Saint-Louis and crystal glassmaking key dates

1586 : The Holbach glassworks, which had ceased activity in 1585 through lack of wood, is re-established at Münzthal.

1676 : In England, George Ravenscroft develops lead crystal, or flint glass.

1767 : King Louis XV names Münzthal Verrerie Royale de Saint-Louis.

1781 : The Verrerie Royale de Saint-Louis discovers the secret of crystal glass. The finding is recognized by the Académie des Sciences the following year.

1829 : Saint-Louis becomes a limited company under the name Compagnie des Verreries et Cristalleries de Saint-Louis and two years later enters on a business association with Baccarat.

1830-1850 : Saint-Louis launches the fashion for large chandeliers and candelabra.

1834 : Saint-Louis creates the Trianon service that introduces the concept of a set of glasses for the dining table.

1837 : Saint-Louis produces the first mass-coloured crystal objects and makes ruby red its signature colour.

1844 : Saint-Louis introduces the technique of overlay crystal, which is superposed then cut, and invents malachite-effect crystal.

1844-1865 : Saint-Louis resuscitates the opaline (opal glass) technique and fills windows and ladies’ dressing tables with delicate bottles of sky blue, soft green, golden yellow and turquoise blue.

1845 : Saint-Louis revives the Venetian technique of filigree ou latticino, used to decorate colourless crystal glass with coloured spirals and coils, creates its first paperweight ball and develops its opaline vases.

1854 : Advent of the acid-etching process, perfected by Saint-Louis circa 1870.

1857 : Saint-Louis and Baccarat terminate their joint venture.

1867 : Wheel-engraving and -cutting techniques reach their peak and Saint-Louis participates in its first World’s Fair, exhibiting notably the large wheel-cut vases designed by Winkler.

1890-1930 : Development and apotheosis of gilded decoration.

1900 : Naturalistic Art Nouveau motifs applied to acid-etched and moiré crystal.

1919 : Reopened after WWI, Saint-Louis resumes its production with the Thistle tableware among others, designed just before the outbreak of war.

1930-1939 : With the designs of Jean Sala and Jean Luce, Saint-Louis joins the Art Deco movement and adopts transparent effects and geometric cut motifs and shapes.

1950 : Saint-Louis squares off the foot of the Versailles vase and modernizes its signature pieces.

1959 : Saint-Louis introduces the Stella service (re-issued in 1998) in pure modernist style, with deep slashes and prismatic effects.

1989 : Hermès and Pochet acquire 80% of the capital of Saint-Louis.

1991 : The great signature vases of the 19th century are re-issued.

1992 : With the Bubbles service, a future bestseller designed by Teleri Ann Jones, Saint-Louis enters the age of design.

1998 : Olivier Gagnère creates Cosmos: contemporary service, which reinterprets the “olive” cut, loved by Saint-Louis.

2002 : Matali Crasset designs the Omni service, posing on Saint-Louis and crystal hints supported by radicalism.

2004 : Hilton Mac Conico designs and creates for Saint-Louis the sumptuous Extravagance service, homage to all Saint-Louis’s cuts.

2007 : Hervé Van der Straten designs Excess line, a powerful and masculine line.

2008 : René Dumas completes Saint-Louis’s lines with the creation of Lydée line, new cut and new uses.

2009 : Eric Gizard designs Metropolis and Vibration lines.

2010 : Saint-Louis bases on its history and launches the “night carafe” line, they are the interpretation of a signature of the manufacture in the early 20th.