This pattern is far and above all the rest of the Anderson patterns and if I didn’t own a piece in this pattern already, I would never sell this bowl. To me there is arguably more work and overall aesthetic design characteristics in this pattern than Aztec, Marcella, Grand Prize, Kensington or any of the other coveted Libbey/Anderson patterns. The cutting is exceptionally brilliant and the blank of the clearest quality. From my knowledge and experience, there are literally only a handful of pieces in this pattern and this is probably the largest one – next to an ice cream platter I just learned of.
All of the Anderson design elements are there, but elevated to stratospheric heights. Clear button hobstars are spread throughout the pattern. Dividing up bands of cane, notching and creating an additional interior 6-point hob star formation. Even something as simple as crosshatching is enhance on this bowl to something as fine as a grain of sand. While there is a ton of cutting on this bowl, the clear button hobstars, and knobs in the cane provide the perfect striking contrast to the busy pattern. The precisions is astonishing – there are deep miters throughout the bowl, but consistently in the same places throughout there are miters that meet halfway into a deeper miter. I find the Fan Border pattern to be the best design of the Brilliant Period and every time I look at this bowl, it gleams proudly back at me.
The bowl is in perfect condition and measures 8″ wide and 1 1/2″ tall. The blank is wonderfully clear and shows off the design excellently.
This 7″ plate is cut in Fry’s impressive and very rare Rochester pattern. Both the blank and the cutting are standout examples with this piece. The blank is extremely thick and clear while the cutting is particularly deep and accurate. Add to that the rarity of the pattern and you have a world-class plate.
The main motif of the Rochester pattern is a cross of bars of triple-miter cane cutting. It is featured prominently five times in the pattern and each bar is divided by fane cutting. The center of this motif features a star which is cut extremely deep and made of the remaning cane. The crossed bar cutting is divided by a vesica of sharp hobnail surrounded by notched cutting. The cutting ont his piece is quite precise and only adds to the overall impressiveness of this plate.
The plate measures 6 3/4″ wide and 1 1/4″ tall. The blank is extremely thick and clear.
This is one of the largest punch bowls I’ve ever seen and certainly the largest I’ve ever offered for sale. It was cut by American Cut Glass Company (owned and operated by William C. Anderson) in their glorious Anne design. They held all the stops on this one – in both size and attention to detail.
Six large vesicas expand towards the edge of the bowl. Each is filled with three hobstars – two with jeweled centers and the middle one being a stacked wedding-cake style. Each vesicas is framed with notching and then a layer of feathering which eventually run into a triangle of crosshatching. Lying between the feathering motif is also a large hobstar at the edge of the bowl. The knob of the punch bowl should be noted-not only is the edge angled and cut with parallel lines, but the center is extremely complet-featuring a 5 miter-hobstar center. The pattern repeates itself on the base with step cutting leading up to the neck. Rather than a normal faceted, or strawberry-diamond neck ring, this has deep Persian cutting all around the collar.
The punch bowl is in immaculate condition and measures 18 1/2″ wide and 16″ tall. The massive piece weighs in at 42 pounds and is on a wonderfully clear blank. Punch bowls in this size are virtually unheard of and most,aren’t this nice. It’s amazing that this piece survived production, much less 115 years on this planet!
This is a great looking large bowl in a design I’ve never seen before. The cutting is very deep, rich and the blank is of high quality metal – perfectly clear.
The center of the bowl has an unusually, very deeply-cut hobstar with alternating extended points. Each extended point lies between medallions that make up the rest of the pattern. One medallion is made up of a deeply-cut 24-point hobstar. The other medallion is made up of a fine cluster of clear button hobstars with double miter trellis between them. I think this is a stunning motif that shows of the technical skill of the cutter. Nestled between each alternating medallion is another deeply cut hobstar.
The bowl is in perfect condition and measures a large 10 1/8″ wide and 4 1/2″ tall.. The blank is perfectly clear and cutting exceptionally well done.
This is one of the most elegant, well-done patterns of the Brilliant Period. Appropriately named Old Irish – it is similar to some of the work done in Ireland leading into the Brilliant Period.
Meriden’s Old Irish combines sharp, diamond point cutting combined with deep, clear channels for a stunning effect. The rim is finished in a fan and u-notch combination. The base has a large, pinwheel working its way outward to the scalloped edge.
The Tazza is extremely heavy on a gorgeous, clear blank. It measures 10″ tall an 8″ wide. Certainly one of the nicer Tazzas i’ve seen.
