This decanter is cut in Libbey’s beautiful and elegant Prism pattern. It is signed with the Libbey sabre trademark. The prism pattern really shows off the quality of glass Libbey was able to achieve during the Brilliant Period.
From the base of the decanter, there is three layers of clear hobnail. 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. The neck of the decanter is fluted and notched all the way up to the spout. The base features a rayed star.
The decanter is in terrific condition with no chips or stains. It measures 12 1/2″ tall and 6″ wide. The blank is perfectly clear.
It simply does not get better than this. This is a triple neck ring decanter in Hawkes’ Grecian with pattern cut stopper! The Grecian design lends itself very well to stand-up piece like this decanter as the tusks display like water-white icicles. It’s a stunning effect that took a great bit of skill and care. Grecian is one of Hawkes’ earlier pattern is is wood-wheel polished.
The decanter has six panels of russian cutting with fan topping off each. Fine crosshatching lies at the lower portion of the piece. The beautiful tusk cutting sits atop each triangle of crosshatching. The neck of the piece has three applied, lapidary rings. The stopper is completely cut in pattern with even a tiny hobstar on the very top. It also features a large controlled bubble. The base of the decanter is covered with a 24-point hobstar.
The decanter is in perfect condition with no chips or stains. It measures 10 7/8″ tall and 5 1/2″ wide. The wonderfully clear and accents the clear-tusk cutting in stellar form. This is one of the best decanters out there – do not miss out!
This wonderful piece was cut by Bergen in the early portion of the Brilliant Period. It’s in their Richmond pattern and the exact piece is featured in their catalog. Even at the time, this piece was a staggering $27 (see last photo). I can’t say enough about the quality of this piece and it’s wood-wheel polished giving it a perfect silvery finish.
The Richmond pattern melds three main motifs into the most tasteful display. Full-fanned fields, fans, and a pointed diamond motif are draped across the exterior of the pitcher. They are each divided by a notched cutting. The base of the pitcher displays a 20-point hobstar and the handle is completely cut in pattern.
This exceptional pitcher is quite large and measures 10″ tall. It’s in wonderful condition and on a great, clear blank.
This is most likely the rarest pattern Pitkin & Brooks ever produced and is therefore appropriately named – Elite. It is pictured on one catalog page out of a reprint. The Elite pattern is an incredible example combining the deep circle cutting of the Gloria design with the busy intricacies and motifs of the Duchess pattern.
Within each circle are spokes – they are either made up of a vesica with a hobstar and crosshatching on either side, or a diamond field of cane and crosshatching. Each spoke is divided on both sides by notching and fans. The center cluster of the bowl is a nice use of both hobstars and crosshatching. A vesica of Russian conjoins three corners and is flanked on both sides by notching, hobstars, crosshatching and cane. The edge of the bowl is particularly intricate with two horizontal clear tusks below a fane of Russian, cane and fans. The design is extremely complicated and well thought out.
This piece is in excellent condition with no damage. It measures 9″ wide and 2″ tall. This is a rarity from one of the most underrated cutters – P&B.
This is one of the most beautiful shaped vases I’ve seen by Sinclaire. It is signed with the rarest of their three signatures – with both the wreath/S and the word Sinclaire. The form is particularly stunning – with tapers and flares in the most pleasing choices.
The main portion of this pattern (on the shoulder of the vase) features deeply cut hobstars, fans and clear button hobstars. Clear flute cutting tapers down the body of the vase where it meets more geometric cutting of punties and crosshatching at the base. The flared rim of the vase is cut with large scallops and alternating panels of crosshatching and clear-buttoned stars. The pedestal of the vase is finished with a 20-point hobstar.
The vase is in excellent condition and on a stunning blank. It measures 12″ tall and 5 3/8″ wide.
This is one of my favorite Libbey pieces I’ve come across. In a combined 86 years of collecting between my father and myself, we’ve only ever seen one other of these. It is signed Libbey in a circle and is cut in a patter of deep channels. The pattern is fit perfectly to the blank of the bowl which is singularly crimped around the edge.
The center of the bowl features a raised, circular field of sharp hobnail cutting. Then spokes of deep panel cutting run from the hobnail to the edge of the bowl. These panels were very difficult to cut and are completely flat across the bottom of the channel. They frame some extremely tight crosshatching and additional hobnail. The edge of the base of the bowl features some tiny punties. The rim of the bowl contains hobstars, miter-framed triangles and a vertical parallel line cutting. Please note how unusual the shape of the rim is on this bowl – I don’t think there is another like it.
The bowl is in excellent condition and measures and is in perfect condition. This is a perfect mending of form and design.
This bowl features a dynamic pattern that uses some wonderful motifs. The piece is wood-wheel polished and features the U-notch on the rim. It’s highly likely this is an early piece of Hawkes.
The bowl combines some motifs of both Hawkes’ Aberdeen (with tusks) and Libbey’s Wedgemere. The central six-point hobstar formation has bands of swirled, pointed strawberry diamond cutting that work their way out towards the edge of the bowl. Situated between each one is a rounded clear tusk, surrounded on both sides with a crosscut, crosshatched tusk. The edge is finished in deeply cut hobstars.
