This extremely tall vase was made and signed by J. Hoare. It is pictured exactly in their catalog and is an excellent example of a vase blank they cut a few different designs on.
Thisdesign features bands of hobstars leading toward the top and ending in a fire-work like burst of fan. Between each of these band is notching topped with fans along with a deep hobstar. The neck features step cutting divided by flutting and a notching, while the base is finished in a gorgeous hobstar cluster.
Measuring 18″ tall and wide, this vase is impressive to anyone lucky enough to see it in person. It’s in perfect condition with no chip, damage, or repairs.
This form is so seldom seen – a multipart server – maybe for dip or a floral arrangement. It’s signed Hawkes with the trefoil trademark. The top portion inserts into the bottom portion with a peg and receiver seamlessly. It’s amazing how tight they were able to get the fit.
The pattern of this piece is similar to that of Hawkes’ Alexandria – essentially a modified Russian cut that adds hobstars and crosshatching. The edge of both the plate and center dish are cut in strawberry diamond. while the center of it is cut with a rayed star.
This piece measures 10″ wide and 4″ tall and is in perfect condition on a water-white blank. I have never seen another of these before.
This bowl is unbelievably unusual – cut in Quaker City’s Rustic design, the use of giant tusks is staggering! Cut all over and singular in every way – I have only ever seen this design one other time.
Four large, deep circles house a flat hobstar cutting which is surrounded by tight crosshatching. Each of these circles is embedded in hobnail cutting that picnhes together at parallel notching. In between each of these circles is a giant, wide tusk (maybe the widest I’ve seen). The center of the bowl features four deep hobstars and crosshatching divided by a cross of more tusk cutting. It’s stunning in every way.
The bowl is in excellent condition on the finest of blanks. It measures 8″ wide and tall. When Quaker City wanted to, they could produce some of the highest quality cut glass out of any of the firms – this is a prime example of just that.
This is one of the nicest lay-down perfumes I’ve had the opportunity to offer. It was likely cut by J. Hoare as suggested by the pattern, shape, and silver.
A graduated square design covers two large fields on the upper and lower bout of this bottle. Most notable is an incredible swirled tusk motif featuring a round, convex tusk (one of the most difficult motifs to execute) divided by a sharp swirl cutting. The last portion of the of the bottom of the bottle is faceted like a bottle stopper. The silver mount is monogrammed.
The shape of the bottle is unique-not round, but oval so as to ovoid it rolling off of a dresser. The bottle is extremely long and measures 10″ long, 1 1/2″ wide and 3/4″ tall. It’s in perfect condition with not chips or staining. The size and cutting put this into a top tier cabinet piece.
This is one of my favorite shapes in ABP cut glass. The “Eulalia” shape is a namesake based off of another pitcher Libbey cut in their Eulalia design. This pitcher is cut and signed in Sultana by Libbey.
A huge, diamond hsaped hobstar adorns the side of the pitcher. Framed on al sides by a split-crosshatched motif that intersects at a flat hobstar. A fan design of three deep miters with thinner miters cut in between each finishes out the pitcher. The base is done in a rayed star while the handle is triple notched.
The blank of the pitcher is excellent and in perfect condition. This pitcher is much larger than that it looks – 7 5/8″ tall, 9″ long (including handle) and 5″ wide. This shape is extremely difficult to come by and coveted by collectors.
In terms of American engraved work, it doesn’t get much better than this enormous charger by Hawkes. Cut and engraved in their Gravic style and signed as such, this piece is some of the deepest, most detailed engraving I’ve ever seen.
The photos really do speak for themselves – the flowers jump off the tray. There is an extreme amount of dimension in the work because of the depth and shading of the engraving. I can fit my entire thumb and then some into the Dahlia blossoms. Feathery swags wind around the tray with unbloomed flowers and smaller leaves. The rim is beveled and scalloped in the same manner that most of the high quality Gravic work is.
The size of this piece is staggering. The blank itself is 3/4″ thick which the tray is 15 1/2″ wide and 2″ wide weighing nearly 12 pounds! There just aren’t many examples this large, or this grand of American Engraved glass from this period.
This beauty is cut in Hawkes Brazilian – it’s on a stunning clear blank and wood-wheel polished for that silky, accurate feel Hawkes achieved in the early portion of the Brilliant Period.
