I absolutely love the form of this carafe – I’ve always referred to it as a genie’s bottle. This footed carafe is in Libbey’s extremely desirable Ellsmere pattern. It is signed on one of the flutes in the middle of the carafe.
The Ellsmere pattern adapts excellently to the shape of this carafe. A flat hobstar is flanked on either side by two bands of triple-miter cane. Rising from this area toward the center of the carafe is fine crosshatching met with deeply cut notched prism. The neck of this piece is stunning with deep notching and flutes. The center and almost pinched in portion of the carafe is covered with St. Louis Diamond, which provides a stunning optical effect! The pedestal on the base is finished in a rayed star.
The carafe is in perfect condition and the glass is exceptionally clear. It measures 8 7/8″ tall and 6 1/2″ in diameter. This is easily the best form of a carafe in the Brilliant Period!
This wonderful piece is shown in the new Gorham catalog. The Gorham ledger shows that the glass was made by Hoare and the design shows several characteristics of theirs.
A center hexagonal hobstar is featured prominently in the center of the bowl. It is surrounded on all sides with crosshatching in a star of David formation. Nestled between each of those six points are some deeply cut hobstars and some interesting split crosshatched vesicas. These vesicas frame an unusual crosscut section that is used by Hoare more often than any other company. One other treatment, that I believe is exclusive to Hoare, is vertical parallel line cutting running up to the silver rim. The silver on the bowl is gorgeous – undulating with pierced sections at ever rise. It’s monogrammed and has what looks like a minor crease in the silver. It’s stable and barely noticeable (on the underside of the rim.
The bowl is in excellent condition with no damage. It’s also quite large and measures 11 1/2″ wide and 4″ tall. The blank is quite clear and the silver really brings out the shimmering appeal of this art form.
These stunning stems are cut by Boston & Sandwich – the exact design is shown in their catalog. Each piece is cased with cranberry glass and cut back to the clear portion. While most stems like this have clear bottoms, they went the extra mile and used a color to clear base as well!
This modified hobnail cutting is an early design and polished to wood-wheel perfection. The cranberry color is quite deep and bright and shows extremely well. The stem has an air trap along with a lapidary knob just under the bowl. The bases are rayed.
Condition is perfect with the original annealed rims. Colored stems are easily the most desirable items in cut glass today and with examples like these, it’s apparent why they’re so popular. A stem like this can easily spruce up a cabinet with a touch of color.
This bowl, cut in Taylor Brothers’ Bellevue pattern, is a sparkling example of the height of the Brilliant Period. Taylor Brothers really hit their stride with this pattern – it features a unique design which stands out against all others. This piece of Bellevue is particularly unusual as it features four circles, as opposed to the usual three in the design.
The Bellevue pattern’s main draw is large clear, concentric circles. 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 of three types of cutting. The first field of cutting features a hobstar. The following level houses cane cutting and the final layer is filled with hobnail The center of the bowl has one more circle featuring a 24-point hobstar framed with four bands of crosshatching. 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 absolutely perfect, original condition. There’s hardly a scratch on the surface. The blank, as would be expected, is exceptionally clear. This exact piece is shown in the Taylor Brothers catalog and measures just over 9 3/4″ wide and 3 1/2″ tall . A rare and extremely attractive piece to be certain.
Many salts were imported during the Brilliant Period – often featuring generic cutting. This master salt was cut by Libbey in their early and beautiful Florence design.
Libbey took a lot of care on this small – it even features a split-point hobstar base. The Florence pattern consists of a 5-point formation with a fanned center. Each of these is topped with a fan that runs to large scallops around the rim. There is a framed, pointed field which makes a spike in teh rim of the piece. The base features a 12-point, split-point hobstar.
The piece is wood wheel polished and on a very clear blank. It’s in excellent condition except for a few small flakes in the fan cutting.
This tall vase was cut by Straus in their Planeta design. The Planeta design has always been popular for it’s weaving effect and remains one of Straus’s better patterns.
The pattern applies quite nicely to this tall, slender vase. Ribbons of rayed stars extend almost the entire length of the piece, framing a large field of prism and notched cutting. The ribbons meet a flat hobstar at the top. Nestled between each of these ribbons is a deeper hobsar with a fanned center – a distinct Straus touch. The hobstar is framed on the top by bands of hobnail that converge at a triple miter cross-cut. The base features a rayed star.
The entire piece, like most great Straus, is wood-wheel polished. It measures over 13 1/2″ tall and 5 1/2″ wide. The vase is in excellent condition with only a few minor fleabites here and there. It has an extremely light stain in the corners of the base, which is common for this type of piece.
