This gorgeous ship’s carafe was cut by Hawkes in an early rendition of their Chrysanthemum pattern. The piece is completely wood wheel polished
The pattern features three large vesicas. The center portion is made up of a split vesica of crosshatching. It’s framed by cane cutting that converges on a clear center, 8-point hobstar. The star is surrounded on either side by fan cutting. Lying between each large vesica is a deeply cut 20-point hobstar. The neck is fluted and features St. Louis diamond while the base is finished in a 24 split-point hobstar.
The blank of this carafe is perfectly clear and measures 7 1/2″ tall and 5 1/4″ across the base
These extremely rare wine stems were done by J. Hoare. They are cut in a solid cased, deep-olive color which is particularly hard to find in American Brilliant glass.
This design was copper wheel engraved and is shown in the front of the first Hoare catalog reprint reproduced by the ACGA. The barrel stem is a nice touch and is fully cut and engraved as well as the base.
Colored stemware has become its own collectible and these stems are extremely hard to find. I have two of them and they are offered for $450 each.
This is one of Dorflinger’s most popular and stunning designs. The optical effect of the Tiffany designed is unrivaled.
The clearest Dorflinger glass blank is cut with deep scallops arrangened in columns. Where each scallop meets the next, there is a peak like that of a wave that is quite sharp to the touch. The base of the vase is finished with a rayed star.
This pattern is extremely rare and an eye-catcher. According the George Siek, curator of the Museum of Cut & Engraved Glass in Highlands, NC, his Tiffany vase receives more attention than anything else in the museum. The vase measures over 12″ tall and 4 1/2″ wide at the base and is in perfect condition.
This bowl is cut in the very rare and aptly named Superb pattern by Bergen. The Superb design is so tastefully done – a perfect mix of busy cutting and sublime framework.
The first thing that draws your eyes to the superb pattern are medallions of Russian cutting, of which there are seven. These are framed by deep, circular miters and topped with crosshatching and a stylized., triple-miter 8-pointed star. The Russian medallions also nestle in cane cutting. Flat hobstars seep in between each of the medallions and reemerge as a field of crosshatching that makes up the points of a seven point star formation, surrounding another hobstar. The design is extremely tasteful and well done.
The bowl measures 10″ wide and 4 1/2″ tall. It’s in perfect condition on a flawless blank.
This beautiful plate was done by Sinclaire with their well-balanced Cornwall designed. It is signed in the center with the Sinclaire trademark.
The main feature of this tray are large, clear scallops – surrounded by notching that leads to a crosshatched point. In between each scallop is a large, deep hobstar perched atop a band of crosshatching. Somehow the master at Sinclaire managed to tie the whole thing together with an 8-point star formation with crosshatched points. The overall effect is captivating and draws in the eye.
The plate is in perfect condition and measures 10″ diameter. The blank is exceptionally clear showing off the clear scallops that set this design off.
The beautiful champagne stems were cut by Mt. Washington in the always desirable triple miter design. What’s perhaps most impressive about the stems are the fully cut in pattern, scalloped bases.
The triple miter design features three deeply cut miters that criss-cross to leave knobs of relief. These knobs are covered with crosshatching. The stem of the champagnes feature an airtrap and lapidary knob. The bases are completely cut in pattern – a hardly ever seen feature.
The stems are in perfect condition with no damage. I have six of these and are offering them at $125 each.
This 12″ plate is cut in the extremely rare and highly desirable Marcella pattern by Libbey. It is on the highest quality blank with the best quality cutting. It is said that only three cutters could produce this design at Libbey and it was designed by William C. Anderson
Marcella is split into four sections of the design. The main motif is a large cluster of 6 clear-button hobstars. The clusters are separated on either side by diamond-point hexad which is surrounded by notching and a clear button hob. The center of the tray is stunning with a square of diamond point hexad. The square is surrounded by amazingly cut half-hobstars. It’s really an impressive feet.
The plate measures 12 1/4″ wide and 1/2″ tall. The blank is perfectly clear and the condition, perfect. Do not miss an opportunity to own such a large piece in this pattern.
This piece, from my personal collection, is one of the best examples of Egginton’s Trellis I’ve seen. It’s cut on a deep, thick blank and wood wheel polished. It’s signed with the Egginton trademark.
