I believe this decanter was cut early in the Brilliant Period by the masters at Mt. Washington. It is cut in triple miter trellis which is also known as Calve.
The Calve pattern consists of hundreds of detailed hobstars being intertwined with deep, triple-miter cutting. The relief creates large knobs that the hobstars remain perched on. It’s incredible to feel a piece like this in your hands – with all that glass cut away and the play in depth. It’s an exercise in wonderful engineering and cutting precision. Even more impressive is the pattern cut stopper on this piece – Mt. Washington held nothing back.
The decanter is in excellent condition with no damage and measures 11 1/4″ tall and 5 1/2″ wide. The blank is excellent as is the polishing.
This gorgeous bowl was cut in Tuthill’s Thousand Eye pattern. It’s signed with the Tuthill trademark.
The depth achieved on this bowl is extremely impressive – it almost feels like it would fall apart in your hands. Deep honeycomb cutting is scalloped out of the blank to almost the surface of the interior. In between each scallop is a little bit of notching which leads into both a crosscut rim and center. The center of the bowl features a unique, flashed
The bowl is in perfect condition and measures 8 1/4″ wide and 3 3/8″ tall. The blank is exceptionally clear, which really makes the clear scalloped work standout even more. This is easily one of Tuthill’s most striking designs.
This is a wonderful, old piece of Brilliant Glass cut in their Admiral design. It was made in the earlier portion of the period and is wood wheel polished.
A crossed nailhead makes up most of this pattern. They’re set in diamond fields. Fan cutting borders each of these fields -there an unusual use of curved cutting interspersed with straight lines. The center of the pitcher has a pinched, tight cross-cut. The base is finished with a 12-point hobstar on the base.
The pitcher is in perfect condition on a stunning blank and measures.
This beauty was engraved in deep intaglio by Tuthill. Tuthill is best known for their engraving, and this deep, realistic piece is a prime example of what they’re capable of.
Three fruits are featured prominently on this plate – cherries, grapes, and a pear. Each hangs from a fine with swirling leaves and stems weaving throughout the design. The edge of the plate is scalloped and pointed.
The plate is in perfect condition with no damage and very few scratches. It measures
This is a pattern that Hoare used solely for silver mounted glass. I sold this pitcher in the same pattern (on both the silver and glass). This piece along with a whole suite is featured in the Gorham catalog reprint by the ACGA.
The pattern begins with a band of cane. This cane frames some hobstars draped in combination with crosshatched panels and clear block panels with fans. The crosshatched portions each have two deep miters cut from the sides through the crosshatching. This portion of the pattern makes up both the top and bottom of the pitcher. Separating that part of the pattern is an extremely sharp cluster cutting featuring sections of six hobstars each. It’s really a stunning design, with beautiful silver.
The silver is monogrammed “FS” with the date August 20th, 1899. The jar is in perfec condition as is the silver. This is a true rarity and a piece that will always be desirable because of the combination of great glass and matched silver!
This is the only handled Libbey Roman punch cup I’ve evern seen. It is even signed with the Libbey saber mark.
This piece is heavy and wood wheel polished-and early example to be certain. Deep miters frame a deeply cut hobstar perched atop a framed field of crosshatching. Each hobstar is 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 base is finished in a hobstar with a rayed center. The handle is particularly well cut – triple notched with additional notching around the thumb rest.
The cup is in perfect condition and measures 4″ from the edge to the handle, 2 5/8″ without the handle, and 2 1/4″ tall.
This is a Dorflinger Rock Crystal punch bowl . All the entire piece, including the collar is done in clear tusk and then polished copper wheel engraving on each tusk by Joseph Horn as cited in the documents. I have copies of original documents (attached) . Shown is an invoice from John Dorflinger to Arthur Roth in 1950. John had matching punch cups made in the 50’s, but I do not have these – they are discussed in the letter. According to John, this was a one of a kind, museum quality piece. The buyer, Arthur Roth, was apparently a well known businessman known as “Mr. Long Island” – more can be found here.
