This is an extremely well done carafe in a variation of Bergen’s Cornucopia design. The base/center of the pattern along with the setup are exactly the same, but the motifs within the setup are different.
The “sheaths” of cornucopia are done exactly like Bergen did – with doubled up rays held together with bands of crosshatching. Where there would normally be a hobstar in Bergen’s rendition, there is a very unusual moon-like formation with a circle of crosshatching and a punty in the center. It’s stunning and provides a beautiful optical effect. The central bottom cutting features a swirl of doubled up ray (something I’ve only ever seen Bergen do on their older patterns) cutting, which is almost more beautiful displayed upside down! The neck is fluted and notched.
The carafe is in perfect condition and measures 8″ tall. This is surely an opportunity to get one of the rarest and most desirable patterns of the Brilliant Period for a major discount because of some slight modifications. A wonderful, high-quality piece to be sure
This bowl is cut in an unidentified pattern – all of the work points at Meriden as the maker – compare it to their Jewel pattern and it will become painfully obvious.
Most notably, clear medallions of honeycomb cutting adorn the sides of the bowl – the provide a captivating optical effect. Each is housed in fields of busy hexad cutting. Vesicas of clear-button hobstar, surrounded by flat hobstars lie between each medallion. The center of the bowl is finished with a square hobstar.
I believe this is a spectacular, advanced-collector pattern. It is cut so well and so unusually – with a great combination of busy and clear cutting. The bowl measures and is in perfect condition.
This platter is cut in one of Clark’s best patterns – Holland. It’s signed in the center with the Clark script logo.
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.
This large tray measures 12″ wide and . It’s in perfect condition on a thick, clear blank.
There’s not much to say about this piece that you don’t already know. It was made by master engraver William Fritschie. Made in the style of rock crystal, this was part of a set commissioned for Elbert Henry Gary, founder of US Steel Corporation.
Large panels of tusk are engraved all over the piece, with clear polished, copper-wheel work. Dragons, alternating with foliage are on each panel. The rim features a stylized looping border design and the base is engraved with additional foliage.
It’s plain as day why this type of glass is so coveted. It combines highly skilled work and unusual engraving. The bowl is quite heavy and measures
This piece is in J. Hoare’s Champion pattern. Often confused with Libbey’s Stratford, this is the nicest piece of Champion I’ve ever seen – with extremely tight, polished cutting.
Let’s start with the handle – it’s a a testament to the quality of this great pitcher. The full pattern is displayed prominently. It features clusters of hobstars and crosshatching. The base of the pitcher is rayed and the spout is fluted and notched.
The pitcher is in perfect condition and measures. This is truly the nicest piece of Champion I’ve had the opportunity to offer.
The always popular and ever beautiful Snowflake and Holly pattern is featured on this dish. It’s signed with the Sinclaire trademark.
The Snowflake and Holly pattern is one of the best examples during the Brilliant Period of combining realistic engraving with brilliant cutting. A border of holly follows the edge of the piece. The central portion of this tray, which almost dips inward from the edge, is covered in “snowflake” cutting – tiny, rich hobstars with clear panels floating in between them with a little unpolished, rayed star in the center. The overall effect is nothing short of stunning!
The blank on this piece is thick and extremely clear, unlike many pieces of Sinclaire that are thin and gray. It measures 10″ wide, 10 1/2″ from corner to corner, and 1 1/2″ tall. It is in perfect condition.
This incredible decanter was cut by Egginton in their Lotus design. It features a fully-cut patterned stopper. The detail and clarity of this piece are remarkable.
The Lotus pattern features deeply cut hobstars. Above each hobstar is a fan featuring both deep, and narrow miters. Under the hobstars are crosshatched fields with three deep, clear miters. The neck ring on the decanter is cut in a chain of hobstars, dispersed with chains.. The neck of both the decanter and hobstar are fluted and notched and the base rayed.
This piece is on a water-white blank and in perfect condition. Including the artful stopper, it measures 15 1/2″ tall and 6″ wide.
This bowl, cut in Hawkes’ old Imperial pattern, is second to none. The pattern is deeply cut, with protrusions in the pattern at any angle on the bowl. It’s wood wheel polished and stylistically sound.
Triple miter channels weave throughout the bowl, providing a framework for the rest of the design. These create some crosshatched panels that rise off the bowl. Deep hobstar sit within the triple miter frame along with clear-button hobstars.
This is an underrated, amazing pattern. The blank is perfectly clear and vibrant and measures 7″ wide and 3″ tall. The bowl stands to be a tremendous value as a low bowl in this pattern just sold for $1500 at Woody Auction.
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. This carafe is signed on the base with the Egginton trademark.
Two clusters of hobstars adorn the sides of the decanter. They are seperated with fans. Each section of the clusters are bordered with cane cutting which sandwich a vertical double mitre trellis. The neck is cut with an unusal combination of notching and scallops that I have seen on most vertical pieces of this wonderful pattern. The cutting is exceptionally deep on this carafe, please note the photo looking downward on the carafe.
The carafe is in perfect condition without even a stain. It measures 8 1/2″ tall and 5 1/2″ wide. This is one of the best carafes I’ve ever seen or offered.
This Kensington pattern by Libbey is easily one of my most favorite designs. The ingenuity and singularity achieved in this layout are second to none. It’s richly cut, without obscuring how insanely clear the blank is. I think this was William C. Anderson’s best design.
I don’t really know where to start when describing this pattern – there’s so much going on. Single bands of cane weave throughout the bowl, framing a host of different cutting. A richly cut 5 sided star fills the center of the bowl and has branches of diamond point hexad coming from all sides. Somehow, the cutters at Libbey managed to wrap this extremely detailed cutting on a sharp angle that makes of the base and side of the bowl. Above the hexad cutting is a clear-button, wedding cake hobstar. The rest of the cane frames two clear button hobstars, crosshatching, and triple miter trellis. Again, there is a lot of masterfully conceived ideas executed on this bowl.
The bowl is in perfect condition. The blank is extremely heavy, thick, and clear. It measures 8 7/8″ wide and 3 3/4″ tall. It’s one of hte most beautiful bowls I’ve had the privilege to offer.
This is a beautiful pitcher cut in Libbey’s unusual Somerset pattern. It’s signed with the Libbey script mark on the handle and is on a vibrantly clear blank. Libbey cut some great patterns on this shape including Grand Prize and Corona, among others.
Fields of cross-cut diamond run down the front of the pitcher. They are framed on all sides by notching. The side sections of the pitcher feature deeply cut hobstars and triple-miter cane. The handle is triple notched and the base is finished in a rayed star.
The pitcher is in meticulously perfect condition with hardly a scratch on it. The blank is of the highest quality and measures 12″ tall and 5 1/4″ wide. A stunning example of one of Libbey’s seldom-seen patterns.
I have rarely seen this blank cut by Dorflinger. The rolled rim provided extra difficult for the cutter in wrapping the pattern around the piece. This is an old, beautiful pattern that is wood-wheel polished.
Notched bands provide the framerwork for hte entire bowl . Two stacked, clear-button hobstars make up the first section of the pattern and have crosshatching between them. Then large fields of cane divide the hobstars. The center of the bowl has a large 24-point hobstar.
The blank of the bowl is wonderful with the silky finish Dorflinger is known for. It’s in excellent shape with just a few minor fleabites to it. It measures 9″ wide and 3 1/2″ tall.