The dome of the set features deeply cut 8-point clear-button hobstars. Crosshatching falls between all of the points. Fans sprout forth from in between each star and reach a diamond of mixed cutting – triangular clear triangles, diamond shaped fans and crosshatching. Fans finish out the upper portion of the pattern. The plate expludes the 8 pointed star but has a large central hobstar instead.
This is easily one of the nicest covered pieces I’ve seen – and largest, measuring 9″ wide and 6 1/2″ tall. It’s in perfect condtioin and on a gorgeous blank.
The Genoa design is one of Egginton’s best – with wonderfully clear glass combined with deep, busy cutting, it stands out of the pack immediately. It’s signed with the Egginton Trademark in the center.
Two clusters of hobstars adorn the sides of the bowl. They are seperated with fans. Each section of the clusters are bordered with cane cutting which sandwich a vertical double mitre trellis. Cutting is deep in this cut-to-pieces design. Egginton always outdid themselves.
The bowl is in perfect condition and measures. One of Egginton’s best. Measures 9″ wide and 4″ tall.
This may very well be Libbey’s rarest design – the Star Pattern. According to Rarities in American Cut Glass this pattern is was only cut for 5 months. I’m not surprised by this claim as I have not seen many pieces in this design at all. The carafe is signed Libbey with the saber trademark.
The Star pattern is like Expanding Star on steroids. I imagine this pattern was designed by William C. Anderson given that it uses a number of his design elements. A center hobstar is surrounded by an additional star made up of large, mitered/buttoned points. Each of these points is seperated by tightly cut fans. The next layer of the pattern consists of 5 pointed stars with fanned centers. Alternating clear button hobstars and flat, split-point hobstars make up the followign strata. The final layer is made up of 5-pointed stars with hobstar centers. The base is rayed and the neck has the honeycomb and flutted neck.
I think carafes are underrated shapes and good buys – essentially decanters without stoppers and often times, a more appealing spout. This carafe is in perfect condition and measures 8 1/2″ tall, and 6″ wide
This is one of the most incredible patterns I’ve ever seen. It combines so many motifs seamlessly and tastefully. Some people seem to think this is a piece of Hoare – the verdict is out. One thing is undeniable, it was one of the nicest, highest quality bowls I’ve ever offered.
Study the pictures carefully – there is a lot going on there. There are two main circular motifs on the bowl – one features a cross cutting with embedded in the relief. The other circle has a clear buton hobstar surounded on al sides by hexagonal fields of hobnail. Amazingly, they’ve managed to fill out the circle with vesicas of crosshatching-usually a very clear sign of a higher quality cut. Notched cutting wraps each circle continuing on to the other one. Sitting in between each circle is tiny Russian cutting which leads to a fan of crosscutting and cane. The center of the bowl is finished with a triple miter trellis with crosshatching framed on three sides by cane, while the other sides border the wrapped notching.
This bowl is in perfect condition and on an extremely thick, heavy blank. It measures a very large 10″ wide and 4″ tall . Bowls like this are not only rare but stunning to look at – one can easily get lots in everything that’s going on, yet take one step back and refocus and you have a wonderful design with perfect execution.
Easily one of Libbey’s underrated patterns, the Prism design features an elegant, well-executed layout. The bowl is signed with the Libbey-saber trademark.
There are four layers of clear hobnail coming from the center of the bowl. This hobnail blends seamlessly into extremely fine crosshatching. This crosshatching sandwiches the namesake prism cutting of this pattern – this is the same type of cutting featured in Libbey’s Ellsmere pattern. They flow into pointed teeth. The center is complete with a gorgeous hobstar.
The bowl is in perfect condition and measures 8″ wide and 3 1/2″ tall. It’s moderately priced for a wonderful deal on this terrific design.
This fabulous pitcher was made by Pairpoint – it is shown exactly in the ACGA catalog reprint.
The body of the pitcher is cut in triple miter trellis with crosshatched-knobs. A large vesica of notching frames polished pond lily intaglio. Polished intaglio is rarer than unpolished, and I believe it lends a unique look to the engraved work-leaving it shimmering and silvery. The handle is triple-nothced and the base is finished with a rayed star.
The pitcher is in perfect condition and measures 9 1/2″ tall and 4 3/4″ wide. The blank is spectacular and combination of cutting and engraving second to very few pieces.