This is one of the rarest shapes of Alhambra that exists – this ice tub is really a stunning example of one of the most desirable patterns of the Brilliant Period. An Alhambra collector assures me he has has only seen a handful over the years and values them very highly.
The rim of this piece features the pattern’s signature castle rim followed by a chain of cut and unpolished Greek key. The rest of the Alhambra pattern is composed of chains of hobstars and bands of cane. Even the tab handles have hte castle rim and clear button hobstars cut into the handles.
The ice tub is in perfect condition and measures 6 1/2″ wide and 4″ tall. This is one of the most iconic patterns of the period and this is an extremely unusual find.
This is a tremendous punch bowl cut in Sinclaire’s Olympian design. It’s signed with a huge Sinclaire trademark in the center of the bowl. I have only seen one other example of this design in person, on a small plate. This is one of Sinclaire’s rarest and most expensive designs to produce.
This very complex pattern is made up of several draping, stacked chains of hobstars. They are each decided by notching.. This effect is achieved dramatically because of the great, globe-shaped blank. Hobstars and crosshatching make up the rest of the design and repeat in a more condensed form on the base. The neck of the base is cut with stair cutting and a chain of clear-button hobstars and crosshatched fields.
The punch bowl is in perfect condition on a perfectly clear blank. It measures 15″ tall and 15″ wide.
This is a particularly elegant vase with Gorham mounts. While the maker is unknown it is similar to some of Sinclaire’s fine engraved work.
Fine stretch across this piece leading up to a rolled rim, sterling top with more foliage. The blend of engraving and form is sublime and well thought out.
The piece is in excellent condition and measures 16 1/2″ tall and 7 1/4″ wide at the silver top.
This was one of the nicer pieces done by Fry in their Venetia design. This vase is signed and on an exceptionally clear blank.
The design lays out particularly well on this shape – a vesica with a deep hobstar and fans on either side displays on the front of the tazza. The vesica is framed by a crescent of split notched bands held together by a flat hobstar. In between each of the crescents are two stacked hobstars, crosshatching in fans. The neck of the piece is done in deeply cut honeycomb all the way down to the base – it’s unfathomable how they got the wheel in there towards the bottom. The base of the piece is scalloped and finished with a 24- point hobstar.
I love the form of this piece and it measures 8 1/2″ tall and 5 1/2″ wide. It’s in perfect condition.
This wonderful bowl was cut by Bergen in their Cornucopia (Plymouth)Pattern. This hard to find design is stunning and required a ton of work – look at all the extra miters at the edge and center of the bowl on the sprigs.
This early design is one of Bergen’s best. The center hobstar has crosshatched filled points while the outer ones are framed with crosshatching – I can’t help but believe this took a lot of care to et right. The cornucopias swirl around each hobstar and feature a crosshatched band holding it all together.
The bowl is a large 9″ wide and 4″ tall. It’s in perfect condition and on a perfectly clear blank. I seldom come across this design and this one shouldn’t be missed.
This is a beautiful piece of glass cut by Libbey in their Imperial design. It is signed with the Libbey sabre trademark.
I believe this blank to be solely used by Libbey/Anderson – it’s unusual in that while it folds over on all sides, it does so at a slight angle so it’s not symmetrical. The Imperial pattern adapts perfectly to the form. Two large fields make up most of the pattern – one involves a very complicated hexad cutting with mitered buttons while the other is more of a triple miter framed hobstar. These are bordered by undulating bands of cane which converge at fanned diamonds. The center of the bowl is finished with an eight-pointed hobstar formation with crosshatched points.
The bowl is in perfect condition and measures 8″ wide and 2 3/4″ tall.
This is a beautiful pitcher that looks to be done by Pairpoint. Pairpoint used this type of handle attachment almost exclusively and that is the basis for the attribution.
The side of the pitcher has 3 stacked hobstars with curved miters housing notched cutting. The front of the pitcher really stands out with a unique combination of crosshatching, hobnail, cane and a central hobstar. The handle is also cut in pattern while the base features a 28-point hobstar base.
The pitcher is in excellent condition and features no damage or issues. It measures 13″ tall and 7″ wide and is quite heavier than most pitchers this size.
This is an extra thick bowl cut and signed by Hawkes. While this pattern shows as a numbered design in one piece of reference material, it’s believed that’s an error by the authors. I believe it remains unidentified.
A deeply cut hobstar sits central in an octagonal field. It’s surrounded on all sides by 8 pointed stars which provide the framework for larger, deeply cut hobstars on four portions of hte piece. The smaller “pockets” havea clear puntie and another deep hobstar with fans.
Blowout bowls like this one were a specialty of Hawkes and they did an exceptional job on this one. It’s quite large, measuring 10 1/2″ wide and 3 1/4″ tall.
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 beautiful piece is cut in Sinclaire’s always popular Star & Pillar design. It is signed in the center with the Sincliare trademark.
Twelve deeply cut hobstars run around the perimeter of the plate. Stemming down from each are deeply cut miters which frame deep, clear tusks. The miters run to the points of the hobstar or right between the points. A deeply cut hobstar sits perfectly symmetrical in the center.
The plate is in perfect condition and measures 7 1/4″ wide and 1″ tall. It’s on a perfectly clear blank which shows off the clear tusk cutting.
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 a very large bowl done in Fry’s Rochester design. It’s on a very clear, brilliant blank.
The main portion of the design features crossed bars of triple-miter cane. They intersect at a clearn button hobstar and are divided by fan cutting. Vesicase of very tight hobnail are between each of the cane stars and are surrounded by notching
The bowl is in perfect condition and measures 10″ wide and 4 1/2″ tall.