This is a great cabinet piece – a cigarette or cherry jar in Marlboro by Dorflinger. The jar features and amazing pattern cut lid.
The Marlboro pattern consists of several 8-pointed stars with crosshatching between each point. Alternating panels of crosshatching and fan drift down the rest of the perimeter of the Humidor which finish out the lovely pattern. The entire piece is wood wheel polished and finished with a rayed star on the base. As an added touch of class, Dorflinger cut the top of the lid with a tiny 12-point hobstar.
The jar is in perfect condition with no chips or stains. It is wonderfully cut and measures 6 1/4″ tall and 3 1/2″ wide.
This is a gorgeous plate in the Sinclaire’s Brussels pattern. The Brussels design is nearly identical to Hawkes’ Kings pattern. It is signed in the center with the Sinclaire trademark.
One of the most stunning portions of this pattern are the large, clear punties that wrap around the bowl. They provide wonderful optics when looking at the entire bowl – like a lens. The border of the bowl is also unusual – it is cut like Hawkes’ panel with large scallops and then a u-notch between each one. This rim frames richly cut, diamond shaped hobstars. The punties are divided with a notch and a downward fan. Then there is another additional row of clear-button hobstars and another row of punties. The center of the plate has a 14- point hobstar.
The plate is in perfect condition and measure 10″ wide. The blank is ultra-clear which shows off all the clear areas in the pattern.
This deep basket is cut in Libbey’s extremely rare and well-done Rosella design. 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 the edge of the basket undulating on four loops. Each loops frames a large hobstar with fans on its left and right. A small clear button hobstar is housed in a triangle with three triangular crosshatched fields. The base is finished with a 20-point hobstar and the handle is v-shaped and fluted and notched.
This is rare piece in both form and shape. It measures 11″ high, 8″ long, and 6″ wide. The blank is second to none and the same goes for the cutting. The condition remains flawless. I have never seen another one of these, though I do happen to have a smaller, rope-handled version in this same design!
This is easily the most impressive set I’ve ever offered for sale. It is cut in Libbey’s Windsor pattern – a design likely conceived by William C. Anderson. All pieces are signed Libbey and of the highest quality. There is one, two-part punch bowl along with eight matching cups.
Six, huge 34-point hobstars are set in the outer portion of the bowl. Each of these is filled with a richly cut, clear-button hobstar. These hobstars flows seamlessly on the same two miters into a tightly cut triangular field of cane. In between each of the large hobstars are two stacked, clear button hobstars surrounded by crosshatching. The last portion of crosshatchign runs up into a tightly-pinched point. The effect immediately draws one’s eye to each point. What is perhaps most impressive about this punch bowl is the plug fitting. Rather than finishing it with the typical hobstar, Libbey went the extra mile and cut it with a cluster of seven deeply cut, clear-button hobstars. The base repeats the pattern perfectly and has a collar featuring flat hobstars and split fields of crosshatching.
The punch cups are a work of art in themselves – somehow capturing the entire pattern on a 3″ wide piece. They nailed the central hobstar cluster along with the larger, clear-button hobstars seperated by the two other clear button stars. It’s unreal.
Punch sets of this size are hard to find to start with, but ones done in patterns of this caliber seldom show up. This is a true cut glass rarity and deserves the attention of the advanced collector. It’s in perfect condition and measures 14″ wide and 13″ tall. The blank is of the highest quality and unparalleled and the cutting is hard to beat as well. The cups are 3 3/8″ wide and 1 7/8″ tall.
This pitcher is so finally detailed, it really makes one wonder how these cutters didn’t go crosseyed after a day’s work. This piece is cut in Meriden’s 161 design – one of their most coveted and hardest to find.
The 161 pattern is particularly striking, especially on this pitcher. Four bands of cutting spur from the center of the pitcher – they include two bands of cane on either side of a clear-button hobstar chain. The hobstar chains are surrounded on either side by tight, detailed checking. In the very center of the design is additional clear button hobstar with more checking. What’s stunnign about this picture is how the pattern symetrically repeats itself on the lower portion of the piece. It almost looks like a sunset reflecting off the ocean. The center and back quarters of the pitcher feature a long vesica with three deeply stacked hobstars divided by checking. The vesica sits atop a large, star of David. The handle of the pitcher is triple-notched. The base of the pitcher is finished with a rayed star.
The blank on the pitcher is beautiful and really allows the meticulous cutting pop off the glass. It measures 10 1/4″ tall and 6 1/4″ wide. It’s in perfect condition with hardly a scratch on it. After seeing and handling this pitcher, it’s no mystery as why this pattern remains so popular with collectors – it’s particularly well done and shows so well on this form.
This bowl is cut particularly well in Pitkin & Brook’s Plymouth pattern. The Plymouth pattern, along with Duchess, Mayflower, Gloria and Elite were the best patterns they cut and it is painfully obvious when examining the old catalogs. This bowl, designated as “Fancy”, went for a whopping $45 in 1908. That would be roughly the equivalent of $1180 by today’s standards. This bowl was difficult to produce and required more skilled labor than most other pieces in the catalog.
A unique field of 14 tiny hobstars is a highlight of the Plymouth pattern. These are topped on both sides with cane cutting and surrounded on all sides by vesicas of crosshatching. Dividing each tiny hobstar portion of the pattern is a flat hobstar and a deeper hobstar topped with an unusual crosscut motif. One thing that amazes me is the detailed fan at the edge of the bowl. It combines russian, cane and fan cutting to provide a super boarder. Whenever I see Russian used like this, the piece is always very high quality.