The blank of this piece is exceptional and highlights the clear tusks particularly well. This may be a one-off piece – I’ve never seen the design before. The bowl measures 9″ wide and just under 2″ tall. It’s in perfect condition. The combination of the difficult clear tusks, swirled design, wood wheel polish and exceptional blank make this piece pop – it’s a spectacular example of ingenuity in cut glass.
Globe punch bowls are possibly my favorite shape in cut glass. They offer so much more to the shape and definition of a punch bowl than the more traditional top. It seems certain that this piece was made by J. Hoare as it has a swirled tusk collar – a technique they seemed to singularly used. Also, on some of their larger pieces, they embellished patterns to feature wedding-cake hobstars.
First, let’s talk about the hobstars. Huge, triple-layer hobstars alternate with each other – one having 32-points while the smaller of the two features 30. They’re meticulous and perfectly cut. Each is surrounded by triangular fields of crosshatching – making an almost 6-point star formation with the tremendous interior. Close to the plug of the bowl is cane cutting and fans. The base repeats the pattern perfectly and features the aforementioned swirled tusk collar. This is so much more impressive than the normal lapidary collar featured on 95% of punch bowls from the period.
This punch bowl is not only gorgeous but also gigantic – measuring 16″ high and 15″ tall! Altogether, it weighs 27 pounds! The blank is extremely thick (nearly 3/4″ thick) and exceptionally clear. The condition of this monumental pieces is also astonishing – there’s not a mark on the edges – just a few fleabites towards the interior of the bowl’s pattern. They are hardly noticeable and again, the bowl is in near-mint condition inclusive of that exception. Globe punchbowls are rare to begin, but ones this nice are hardly existent. Study the photos carefully – notice the depth of cutting and radiant, prismatic effect of the high quality blank – few punch bowls are this nice. Offered at a price you may see much lesser punch bowls for.
This whisky jug was cut in Dorflinger’s rare Montrose pattern. This pattern shows off the ultra-clear blank extremely well with clear punties that function as lenses looking inward through the glass.
The Montrose pattern drapes down the sides of this jug with alternating sections of cane and clear punties. The base is extremely unusual-it never flattens out completely (it’s rounded) and simply rests on the miters of the hobstar. The handle is triple notched and the stopper is fluted and topped with a clear-button hobstar.
The whisky is in excellent condition with no chips or stains. It measures 7″ tall and 5″ wide. This exact jug just sold at August 24th Woody Auction for $1100. It’s being offered at a considerable discount here.
If there was a way to calculate cuts per square inch, Pairpoint’s Silver Leaf design would surely top out the list. The pattern as a gorgeous framework, but hte amount of work that went into each motif is astonishing. Just observe the large hobstars – there are a multitude of extra lines making the star much more complex than most any other hobstar.
The Silver Leaf pattern starts with in interior hobstar formation with six main crosshatched points. Spurring from all of those points is the “silver leaf” cutting – feathers of tightly cut miters extending to the tip of a vesica. These are framed by cane cutting which join at flat hobstars. As mentioned previously, complex hobstars finish out the pattern and are bordered on all sides with additional parallel miters – they just refused to leave clear space in this design!
The bowl is in excellent condition and measures 8″ wide and 2 1/4″ tall. It’s extremely brilliant and the blank is stunning.
I haven’t seen a Sachet jar cut as well as this one. It features clear tusk cutting-one of the most difficult motifs of the brilliant period. The lid is hallmarked by Reed & Barton. It’s gold washed on the interior and has the original glass insert. The lid is also monogramed with a heavily decorated flower border. The pattern of the jar matches this pitcher and therefore, I attribute it to Hoare.
The glass features a large clear button hobstar. Dividing both of these are three bars. One bar is made up of a modified Russian cutting while another is the clear tusk and the following is cane. The base is finished with a rayed star.
The sachet jar is in excellent condition. The lid has a bit of a lift to it – probably easily corrected by a silversmith. It measures 3 1/2″ tall and 2 3/8″ wide. This is a true rarity – when was the last time you saw one?
This gorgeous bowl was cut by J. Hoare – it is shown mounted with Gorham silver in the new Gorham catalog produced by the ACGA. However, this piece has an even more elaborate Tiffany silver rim.
The pattern on this bowl is complex and very fine. A central hexagonal hobstar adorns the middle of the piece. Each corner leads to another hobstar which is framed in vesicas of cane that run into tiny hobstars and crosshatching. As the glass moves towards the rim, it is cut in an unusual, deeply-cut diamond motif. The glass combined with the top-tier Tiffany silver is perfection. The silver rim features scrolling flowers with piercing separating them.
Bowls with silver rims are always popular, but this one takes that type of piece to another level. Both the glass and silver are better than most I’ve come across. The bowl measures a large 10 3/4″ wide and 3 3/4″ tall. This is a true rarity that will likely not come along again for some time.
