This is a blank that both Libbey and Meriden were known to cut – it’s an elegant flared square shape done in Meriden’s Old Irish design.
Eight medallions of crosscut diamond adorn the perimeter of the bowl. They are separated on each side by three notches. Clear channel cutting runs above them leading to a long, circular band of crosscut diamond. The rim of the bowl is finished with very tightly cut fans.
Old Irish is always cut on high quality, clear blanks and this piece is no exception. It measures 9 1/2″ wide and 3″ tall. It’s in perfect condition with no issues.
This is a particularly elegant compote cut by Libbey in their Somerset design. It is signed with the saber logo.
The pattern is set up in two main sections – the first features a deep, Libbey-style hobstar surrounded on all ends by notching. This same notching weaves and frames an unusual cross-cut motif. The stem is fluted and meets an elegant lapidary knob right befor the bowl. The base is finished with a rayed star.
The compote is in excellent, perfect condition with no flaws and measures a tall 11 1/4″ tall and 6 1/4″ wide. Compotes of this shape and size are seldom seen and a nice offset cabinet piece.
This gorgeous bowl is meticulously cut in Hoare’s 1958 design. This is a trellis style design with deep, clear channels. The piece is so tightly cut that where it comes to points is extremely sharp and can cut your hand. It is signed in the center with the Hoare trademark.
Diamond shape fields are mitered on all sides and alternate with richly cut hobstars. Then somehow, tiny, clear channels are dividing the rest of the pattern out in checkerboard fashion – it’s stunning! The rim is finished with a scalloped and spiked style and the center of the piece has a 24-point hobstar.
The bowl is in exceptional condition with no damage. It measures 8 1/8″ wide and 4 1/8″ tall. The blank is perfectly clear highlighting the clear channel cutting.
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.
Holland is one of Clark’s best patterns – featuring clear tusk cutting and an extremely aesthetic layout.
The Holland design features a large hobnail triangle running through the whole pattern. Each point of the hobstar is fanned. The rest of the pattern features vesicas of crossed fan cutting and are framed with tight crosshatching. Six hobstars finish out the design and are deeply cut. Three hexagonal hobstars are framed in the center of the plate.
The punch bowl is in excellent condition with no damage and measures 12 1/4″ wide and 5″ tall. The blank is exceptional and shows off this design beautifully.
This special whisky jug is cut in the early Hoare pattern, Wheat. It’s mounted with an incredible locking flip top cap by Gorham.
One look at this jug and you’ll know just why the Wheat pattern is so popular – it’s a seamless melding of dense, brilliant cutting mixed with the use of clear areas. One panel of the design is covered in the Russian pattern that Hoare so effectively employed. The other swirled panel of tusks arranged to look like sheaths of wheat. The base of the jug is rayed while the neck of the piece is fluted. Perched atop the neck is a Gorham locking flip top mount with stunning embossed flowers throughout.
The piece is in perfect condition and measures 9 1/2″ tall, 5 1/2″ long, and 3 1/4″ wide. Great glass and silver mount pairings rarely come along – this whisky combines two of the best artisans of the period and exemplifies why they are the most recognizable from the era.
This beautiful bowl is cut in Blackmer’s always popular Nordica design. Nordica has a beautiful, symmetrical layout that makes it instantly identifiable and desirable among collectors.
The main portion of the pattern is made up of four large vesicas. These vesicas are made up of an unusual curved hobnail border which is connected on either side by a flat hobstar. The hobnail surrounds a deeply cut oval hobstar. In between each vesica is a smaller hobstar surrounded by fans and a field of cane and crosshatching. The center of the bowl is finished with a deep hobstar that ties in seamlessly with the pattern.
The bowl is in perfect condition and quite hefty at 9″ in diameter and 4 1/2″ tall. The blank is perfectly clear.
This is a blank shape, that as far as I know, was solely cut by J. Hoare. The style and execution is also that of J. Hoare. I just love the form of this one – resembling a tall, healthy flower with it’s flaring rim.
The design of the vase features plate hobstars which are surrounded on all sides by triple miter bordered fields. Some of these are left clear, which others are filled with crosshatching. Fans continue upward at the top of the design. Both the stem and rim are notched and fluted and there is a chain of crosshatced fields surrounding the neck. The base is finished with an impressive 32-point hobstar!
Condition is perfect and the vase measures 12″ tall and 4 5/8″ across the base.
This 7″ plate was cut by Fry and is signed in the center with their script trademark. The star of David motif is their Atlantic pattern and displays quite nicely on this small.
Triple miter cane braids at the cneter of the plate where it meets antoehr clear button star of david. Within the recesses of the bnads of cane are crosshatched fields and fans. The edge of the plate is studded with deep 16-point hobstars.
The blank of the plate is extrmely thick and clear – something Fry seemed to do on their better 7″ plates. It’s in perfect condition and measures 7″ wide and 1 1/4″ tall. Bargain price for this one.
Coffee pots are probably the rarest shape in cut glass – you just don’t see them and on top of that, with a fragile spout, very few survived. Most of the spouts either broke off or cut back significantly to compensate for damage. This one looks to be in perfect, original condition. It was undoubtedly cut by Meriden with many of their signature motifs.
The main motif on this piece is a large florence-hobstar with 10 points filled with crosshatching and divided by fans. Checking and fans surround this large motif. The same florence-hobstar adorns the top with a stunning lapidary knob to grip. The handle is double notched and the spout is miraculously triple notched – I have no idea how they achieved such deep cutting on the thin spout. A 24-point hobstar finishes off the base.
Everything about this piece is captivating and it would assuredly be an eye-catcher in any collection. The blank is wonderfully clear measuring 11″ tall, 10″ long from spout to handle, and 5 1/8″ across the base. It’s in incredibly perfect condition.
This is one of Dorflinger’s nicest, most elaborate designs – Windsor. This bowl in particular is on a very heavy, thick blank that also maintains the great glass clarity Dorflinger is known for.
The Windsor pattern features six branches of hobstars surrounded by tight crosshatched cutting. In between each is a vesica of hobnail – which appears as a stem, and a clustered hobstar which looks like the bloom of a flower. The effect is stunning and classic in nature. A really gorgeous symmetrical pattern.
The bowl is in perfect condition and measures 9 1/4″ wide and 4″ tall. As previously mentioned, the blank is exceptionally thick and clear and wood-wheel polished.
This bowl was made by Libbey – it goes through all 4 stages of the cutting process for their Sultana pattern. It’s likely this was used at exhibitions or by salesmen on the road during the height of the Brilliant Period.
The first stage is the blank – where just clear glass is shown. The second stage would be the rough cut where the skeleton of the design is laid out – you can even see some ink that was left on the glass to trace with the wheel – note that the teeth are square at this point. The next phase features fine cutting added to the initial rough cut and the last area has the finished piece-polished to mirror-like perfection.
Bowls like this are rare and a testament to another time in our country’s rich history. One where we didn’t have the internet to sell and explain things – where in-person, human interaction was the only option. Sample pieces like this are extremely rare and always desirable. The bowl measures 7″ wide and 1 3/4″ tall.