The bowl stands a deep 4 1/2″ tall and a very wide 10″. It’s extremely heavy and cut on a vibrant, clear blank. It is free of any damage – a miracle for such an imposing piece. This bowl has presence – it is something to behold and will light up wherever it’s placed.
The Glenda pattern, by Libbey is a complex and highly desired design. It’s similar to their Ellsmere pattern, but with more going on and more varied cutting. This compote’s shape is quite unusual, with a petticoat base cut in the pattern. The compote is signed with the Libbey sabre trademark rather than the later (and often lesser quality) Libbey in a circle.
The most noticeable portion of the Glenda pattern occurs at the edge – a spread fan of notching topped on either side with hobnail. These notches are separated by deep wide miter. Each one of these fanned portions run into a vesica containing a deep hobstar with a cross perched on top. Other vesicas include a clear button hobstar and checked cutting and sandwich triangular fields of crosshatching. The base is cut with the same notching and hobnail finishes while the neck is fluted and notched.
The piece is well done and I cannot find any damage save for a couple of fleabites in the cutting. It measures 7 1/2″ tall and 7 1/4″ wide. This shape has always been popular and is quite unusual – not to mention a piece of this size cut this heavily. This exact piece sold in 2013 on eBay for a staggering $1130! This is offered at nearly half that price!
The Bellevue pattern is a classic and blends Victorian with more modern stylings. Taylor Brothers really hit their stride with this pattern – it features a unique design which stands out against all others. The pattern adapts quite well to the ball shaped form, showing a vertical display – which is unusual for this pattern.
The Bellevue pattern’s main draw is large clear, concentric circles. Clear, curved miters like this were difficult to cut and provide a stunning display. The first circle contains a large hobstar. Framed with a wide, clear miter the next layer of the circle has hobstars separated by split bands of crosshatching. Dividing each circle is a section of three types of cutting. The first field of cutting features a hobstar. The following level houses cane cutting and the final layer is filled with hobnail. The base of the carafe is finished with a 24-point hobstar. The neck is fluted and notched with a deep, clear ring in the center.
The carafe is a on a great, clear blank and in great condition. There is some very minor scratching at the bottom of the neck and one tiny flake in the cutting. It measures just over 8″ tall and 6″ in diameter. I checked with a collector of Bellevue and this is the only one he knows outside of his extensive collection – an obvious rarity.
I’m very proud to offer this wonderful piece of glass designed by William C. Anderson and cut by his American Cut Glass Company of Lansing, Michigan. It is cut in the Samantha design, which I consider to be one of the best in the brilliant period. It’s richly cut and features tons of the most skilled cutting. Large plates like this seldom come along, but ones in great patterns like Samantha are scarce and one of the most desirable items of the Brilliant Period.
Large 8-pointed hobstar formations cover four large areas on the surface of the tray. These hobstars are made up of a central richly-cut hobstar with the 8 outer points filled with jeweled center hobstars topped with crosshatching. The lowest point of each of these four formations extends and meets in the center of the tray. In between each of these large formations. Are two hobstars, both with a jeweled, wedding-cake center, which are connected by a band of crosshatching with a scallop out of the center. The quality o fleabites f this piece is undeniable and rivals much of Libbey’s and Anderson’s best work!
The plate is in excellent condition, with just a few tiny fleabites. It’s gigantic, measuring 13 1/2″ tall and 2″ tall. The blank is second to none – with the most vibrant reflection and clarity. Trays like this do not come up often and this may be the only one in this pattern. It’s one of the best round trays of the period.
This decanters was cut in Kelly & Steinman’s Roman pattern. In addition to being on a great, bell shaped blank, it features a very rare steeple cut stopper!
The Roman pattern features thick bands of cane crisscrossing one another throughout the entire pattern. Small hobstars and diamond-shaped fans connect all of these bands. In between the cane bands are large deep hobstars and flatter ones. The neck of the decanters are fluted and notched just like the stoppers. There is a large scallop cut out at the center of the neck. The bases of the decanters feature a large 24-point hobstar.
The piece is in perfect condition with no staining. It’s a wonderful shape to display one of Kelly & Steinman’s top designs.
This is an extremely rare pattern – I’ve only ever seen two examples and one was in an ACGA rarities exhibit at a convention. Blackmer’s Iris design was one of their most expensive to produce and likely required a great deal of skill to cut.
I think it’s likely Blackmer named this Iris for the way the pattern opens like a flower from the center. A central hobstar is framed with a deep, perfectly circular miter. Swirling leaves of cane sprout from that, with one bordering minor transforming into 3 sprigs of fan cutting. The other side of the miter curves all the way around like a fern and frames another perfectly circular hobstar. It is truly stunning.
The bowl is quite heavy and in perfect condition. It measures 9 1/4″ wide, 4″ tall. This pattern is not seen often and the difficulty in making it is likely the cause for the rarity.
These large ice cream trays have always managed to retain their value no matter what changes the cut glass market goes through. They’re impressive in both size and execution and display exceptionally well. This one is cut in J. Hoare’s Carolyn pattern and is signed very faintly on the surface of the tray.
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. That major miter framework lays space for a vesica filled with a split of notched cutting. Handles are even cut into the ends of the tray to make this large piece easier to handle – it’s always impressive what they came up with during the heigh of America’s glass production.
The tray is in perfect condition and measures just under 18″ long, 10 1/2″ wide and 3″ tall. The blank is perfectly clear and flawless. Seldom do these large trays come up under the $1500 price point. This is offered at a bargain price and will continue to appreciate in value.
