In the middle of the 19th century the glasshouses of central Europe were producing a great variety of the layered and coloured wares that had become particularly associated with Bohemia in the preceding Biedermeier period. They were also producing a great amount of cut crystal glass in the deeply cut English style, and indeed work of this nature continued with little change throughout the modern period.

A revival of the indigenous art of engraving was initiated by Ludwig Lobmeyr, who from 1864 was in control of the Viennese firm of J. and L. Lobmeyr. His first opportunity came at the Paris International Exhibition of 1867, and his reputation was firmly established at the Vienna International Exhibition of 1873. He commissioned designs for his glasses from the leading Viennese architects and painters of the time, and his work was carried out by the finest craftsmen in Bohemia and Austria.

The Art Nouveau style, which went under the name of Jugendstil in central Europe, made a deep impression on central European glassware. The work made around the turn of the century abounds in slender shapes and flowing organic motifs. Glasses designed by Karl Köpping in Berlin, with long, waving stems and tulip-like bowls, were perhaps the extreme instance of Art Nouveau style applied to glassware. In 1897 an exhibition of glass by Tiffany was shown at several of the museums in the area. Not only the forms of the Tiffany glasses but also their figured and heavily lustred material attracted great interest. Several factories started making a similar heavily lustred glass, including the firm of J. Lötz’ Witwe of Klášterský Mlýn (Klostermühle), which won a grand prix at the Paris Exhibition of 1900 with this type of glassware.

From around 1900 onward a movement toward a modern purist approach to glass was largely fostered by the work of designers connected with the Vienna Kunstgewerbeschule (School of Industrial Art). Men such as Kolo Moser and Josef Hoffmann, who were also closely associated with the Vienna Werkstätte (Workshop), were designing glasses in simple rational forms. Much initiative in this movement was shown by the firms of E. Bakalowits Söhne of Vienna and J. Lötz’ Witwe. The Czech architect Jan Kotěra was influential in the modern design of glass, and in the early years of World War I the Czech Artěl organization of artists and architects was concerned with the design of glass in a forward-looking Cubist manner.

After World War I the outstanding figure in Czech glass art was Josef Drahoňovský, who was professor at the Prague School of Industrial Art. He was essentially a sculptor, and most of his glass designs were for sumptuously engraved glass of a monumental quality. His colleague in Prague, Jaroslav Horejc, designed for engraved work of a broadly similar character, some of it for the Lobmeyr firm of Vienna. The decades after World War II saw considerable activity in glass design. Notable artists in the 1960s were Stanislav Libenský, René Roubíček, Pavel Hlava, and Václav Cígler.

In Austria after World War I the Lobmeyr firm under the control of Stefan Rath produced many engraved and relief-carved pieces designed by artists such as Ena Rottenberg, Lotte Fink, and Vally Wieselthier. Lobmeyr also produced some of the best designs of Michael Powolny, who had his own workshop and had designed for the firm of J. Lötz’ Witwe.

In Germany the outstanding engraver and glass carver of the period after World War I was Wilhelm von Eiff, a professor at the Stuttgart Kunstgewerbeschule. Bruno Mauder of the glass-teaching school at Zwiesel in Bavaria advocated the use of natural and appropriate glass forms. Some fine tablewares were produced, especially after mid-century, by designers such as Wilhelm Wagenfeld, Richard Süssmuth and Heinrich Löffelhardt. An interesting development was that of the Rosenthal firm, which used the Finnish designer Tapio Wirkkala and the Dane Bjørn Wiinblad to effect in each case matching glass and porcelain suites of the firm’s own manufacture.