I’ve only ever seen this design three times. It’s an early pattern by Hawkes – one that is extremely well cut, deeply and wood-wheel polished.
Vesicas device large areas of very deeply cut hobstars. The vesicas are made up for a split center run of notching topped with crosshatching. It is topped with a another deeply cut hobstar separated by fanned fields. The center of the platter has 4 smaller, but exceptionally deep cut hobstars.
The polish/finish on the piece is second to none – early Hawkes achieved this with different levels of polish-some areas left unfinished for textural contrast. The blank of the tray is extremely thick and heavy and measures.
This was Libbey’s most expensive pattern according to their catalog – more than Aztec, Marcella and the various other Libbey rarities. The piece is signed Libbey on the edge.
The Rosella pattern is a beautiful display of William C. Anderson’s finest design traits. A chain of clear button hobstars runs along the edge of the bowl undulating on four loops. Each loops frames a large hobstar with fans on its left and right. A small clear button hobstar is housed in a triangle with three triangular crosshatched fields. The center of the bowl has a 4 button hobstar formation around a deeper star.
The bowl is in perfect condition and is signed Libbey on the edge. It measures 9″ wide and 2 1/2″ tall .
Nice salad sets are hard to come by, but this one by Libbey in their Corona pattern is really a stunner. Libbey made one of the most unique, singular shapes for salad sets, with a bowl that shoots almost straight upward with a nice flair and lapidary ring base. Both the bowl and under plate are signed with the Libbey trademark.
The salad bowl features a deep hobstar base. Coming up from that is a vesica of stacked hobstars divided with crosshatching and topped with checking. The rest of the design features the most identifiable portion of the pattern – 4 bars of notching are crossed with deep miters. The crosses form the border to two flat hobstar with adjacent checking. This motif is framed by curved bands of notching. The matching under plate features a compressed version of the pattern so to provide space for the bowl to sit.
The set is in perfect condition and measures 11 1/4″ wide and 7″ tall. The blank, like most pieces of corona is wonderfully clear.
This size of rose globe is unheard of – over 9″ wide! It’s cut in Hawkes beautiful, old Chrysanthemum pattern – the one that they one several awards for including a Grand Prize at the Paris Exposition.
The pattern features three large vesicas. The center porition 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 24-point hobstar. A lot of nice definition is achieved with the cutting on the completely curved piece. All of the cutting is wood-wheel polished.
The blank on this large piece is wonderfully clear. It measures over 9″ wide and 8 3/8″ tall! The condition is perfect. A piece of this size and in a pattern this nice is a true rarity, one that should be coveted by many collectors.
This low bowl is cut by Taylor Brother’s most easily recognizable design, Bellevue. It’s an unusual pattern and has always been coveted by collectors.
Clear, curved miters like this were difficult to cut and provide a stunning display. The first circle contains a large hobstar. Framed with a wide, clear miter the next layer of the circle has hobstars separated by split bands of crosshatching. Dividing each circle is a section hobstars, crosshatching and fans. Another main feature of this design is the “colonial edge”. This is a perpetual band of crosshatching that undulates with the pattern – it’s a striking and welcome difference from the usual serrated edge.
The bowl is in perfect condition on a stunning, clear blank. It measures 8″ wide, 1 3/4″ tall.
This is an extremely unusual decanter in Libbey’s Senora design. I have only ever seen this shape in Ellsmere. It’s signed with the Libbey trademark.
The most distinguished portion of the Senora design is a vesica of stacked cutting. The top and bottom of the vesica has checked cutting. In between the checking is alternating bands of notching and crosshatching. The rest of the pattern consists of huge, deeply cut hobstars. The neck is fluted and notched and features a gorgeous lapidary ring.
The decanter is in perfect condition and measures a tall 14 1/2″ tall and 3″ wide.
The Lorraine design appears to be one that Hawkes reserved for major pieces. Look through the catalogs and many of their multi-part pieces are in Lorraine. This compote is signed on the foot with the Hawkes trefoil logo.
The Lorraine pattern consists of 2 brilliantly cut hobstars each descending in size towards the top. In between each diamond shaped hobstar are 3 large bands of notched prism, fanned out for a sweeping effect. The upper hobstars are cut with incredible precision and surrounded with crosshatching. The base of the compote is a large paperweight base – completely solid glass, both scalloped and finished with a hobstar.
This sizable piece measures a full 10 1/2″ wide and 8″ tall. It’s in perfect condition on a water white blank. I have never seen this shape or sized compote before-both that and the pattern make this a rarity.
