This vase is cut by J. Hoare. The exact piece is shown in the back of the black catalog reprint. While it’s called “Regular,” I believe this is a title Hoare used for one off designs, like the one on this vase.
The rim of the vase features a combination of deep hobstars, flat hobstars and crosshatched, triangular fields. Draping down most of the vase is a vine of primrose. In between each panel of the engraving are large parallel line herringbone cutting. The lower bout of the vase looks to be cut in Hoare’s Champion pattern. The base is finished with an unusual hobstar formation
The vase is in good condition – the bottom has one small chip on the edge and some surface scratching. It’s 17 1/2″ tall and 5 1/4″ across the base. The combination of cutting, engraving and size make this vase a highly desirable specimen. Large vases like this are becoming harder to find.
These gorgeous stems are cut in a deep cranberry cut to clear color. The pattern cut be that of a few companies, but Dorflinger and Boston & Sandwich seem likely.
Hobnail cutting adorns the lower portion of each bowl of the stem. Then there is a band of tiny, clear punties closer to the rim. The stems are fluted and the bases feature a 24-point rayed star.
Both stems are in excellent condition and measure 4 3/4″ tall and just under 2 1/2″ wide. The deep cranberry color and cutting both suggest these are an American product – establishing it’s rarity and value instantaneously.
This heavy bowl is cut in Sinclaire’s seldom seen and well done Brussels pattern. The Brussels pattern is nearly identical to Hawkes’ Kings pattern. Usually the only way to tell the difference is the signature – and this piece 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 bowl has a 14- point hobstar.
This bowl is quite heavy and large – measuring 9″ wide and 3 1/2″ tall. The blank is perfectly clear making the optics effect all the more appealing. This piece is in excellent condition with some a couple of extremely minor portions of roughness – no chips, flakes or anything larger than a fleabite.
Take one good look at this ice bucket and you’ll realize it’s not your standard piece. The amount of work that Libbey put into this piece is staggering. The handles alone have more work on them than most any tab-handled bucket. This is an early Libbey pattern and on the most-gorgeous of blanks, wood-wheel polished to perfection.
The center of this piece has a large 16-point deeply cut hobstar. At every other point, there is a framed field of crosshatching. In between each of these fields lies a deeply cut 16-point hobstar. Fans seperate each one of these stars. Additional 16-point hobstars run up to the edge of each tab-handle with another farmed field of crosshatching.
The blank on this piece is world-class – both extremely heavy and clear. It measures 7″ wide and 5″ tall. It’s in excellent condition with a few minor nicks around the rim.
This sandwich plate is cut in Jewel’s Aberdeen pattern – easily one of the most striking and popular designs of the Brilliant Period. It combines brilliant cutting with clear glass in a precisely distinguished manner. As most Aberdeen plates go, this has the traditional wafer base.
The center hobstar of this piece lies within the wafer/pedestal. Its points are finished with crosshatching. Following the interior circle is a layer of flute cutting. This meets notching and a band of clear-button hobstars. These hobstars are all separated with crosshatching. Another band of notching divides the final rim flute cutting. One of the most distinguished parts of this pattern is the fact that the flutes become the teeth – surely a cut glass engineering marvel of the time.
The plate is in excellent condition with no damage – just a few surface scratches. It measures an even 10″ wide. A bargain price on one of the most recognizable and desirable designs in cut glass.
This is a beautiful smaller pitcher that I attribute to Libbey. In addition to the Libbey like cutting and polish, the handle’s thumb rest has a particular type of notching around it that I’ve only seen on older Libbey handled pieces.
The pattern of the pitcher features beautiful stacks of three hobstars separated by “X” shaped crosses. These are made up of crosshatching and a central triple miter cane button. The front of the pitcher is stretched out a bit more with a large fan framed by the crosses and a lower hobstar. The base is finished in a 24 point hobstar. The handle is triple notched and has the unique, Libbey-style notching a the thumb rest.
The blank of the pitcher is gorgeous and measures just over 8 3/4″ tall and 4 1/2″ wide. It’s in immaculate condition. I’m offering this piece at a bargain price that you simply can’t purchase this quality for.
