When Gundersen emerged from the Pairpoint Corporation collapse, they were much smaller in size, but they were able to re-employee many of the skilled workers, especially the highly-skilled ones, such as Anders Thoen and Gilly Gulbransen. As the manufacturing volume returned, the products retained the expected Pairpoint quality, which didn’t go into serious decline until the end of the Gundersen-era in the early 1950s. This single fact was likely the reason for the retention of the elite clientele.
According to various sources, most notably “Mt. Washington & Pairpoint Glass, Volume Two,” by Kenneth Wilson and Jane Shadel Spillman , one of the quality distributors returning was Carbone, Inc., purveyors of quality general line goods. Not wanting to share the sources of their merchandise, their advertising references were limited to saying that their “Bedford Glass” line of decorative glass was made in the same factory as Pairpoint Glass. In one of their 1940 Christmas catalogs, they were promoting a new glass product line named Claire-de-lune, a blue-green hue made of Lime Glass. From our observations, many of the shapes offered by Carbone for the 1940 Christmas season were traditional Pairpoint shapes, but did include some more-contemporary-to-the-time items.
Wonderful glass items were made during the 13-year Gundersen era. With a smaller staff, it’s my speculation that much of the superb quality of workmanship is due to the likelihood that a higher percentage of the items made came from the hands of the “stars” of the Pairpoint era, as the less-qualified workers and apprentices moved to other industries and the war effort. I know that engraver Carl Silva left to work for Morse Twist Drill.
Hopefully this article sheds some new light on what has always been an unresolved curiosity for many Pairpoint collectors.