This may seem hard to believe, but this is the second one of these vases I’ve had the opportunity to sell. I never thought I’d have the opportunity to find and sell another. It is cut in P&B’s Plymouth pattern and is on a massive blank. Plymouth was one of P&B’s best designs and two handled vases like this rarely come in this quality.
The pattern consists of diamond shaped fields. These fields are filled with seven tiny, flat hobstars and feature cane at both the top and bottom. The cane runs into a tiny bit of crosshatching, which is particularly unusual. The diamonds are framed by four crosshatched vesicas. Each of the main motif are divided by a pillar of notching which leads to an alternate notching cut topped with fans. The rime features the same treatment with a step-cut neck. The handles, which are annealed perfectly, are triple notched and the base is covered with a 24-point hobstar.
The vase is in exceptional condition – I can’t find any damage at all. It is a whopper of a blank and weighs a ton- measuring 10″ tall and 9″ from handle to handle! The glass is perfectly clear and the piece shines like few do. I think this is one of the finest pieces P&B every produced and the last one sold immediately. Don’t miss another – there aren’t many of these out there.
This flower center is cut in a flute and notched pattern by Libbey. It’s shown in their older, green catalog reprint. It’s signed with the Libbey-sabre trademark.
Pieces with clear work like this are stunning – the bands of brilliant cutting make it pop and highlight the clarity of the glass. The neck of the vase has a lapidary collar and the rim remains fluted. The base of the flower center is cut with a rayed star.
The vase is in excellent condition and measures 8″ wide and 6″ tall. The blank is stunningly clear and really shows what an elegant stylistic choice this piece is.
This signed Libbey piece was likely designed by William C. Anderson (as decided by the Anderson Study Group). It features rich cutting combined with realistic “bubble” flower cutting.
A cross of clear-button hobstars intersects in the center of this piece. Each chain of clear-button hobstars is topped with a larger, deeper hobstar. Each of these deeper hobstars is framed with feathering. The cross provides four panels for the unusual bubble-flower cutting.
The blanks that Libbey used on these orange bowls are always top quality. It’s extremely clear and brilliant. This piece is in excellent condition with only minor fleabites. It’s quite large measuring 11 1/2″, 8 1/4″, and 4 1/2″ tall.
It is my guess that these were made by Dorflinger. In addition to Dorflinger being one of the most prolific cutters of the Russian pattern, they also tended to use this type of handle attachment – even on banquet lamps!
The Russian pattern adorns the perimeter of this cream and sugar. Especially unusual is the pattern-cut lid on the sugar bowl with glass finial. Both pieces in this set are on a slight wafter foot. The foot is finished with a rayed star.
All pieces are in excellent condition with just a few fleabites in the cutting. Covered cream and sugars are hard to come by and the unusual handle attachment and wafered-feet make this set particularly unusual. These measure approximately 5 1/2″ tall with the lid and 6″ long
This gorgeous plate is cut and signed by Libbey. It’s in the Libbey composite catalog reprint by the ACGA. While this combination of realistic and geometric work is often associated with Sinclaire and Tuthill, Libbey really knocked it out of the park with this plate.
What is particularly nice about this piece is interplay between the geometric work and the realistic engraving. For instance, the garland is draped from hobstars. A 32-point hobstar adorns the center of the plate. Tiny hobstars and linked with diamond-shaped formations around the base of the plate. An unusual deep miter, with parallel spurs, encompasses the edge of the base. The rim of the plate is finished with linked medallions of flowers. The edge is coined.
The plate is in perfect condition. It measures 12″ wide and has a good bit of rise at 2″ tall – like a pie plate. The blank is wonderfully clear and the cutting is particularly silvery with fire.
This bowl was engraved by Sinclaire and is signed in the center. It features gorgeous, stylized rock crystal work with detailed, realistic engraving. In addition to the wonderful engraving, the blank is unusual in that it has a ruffled edge.
Polished engraving adorns this bowl with fish swimming and feeding around the edge. Seaweed and other water foliage adorn the edge of the bowl with a variety of depth and styles. The center of the bowl is a complete masterpiece – how they achieved this much detail in this style is barely comprehensible. A whirlpool of a stream covers the entire center of the piece and houses two more fish. It’s absolutely stunning and some of the best work I’ve seen put out by an American cutting house.
The bowl is in perfect condition with no chips or damage. It measures 9″ wide and 2″ tall. The blank is stunning and the interplay between the shape and the ocean/lake scene is ingenious. This is a chance to have a piece of polished engraving at a reasonable price – look at what some of the best (Fritschie for example) rock crystal brings at auction