The Trellis pattern is glorious in it’s optical effect – clear channels of glass appear to weave over and under on another making a lattice work that is second to none. Hobstars lie between each “block” of clear channel work. The precisions and depth of cutting is particularly impressive with knobs being made with each hobstar. This rendition of Trellis is extremely sharp!
The tray is in perfect condition with no damage – measuring 14″ long. This is one of the best pieces in Trellis I’ve ever seen or had the chance to offer. I’m only selling it because I no longer have room to display it.
This is one of my all-time favorite shapes of the Brilliant Period. Made exclusively by Hoare, this calla-lily blank is featured prominently in two museums – both the Corning Museum of Glass and the Museum of Cut & Engraved Glass feature turquoise vases on the same blank. This pattern is also cut on blanks known to be Hoare and can be seen on this Ice Pail I’m also offering for sale.
One of my favorite features of these vases is how Hoare was able to stretch the pattern to the shape. Towards the shorter end of the vase, the pattern is more compact and on the longer side the pattern stretches out with some of the hobstars being nearly twice the size as the front side. The pattern consists of a teardrop shaped hobstar with 16 points. Every space around the hobstar is filled in with tiny crosshatching – both a touch of quality and difficulty for the cutter. Two tusks sit perched above each hobstar. Tusks were one of the most difficult motifs of all to cut and show off the clarity of the glass like icicles in the glass. It’s a stunning technique and effect. The base is cut in the old-Hoare style hobstar with fans between all the points.
The vase is in perfect condition and on a beautiful blank with wood wheel polishing. It measures over 12 1/2″ tall and 5 1/4″ across the base. This nontraditional shape really screams rarity and uniqueness – it’s an eye catcher in every way – from the shape to the design.
Ohio Cut Glass’s Fern has always been a popular pattern amongst cut glass collectors. I’ve always found the quality inconsistent with the somewhat higher prices – that is until I came across this piece. This is the nicest piece of Fern I’ve ever come across. A particularly heavy, crisply clear blank displays this design so well, and in a unique way with the band of hobstars in the center, rather than the edge.
The fern cutting runs up the sides of the vase – with deep miters dividing each panel of fern cutting (please note how deep they are from the photos of the base of the vase). This cutting is divided in the center with clear button hobstars and panels of crosshatching above the chain. The ferns continue up the vase to meet fans at the rim. The base is covered with a deeply cut 24-point hobstar.
This piece is in perfect condition and measures 12″ tall, 6 1/2″ wide and weighs a whopping 8 lb 4 oz. It truly is on a another level compared to other pieces in Ohio’s Fern.
This salad set in Libbey’s Glenda design is one of my favorite forms of the Brilliant Period. It stands both strong and elegant and is an ingenious take on the far more common bowl with an under plate. It’s signed with the Libbey Trademark.
The Glenda’s most standout feature may very well be the edge treatment. Hobnail sits on either end of notched cutting and fans out right into the teeth – with one large scallop alternating with a sharp, “V” shape. Three vesicas houseing hobstars, crosshatching and a cross cut divide up the edge cutting. The interior of the pattern features pairs of the same sytle hobstar vesicas and 45 degree angles with checking at the top portion. The base of the bowl features an incredible lapidary knob with a deeply cut hobstar. The under platefeatures the smae design, but with an added checked motif of crosshatching and fans. Note how the under plate undulates in form-first a spot for the bowl to fit and then with the curved upward edge – this had to be extremely difficult to achieve.
The set is stunning on a crystal-clear blank measuring 11″ wide and 6 1/2″ tall. It’s in perfect condition. A similar set was for sale at the ACGA convention for $3900 – note the heavy discount on that retail value.
I have seldom had a chance to offer this scarce pattern by the masters at Libbey Glass. This W.C. Anderson design provides an extremely effective use of its motifs. It’s signed in the center with the Libbey saber trademark.
The Lorraine pattern features 4 deep scallops engulfed in notching. These scallops are held together by a band of crosshatching, similar to a bouquet. In between each bouquet is a shooting star with two elongated points of crosshatching, further housing a triangular field of diamond point hexad. This frames a square central hobstar. My favorite portion of the pattern is a crosshatched edge running right up through the teeth-this is always a sign of quality and Lorraine is no exception
The plate is in excellent condition and measuress 7″ wide. The blank is exceptional, as expected from a piece this fine.