This piece was sold at Rago auction in 2009 for $6765 (including premium) with a chip – it has now been restored to undetectable perfection. The documents are from that auction, and I do not have them in hand but do have the copies. The punch cups, which wouldn’t be of much value, are not with the punch bowl any longer. Considering a clear Montrose punch bowl just sold for $9375 (including premium) at auction, I’d think this would be a more than fair deal.
The punch bowl is 14″ wide and just under 12″ tall and on the finest of Dorflinger blanks. The 16 clear tusks would make this punch bowl impressive enough, but combine the history and the detailed rock-crystal engraving, and you have a fabulous piece with the provenance to match.
This is the only example of this pattern I’ve ever seen – Sinclaire’s Vienna. It’s pictured in the Sinclaire book by Estelle Sinclaire Farrar. Plates of this size are unusual but one in this design, to my knowledge, is unheard of. This pieces is signed in the center with the Sinclaire trademark. This tray originally cost $37.50, a remarkable sum of money at the time.
Three crossed bars of cane converge in the center of this tray. They frame clusters of 7 hobstars each, all deeply cut with the precision that makes Sinclaire so desirable. The clusters are surrounded on all sides by crosshatching and fans while three larger, even deeper hobstars sit at the edge of the tray.
This piece is in immaculate condition and measures 13″ wide. The blank is exceptionally clear, water white unlike some gray Sinclaire blanks. Gorgeous detail and a innovative design, along with sheer rarity make this tray extremely desirable.
This is one of the most beautiful patterns Libbey ever made – Comet. It is officially known as Lenox, but more commonly referred to as Comet. The bowl is signed with the Libbey saber trademark.
A gorgeous richly cut, octagonal hobstar is featured in the center. Swirling around the center hobstar are two types of shooting stars. On features a tail made of two clear-button hobstar. The other type of tail is a flat hobstar with a feathered tail. The outer edge of the plate features a very unusual large, split-point hobstar with fans in between each point. What’s remarkable about this pattern is that the miter that frames the hobstar extends impeccably all the way to the outer edge of the tray (making up the furthest point of the deep hobstars). Absolutely amazing!
The bowl is on an wonderfully clear blank and in exceptionally good condition. It measures 8 1/4″ wide and 3 1/2″ tall.
These unusual, 1-1 pattern candlesticks are truly elegant – showing design innovation and grace wrapped up in a tight package. These are older and wood-wheel polished.
The Russian design adorns both the candle holder and base portion of these sticks. It is tight, precise and well done. Swirled tusk glass takes up the entire stem of the candlesticks. This is just gorgeous and has a wonderful optical effect that’s unfathomable without seeing it in person.
The pair of candlesticks measures 10 3/4″ tall and 5 1/8″ tall. There is a slight difference in height between the two but not cut down – the same amount of pattern on each, but one is slightly fatter/shorter at the candleholder.
This relish is cut in Egginton’s highly desirable Calve (Triple Miter Trellis) Pattern. The pattern was named for famed opera singer Emma Calvé. The vase has the u-notches that Egginton, Hawkes and Sinclaire used as well.
The Calve pattern consists of tiny, detailed hobstars being intertwined with deep, triple-miter cutting. The relief creates large knobs that the hobstars remain perched on. It’s incredible to feel a piece like this in your hands – with all that glass cut away and the play in depth. It’s an exercise in wonderful engineering and cutting precision.
The blank on this piece is exceptionally clear, especially for something with such heavy cutting. It’s signed Egginton in the center and measures 7 7/8″ long and 4″ wide with a slight rolled in side.
This beautiful water or juice set was most likely designed by William C. Anderson for Libbey. It exhibits many of his design elements that we’ve come to know over the past several years. All pieces are signed Libbey.
The squat pitcher is an excellent, known Libbey shape. It features a “shooting” star going up the side of it with one extended, crosshatched point reaching toward the bottom of the pitcher. Feathering surrounds that one point almost like leaves on the stem of a flower. The rest of the pitcher has triangular fields of notched cutting dividing each one of these hobstar formations. The base is finished with a rayed star. The six tumblers match exactly to the pitcher and repeat the pattern in smaller form.
The set is in perfect shape with no issues. The blank is great. This is an excellent example at an affordable price.
