Rarities
Celeste is one of the nicest, most under-the-radar patterns Libbey made. I’ve only ever seen this pattern a handful of times. Celeste is essentially a combination of all the best Libbey patterns. Little bits of Aztec, Kensington, Marcella, and Grand Prize shine through. A gorgeous thing to be certainly designed by the master – William C. Anderson. This tray is signed Libbey along the edge.
Where to start with this piece? How about the triple miter cane? That motif is some of the most incredible cutting I’ve seen – with tons of depth and relief to each hobnail – how one never got knocked off, I’ll never know (especially considering there are nearly 120 points to the motif). Each of the fields of triple-miter cane is surrounded by tiny, flat hobstars that meet two clear button hobstars and a larger Christmas hobstar. In between each of these intensely cut areas is a very deep hobstar with both the top and bottom points filled in with crosshatching – anywhere the cutter had an opportunity to add something on this piece, they did. The center of the bowl features a maltese-cross of diamond point hexad, which was one of the most difficult cuts of the Brilliant Period. They converge at a flat hobstar and have intense checking in between each bar. The amount of depth achieved on the curved blank of this tray is astounding.
The tray is in perfect condition and measures
This huge platter was cut by American Cut Glass Company and designed by William C. Anderson. It is done in their Universe design and can be seen prominently in ‘The Chain of Evidence’ published by the Anderson Study Group.
Clusters of clear-button hobstars adorn the tray, each topped with a flat Christmas style star. Larger, clear-button, wedding-cake hobstars are sitting between the clusters at the edge. I have only ever seen this type of hobstar cut on Libbey’s very rare Windsor pattern. The center tray is finished with a 5-pointed star made up of points of cane. Between the points, there is a feathering motif.
The tray is in perfect condition and measures 13 3/4″ wide and 1 3/4″ tall. The quality of glass and cutting is unparalleled – it’s one of the best larger trays and can stand up against trays twice as expensive.
This is one of the finest pieces of cut glass, and certainly color, I’ve ever had the opportunity to offer. This oversize tankard, cased cranberry cut to clear, was made by Dorflinger in their ever-desirable No. 99 design. Dorflinger often reserved this pattern for some of their best pieces of color – and this one is no exception. Adding more draw to the piece is an elaborate Tiffany & Co collar.
The color shown is a vibrant, American cranberry and the precision with which the piece is cut is unparalleled. Bands of deeply cut cane are divided by notching where Dorflinger was still able to leave some of the color on this narrow motif. A chain of hobstars drapes down the sides and front of the pitcher as well – each hobstar center highlighted with a light fan to show off more color. All of the cranberry remains in tact along the base where a richly cut, 24-point hobstar can be found. The handle is cut in the old Dorflinger style of one thick, long band of cane. The Tiffany collar of this piece is extravagant and fit only for a piece of this caliber. Heavy, detailed grape vines extend across the lower edge with a dramatic sweep of the rim as it moves towards the handle. The lip of the pitcher is monogrammed with what appears to be, “MLC.” Possibly a relative of Charles T Cook for whom another similar pitcher was made.
This piece should not be considered without knowing that another important and extremely similar piece sold in 2008 (one of our country’s worst economic times). At a Woody Auction in St. Charles, Missouri, a different shaped pitcher, also cranberry cut to clear by Dorflinger in No. 99 with nearly the same Tiffany collar sold for $49,000. It is now regarded as one of the most valuable pieces of Dorflinger glass.. That pitcher was said to have been made as a presentation piece for the president of Tiffany at the time.
This pitcher measures 14 3/4″ tall, 6 1/2″ across the spout, 5 1/2″ across the base. It weighs 7 pounds and is in mint condition with the exception of one tiny nip in the handle cutting.
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This rare, early design was done by Hoare. It’s likely this was a Hoare blank – I have only ever seen them cut it.
Cane provides the main framework for the pattern – housing hobstars topped with fields of fan cutting. Smaller hobstars connect the rest of the pattern together at the base of the cane. One of the main draws of the pattern is the vesica featuring a clear tusk (one of the most difficult motifs to cut) which look like gorgeous, clear icicles placed within the busy pattern. These tusks extend and pierce the center of the bowl. Rich, sharp hobstars sit between each point of the pattern at the edge.
The piece is in perfect condition and measures 9″ wide and a deep 5 1/2″ tall.
These decanters speak for themselves – cut in Clark’s Mercedes design with pattern-cut stoppers. They’re both signed Clark with the script logo.
Your eye is immediately drawn to the stoppers on this piece – fully cut in the pattern and a hobstar at the top. Large hobstars adorn the body of the decanter. In between each hobstar is a formation featuring full fan cutting, crosshatching, and a clear-button hobstar.. Each of the large hobstars is dopped with a smaller, precisely cut hobstars. Zipper cutting leads up from the main portion of the pattern leading to a lapidary knob neck.
Simply put, these decanters couldn’t have more going for them – the shape and stoppers, along with top notch cutting are unbeatable. They’re in perfect condition and measure 15″ tall and 6″ wide.
This very unusual pitcher was made by Libbey and is signed with their trademark. It’s extremely unusual in that it has a monogram on either side integrated into the pattern. The engraving reads ‘M.H.’ Clearly this piece was a one-off, special order.
The Ellsmere pattern adapts excellently to the shape of this pitcher. A flat hobstar is flanked on either side by two bands of triple-miter cane. Rising from this area toward the center of the pitcher is fine crosshatching met with deeply cut notched prism. The handle is triple notched and the base is finished with a 20-point hobstar.
