com/2023/09/meiji-golden-age-cloisonne-enamels-japan.html
Neil Wilton: https://www.northumberlandgazette.co.uk/news/hidden-heritage-reviving-a-long-lost-glass-craft-186680
Four leafed glass door: https://www.museunacional.cat/en/colleccio/four-leafed-glass-door/frederic-vidal/131662-cjt
Detail of cloisonné glass door: https://commons.wikimedia.org/wiki/File:Frederic_Vidal_cloisonne_4782.JPG
Bullas Glass building, Kitchener: https://www.facebook.com/photo?fbid=2554027328319771&set=gm.8054834131232332&idorvanity=354486074600548
Peacock cloisonné tray: Susan Burke, Legacy: Stained Glass at St. Peter’s Evangelical Lutheran Church ACO NWR NEWSLETTER, September – October 2016 Volume 12, Number 4
Historic Bullas Glass brochure shared by Neil Wilton
Local historic house, Waterloo. Photos by Susan Schappert
Foundations 
