I believe Stratford may be Libbey’s most underrated design. The blanks, cutting, and finish/polish are always exceptional. Great early glass with more intense cutting that most of the early designs – and at very reasonable prices.
This bread tray or fruit bowl is so well done. Some of the best, deepest hobstars cover every inch. There are different levels of relief to each one and they are clustered in 6-point, crosshatched star formations. The curved ends really make the depth of cutting pop. It is wood wheel polished and has a wonderful. silky feel to it.
The blank is exceptional – really one of the best one can find. The tray is in perfect condition with just a few tiny fleabites in the cutting. It measures 11 1/2″ long and 6 3/4″ wide.
This enormous pitcher was likely cut by American Cut Glass Company and designed by William C. Anderson – it features many of his design elements.
A vesica with stacked hobstars and crosshatching is housed in a feathered motif throughout the pattern. In between each vesica is a panel of cane cutting with a deep hobstar cut above it. The neck of the pitcher is fluted and notched with a gorgeous, triple-notched handle. It has a large hobstar on the base. The tumblers are a perfect, original match and make this set a true-rarity.
The huge pitcher measures 9 1/2″ tall and a hulking 7″ wide. It has one tiny nick at the edge of the rim. The tumblers are 4″ tall and 3″ wide. A stunning example by one of Brilliant Cut Glass’s premiere designers.
These stunning stems are cut by Boston & Sandwich – the exact design is shown in their catalog. Each piece is cased with cranberry glass and cut back to the clear portion. While most stems like this have clear bottoms, they went the extra mile and used a color to clear base as well!
This modified hobnail cutting is an early design and polished to wood-wheel perfection. The cranberry color is quite deep and bright and shows extremely well. The stem has an air trap along with a lapidary knob just under the bowl. The bases are rayed.
Condition is perfect with the original annealed rims. Colored stems are easily the most desirable items in cut glass today and with examples like these, it’s apparent why they’re so popular. A stem like this can easily spruce up a cabinet with a touch of color. I have two. $425 each or combined discount.
This punch bowl is a masterpiece. Cut by Gibbs & Kelly, the design is shown in Revi. It features some of the most meticulous cutting and amazingly, it doesn’t lose any brilliance or detail on such a large piece.
This design features 4 medallions of 40-point hobstars. The glass keeps extending outward towards the tip of each hobstar for an incredible three-dimensional effect. Each of the hobstar medallions is framed with a single band of cane cutting. The rest of the design is made up of large panels of triple-miter trellis cutting. Great depth is achieved on the trellis portion of cutting. The neck of the base is cut with stairs and a hobstar chain around the collar. The most singular portion of the piece is the plug – which is cut in pattern. I have only ever seen this once, on this Libbey Windsor punch bowl I sold two years ago.
The punch bowl is in excellent condition with just a few small flakes on the edge of the plug and a few tiny ones in the cutting. It’s on a wonderfully clear, heavy blank measuring 14″ wide, 13″ tall, and over 1/2″ thick!
This bowl was cut by American Cut Glass / designed by William C. Anderson. It features many motifs this master employed and is cut with a higher skill than most Brilliant Cut Glass.
Bands of cane winde throughtout the bowl and come to points that hit a clear button hobstar. These frame wedding-cake hobstars that are at every inch inch of hte bowl. The ones closer to the interior of the bowl are topped with a small triangular hobnail field.
The bowl is in perfect condition and on a stunningly clear blank. It measures 9″ wide and 3 3/4″ tall. I have only ever had a handful of examples of this design, and have kept one for myself as I enjoy the design more than most.
This platter is one of the best I’ve ever had the opportunity to offer. Cut in Egginton’s Arabian II design, it is an exceptional example of American Brilliant Cut Glass. This piece is signed in the center with the Egginton trademark in the center.
Clusters of 6 hobstars are grouped around a central 6-pointed hobstar formation. Deep, triple miters provide the framework for the rest of the pattern – it’s almost as pretty to look at from the underside.
As with most Egginton glass, the blank is second to none – despite all the busy cutting, you can see just how clear the glass is in all the miters. The condition is perfect and the tray measures 14″ wide, 1 1/2″ tall and nearly 1/2″ thick.