The pitcher is in perfect condition and measures Presentation pieces like this are always embraced by collectors as examples of what the artists were able to achieve during the Brilliant Period. It measures 7″ high and 5″ wide.
This is a Dorflinger Rock Crystal punch bowl . All the entire piece, including the collar is done in clear tusk and then polished copper wheel engraving on each tusk by Joseph Horn as cited in the documents. I have copies of original documents (attached) . Shown is an invoice from John Dorflinger to Arthur Roth in 1950. John had matching punch cups made in the 50’s, but I do not have these – they are discussed in the letter. According to John, this was a one of a kind, museum quality piece. The buyer, Arthur Roth, was apparently a well known businessman known as “Mr. Long Island” – more can be found here.
This piece was sold at Rago auction in 2009 for $6765 (including premium) with a chip – it has now been restored to undetectable perfection. The documents are from that auction, and I do not have them in hand but do have the copies. The punch cups, which wouldn’t be of much value, are not with the punch bowl any longer. Considering a clear Montrose punch bowl just sold for $9375 (including premium) at auction, I’d think this would be a more than fair deal.
The punch bowl is 14″ wide and just under 12″ tall and on the finest of Dorflinger blanks. The 16 clear tusks would make this punch bowl impressive enough, but combine the history and the detailed rock-crystal engraving, and you have a fabulous piece with the provenance to match.
I absolutely adore this piece in Libbey’s very rare and extremely well done Rosella pattern. This was Libbey’s most expensive pattern according to their catalog – more than Aztec, Marcella and the various other Libbey rarities. The piece is signed Libbey on the edge.
The Rosella pattern is a beautiful display of William C. Anderson’s finest design traits. A chain of clear button hobstars runs along hte edge of the piece surrounded by feathering and a checked motif. The center four-point formation is made up for 4 clear button hobstars, crosshatching, and a larger, central hobstar. The rope handle is a display of genius glassmaking with twisted molten glass and the ends are crosshatched.
The basket measures 9″ long and 7 3/4″ wide. There are no condition issues and both handles are attached perfectly. The glass and cutting is of the highest, brilliant quality.
Assyrian is easily one of Sinclaire’s most desirable and recognizable geometric designs. This plate combines that rich cut glass with an engraved border. It’s signed in the center.
The checkerboard styling of the Assyrian pattern is eye-catching and intriguing. The detail to get those flat, clear channels is unfathomable and then the weaving of an almost lace-like miter across the entire pattern is stunning. Tiny hobstars stud the entire geometric portion of the piece and the amount of relief acheived leaves a diamond-like sparkle.. The engraved border provides a classy contrast to the plate.
The plate is in perfect condition and measures 10″ in diameter. The blank is wonderfully clear and provides the perfect canvas for this American Brilliant treasure. These sell regularly at auction for $2000 or more in the last year. This is priced to sell.
This is a particularly unusual shape for Alhambra. It’s a sandwich plate with a wafer/short pedestal. The glass is quite thick and heavy towards the center where the blank is about twice as thick. The rim treatment is also unusual for Alhambra, but this is how Meriden cut this blank.
Below the rounded, scallop edge top is a chain of cut and unpolished Greek key. The rest of the Alhambra pattern is composed of chains of hobstars and bands of cane. The underside of the wafer is cut with a notching around the perimeter. The cutting on this plate is considerably precise, tight, and sharp and the glass is beautifully clear.
This piece measures 10″ in diameter and is in perfect condition. Alhambra is one of the most desirable patterns of the Brilliant Period – this shape is one of the rarer forms it was cut in.
Libbey’s Fleur-de-lis pattern is a little known pattern and is quite rare. I can only count 4 pieces I’ve ever seen. I believe this piece to be early and it is not signed. The entire piece is wood-wheel polished with that silky radiant finish. The blank is unusual in that it’s both square and fold-over on all four sides.
The center of the bowl contains an 8-sided hobstar which is enclosed in a 8-point star formation. Alternating between the points are two motifs. One features an upside down 5-pointed star, which is a decidedly Anderson motif. The other motif involves a completely flat field of cane cutting – I have only ever seen this distinct motif on Libbey’s Kite pattern. The rest of the piece is finished in fans.
The bowl is in good condition but has some flaking in the fan cutting. It measures 9″ wide and 3 1/4″ tall. This is a great opportunity to own an extremely rare pattern for a bargain price.
This extremely rare vase was made by the craftsmen of the Dorflinger Glass company. This piece in particular will forever be solidified as one of the most important piece of American color cut glass – it is the sole piece prominentally on the cover of Feller’s Dorflinger: America’s Finest Glass, 1852-1921. Known American pieces of color are extremely difficult to find and this exhibits an extremely high level of skill in the achievement of what could be done in color. The vibrant shade of green used on this example on further carries the idea of the beautiful leaves engraved throughout this piece.
The top portion of the vase is completely cut with rock crystal work. The engraving displays realistic falling leaves and branches. The amount of relief in the color-to-clear work is astonishing. They left and removed perfect amounts of the colored layer of glass to provide meticulous detail. The lower portion of the vase is cut with hobnail, providing a wonderfully decorative geometric band to contrast the realistic work that covers the top 3/4 of the vase. Ovoid punties rest in the upper portion of the hobnail cutting. The base is finished with a rayed star.
The vase is in perfect condition with the exception of one tiny area in the hobnail The color portion of one, and only one, of the hobnails has been lightly chipped away. This does not detract from the overall effect of the vase and again, is extremely small. The vase measures 12 1/4″ tall and 5 3/4″ wide.
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