Most baskets of the Brilliant Period are much later and on thin blanks with shallow cutting. This basket is just opposite – it’s quite heavy and thick with an extremely thick handle – it stands out from most others in both shape and presence.
The pattern on this piece is quite unusual. Bands of hobnail create the major outline and meet at fields of crosshatching. They frame large, deep hobstars which run down to the base of the basket. The edge of the piece has an unusual fan motif featuring almost cornucopia of fan cutting. The very thick handle is double notched with a crosscut “X” in between each notch. Even the base of the basket is finished with a large 28-point hobstar.
The basket is in very good condition with some minor roughness at the edge. It’s impressive size measures just under 12″ tall and 9″ wide.
This pitcher is cut in Libbey’s own variation of the Ellsmere pattern. You can see another great example of this pattern I’m offering here. The pitcher is signed on the handle with the Libbey saber trademark.
The most noticeable portion of this pitcher is certainly the upper third. It consists of that awesome notched prism Libbey is so well known for. They combine it with large panels of triple miter cane. I love how the notched prism seamlessly meets silvery crosshatching. This portion of the pattern mets octagonal hobstars. The lower third of the pitcher is finished with bursting fan cutting that alternates with deep and more shallow miters. The base of the pitcher is finished with a rayed star while the handle is triple notched.
The pitcher appears to be in perfect condition (just a tiny fleabite to one of the nothces on the handle) and measures 8 7/8″ tall and 5 1/8″ wide. It’s actually quite heavy and appears to be the exact same blank that Hawkes cut Queens on – which if you’ve ever seen one, is top quality.
This low compote is cut in Sinclaire’s extremely sought-after Bengal pattern. I believe these were used as petit four displays – as opposed to the larger cake plate.
A chaine of richly cut hobstars adorns the edge of this compote. Between each hobstar is an unusual crosscutting. Punties follow the crosscut portion and give hte piece a great optical effect. The base is covered with a 24-point hobstar. The neck is elegantly fluted.
The compote is in excellent condition and measures 8 1/4″ wide and 4 1/4″ tall. Most of these compotes are cut in repetitive common patterns like Russian, hobnail and Strawberry-Diamond – this is a much rarer example of this form.
This beautiful pitcher is cut in highly-collectible Monarch pattern by J. Hoare. It is signed on the base with the Hoare trademark.
The pithcer has a stack of deeply cut hobstars separated by fields of crosshatching. These stacks are divided by a flat, 8-point star toped with clear, mitered panels on both sides. A Christmas-style star finishes out the design along with fan cutting. The entire neck and mouth of hte piece is finished with gorgeous stair cutting. The handle is triple notched and the base is finished with a rayed star.
The pitcher is excellent condition with no flaws. It measures 9″ tall and 6″ wide. I think the Monarch pattern tends to display better on stand-up pieces and this is the perfect example of that vertical orientation.
The Cypress pattern is one of Pitkin & Brooks nicest designs. It combines on overall swirl/swag with great cutting.
Four offset vesicas splay across the bowl. They are made up of two fanned-center hobstars with cane and crosshatching. And are touched at all ends with fans. Each of these vesicas makes up a border of the central, square hobstar. Perched between each vesicas is a tiny little square of hobstar topped with a huge 24-point hobstar.
The bowl is in excellent condition 8 3/8″ wide and 3 1/4″ tall. The blank is quite clear and the design lays out perfectly on this bowl.
This gorgeous piece was made by J. Hoare – it is pictures in the Gorham archives with a different stopper, but with the glass labeled as Hoare.
The pattern is really nice. There are alternating fields of two main motifs. One motif is clear button cane. The other field features two portions of crosshatching on either side of a flat hobstar. This motif is framed on either side by notching. All of the cutting is separted by gorgeous clear vesicas/tusks. This motif was one of the most difficult to cut in the brilliant period and one that Hoare seemed to master early on. The neck and spout of thep iece are fluted and notched as well as the handle. The base is finished with a perfect rayed star. The silver stopper is monogramed with what I believe is “SMM.” It’s marked Sterling 639.
The decanter is in excellent condition and measures 6 1/2″ wide and 7 7/8″ tall. There is a very light, minor stain to the base of the decanter.