This decanter is cut in Hoare’s highly desirable and rare Croesus design. It’s mounted with a Gorham sterling flip top with matching chain. This exact piece is featured prominently in Spilman’s book.
This early design features diamond shaped fields of cane chained to one another and divided by fans. The lower portion of the decanter has clear panels separated by notching. The neck of the piece is fluted and notched while the decanter is finished with a rayed star.
The decanter is in perfect condition and measures 10 1/2″ tall and 6″ wide. It’s on a beautiful, old blank that is wood wheel polished. Silver mounted cut glass is one of the most popular areas of collecting and this is a premiere example.
This tray was cut in the early portion of the Brilliant Period by Hawkes in their Persian design. This piece is sharp as anything and almost hurts to hold. It’s a true testament of what could be acheived by these cutters.
Persian is setup very closely to the Russian design. The main difference lies in what is on each button – in this case, a clear-center hobstar. The pattern, with the countless intersecting cuts, reflects light and sparkles like a brilliant diamond.
This piece is in great condition with a couple of tiny fleabites in the cutting. It measures 11″ long, 7″ wide and a deep 2 1/4″ tall. The piece is wood wheel polished.
The tazza is one of the most elegant shapes in cut glass and this one is no exception. It’s cut by Egginton in their popular Crewsick pattern and signed on the base with their trademark.
Six huge, deep hobstars cover the exterior of this vase. They are framed on all sides by deep miters which lead to fields of fine crosshatching. The neck of the tazza is notched in a variety of depths framing flute cutting. The base is covered with a split, 20-point hobstar.
The tazza is in perfect condition and measures 9″ wide and 8″ tall. It’s on a stunning blank which is to be expected of Egginton.
This bowl, cut in Libbey’s Wedgmere is on a blank I have never seen in American Brilliant Cut Glass. The bowl comes to a perfect square in the base with extended clear points achieved by the cutter. The blank is extra heavy with some serious heft – the tusks alone protrude much more than most pieces of Wedgmere.
The Wedgmere pattern hinges on the center-most point of this bowl. Deep miters radiate from that point in all directions. Some of the miters frame a deeply cut hobstar perched atop a smaller, deep hobstar. Crosshatching separated both stars and they are framed on either side by notching. There are four bands of a criss-crossed crosshatching. On either side of these bars is surrounded on both sides by deep tusk cutting (supposedly one of the most difficult motifs of the period).
The bowl is on the clearest of blanks and extremely thick and heavy. It measures a large 10″ wide and 5 1/4″ tall and is in perfect condition.
This bowl shows a ton of detail and motifs over every inch of the bowl. I have really one seen patterns like this done by three different makers – Pitkin & Brooks, Quaker City, and William C. Anderson (the Sunset shows a strong resemblance).
The first thing one should look at is the center of the hobstars on this piece – 5 miters come together to form the points of the central hobs – this is only seen on the highest quality of pieces. The design splits into four repeating sections featuring a large, diamond shape hobstar. The hobstar is framed on all sides by the tinniest, most incredibly detailed Russian cutting. These Russian loops run to the center of the bowl and meet at 4 tiny clear-buttoned hobstars divided by some very fine notching. The upper end of the Russian cutting is framed by some crosshatched vesicas and large, deep hobstars sit between each of the four sections.
The bowl is in perfect condition and on a dazzling blank – measuring 8 1/4″ wide and 3 1/2″ tall. Quality of this kind rarely comes along at a price like this.
This is one of the best loving cups I’ve ever had the chance to offer – it’s done in Hoare’s Snail pattern with a fantastic Gorham top that aligns perfectly with the handles.
The snail design is a great combination of cutting and engraving. Huge scalloped, swirling “snail” motifs adorn a majority of the pattern with tiny polished engraving in the rest of the spaces. Three giant handles, quintuple-nothced- adorn the piece and the Gorham rim. The base is covered with a hobstar.
Loving cups like this don’t come up often, and even fewer show up with intact handles. It’s in perfect condition with just some minor scratching on the base (only adding to it’s authenticity). Measure 6 3/4″ tall, and 6″ handle to side and approximately 8″ handle to handle.
