Gravic Grapes is perhaps the rarest of the Hawkes Gravic work – I’ve only ever seen one other piece! This plate is signed on the edge with the Hawkes Gravic logo.
The realistic engraving is incredibly detailed on this plate. A branch drapes across the upper portion of the plate. Dangling from the branch is a bunch of grapes surrounded by tendril vines. Five incredibly cut and vibrant leaves surround the outer portion of the plate in between some more realistic engraving. The plate has an unusual scalloped edge which only contributes to its attractiveness. This piece is on an extremely thick blank and gives the appearance of heavily carved rock crystal.
The plate measures 7 7/8″ wide, 1″ tall and is 3/8″ thick! The blank is extremely thick, heavy and clear and the engraving detail precise and accurate. It’s in perfect condition with only some surface scratches. You can see little dimples on each grape! This piece is similar to owning a painting and is an incredible piece of artwork.
Libbey’s Imperial pattern has been a longtime favorite of many collectors. It would seem the reason for this is two-fold – the quality is consistently excellent and there is a wide variety of skilled motifs. This plate is signed faintly with the Libbey saber.
The center star of this piece features eight crosshatched points and an interior flat hobstar. This is beautifuly framed with clear, uncut glass. The pattern picks up after this clear border with bands of zig-zagging cane, which are attached with rayed-fan cut figures. In between each of the cane sections is one of two types of cutting. One features a cluster type of pattern with hobnailed and mitered tips. It must have taken a great bit of time to cut this type of complex motif. The other motif features a flat hobstar framed on all sides by what looks like triple-miter trellis. It’s a stunning presentation. The edge of the plate is finished off with large fans.
The platter is in perfect condition and measures just under 12″ wide and just under 2″ tall. It’s on the traditional Libbey 12″ plate blank – which is shaped like a pie pan. The blank is beautifully dazzling and the polish radiates light in all directions when passing through the piece.
This bowl is cut in what is quickly becoming one of my favorite patterns – Pitkin and Brooks’ Mayflower. Every piece I find in this pattern is on the best quality blank, with the most meticulous cutting and polishing. While this may seem like hyperbole, it is anything but. It’s consistently one of the highest quality and most beautiful patterns every produced.
The very center of the pattern starts with what is an unusual, flat hobstar. It’s almost framed in an extra miter which is a technique I can’t remember ever seeing. It is surrounded on all four sides by tight russian cutting. The russian cutting is dived by bars of notching. The center design somehow leads into vesicas which feature eight tiny little hobstars. It incredible how they were able to achieve such small detail. These are topped with canne cutting and framed on either side by crosshatching. In the valleys in between each vesica, there is a hobstar – but not just any hobstar – this hobstar has an interior hobstar that has 5-miters per points. Look through your own collection and see how often you see that. It’s no mystery why this pattern was significantly more expensive that anything else in the Pitkin & Brooks reference material.
The low bowl measures 7 1/8″ wide and 1 3/4″ tall. While it’s in great condition, it has had a professional repair to the rim. The glass around the large hobstars has been trimmed and lowered. Almost all of the points of each hobstar fit within the teeth – the repair is extremely well done. I have adjusted the price accordingly, but it’s still a tremendously impressive piece of cut glass. The blank and cutting are of the best clarity and technical mastery, respectively.
I have never seen the pattern of this vase, but it is signed Hawkes on the base. It’s also an unusual shape and very bottom heavy.
The pattern of the vase is made up of primarily a rayed fan cutting. This motif is stacked on top of each other and framed in squares. The glass that sits highest in this type of cutting is actually scalloped in a concave manner which is particularly unusual. Each section of the rayed fan cutting is separated by notching which is topped by an eight-point star with a clear center. The base is finsihed with a rayed star and the neck and rim are fluted and notched.
The vase is in good condition, but does have a few tiny flakes around the rim and the tiniest of stains to the base of the interior. It measures 9 1/4″ tall and 3 1/2″ wide. I have not seen this blank or pattern before, which makes this quite the unusual piece.
I’m pleased to be able to offer this world-class piece by the makers at J. Hoare. While the pattern doesn’t have a name, it was cut exclusively for use with silver. It’s shown in the Gorham archives and J. Hoare catalog reprint. The silver is marked Gorham which can be seen below.
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. I count, in total, 54 incredible hostars on this piece. The handle is fluted and notched and a 32-point hobstar adorns the base.
The blank of the pitcher is ultra-clear and of the highest stard in brilliance. This piece will surely be the highlight of a collection. It’s in mint, original condition with the exception of one small flake to the spine of the handle. The ruffled silver rim is also in miraculously perfect condition. The pitcher measures 12 1/4″ tall and 5 3/4″ wide. I rarely use this term, but this piece is museum-quality and of the highest caliber produced during the Brilliant Period.
The Manitou pattern is one of Hoare’s best and rarest patterns. It is one of their old designs and as a result is on a wonderful blank and beautifully wood-wheel polished.
The Manitou pattern has a central, deep hobstar surrounded on all sides by sharp hobnail cutting. Nestled in between the hobnail are more deep hobstars which are covered on four sides by fan cutting. Housing each of those hobstars are deeply and perfectly conceived tusks. These tusks were one of the most difficult motifs to cut in the Brilliant Period and were conceived strictly by the cutter’s judgment. Hobstars adorn the edge of the bowl to finish out this rare design.
The bowl is in perfect condition and on a stunning blank which is necessary to show off the tusk cutting. It measures 9 1/4″ wide and 4″ tall.
What a wonderful shape this vase is. Most large vases are hulking but this piece displays beautifully in the most graceful and shapley of ways. Hoare seemed to cut many vases in this size and that would be my guess as to who made this wonderful piece.
The pattern of this vase is quite complex. One portion of the vase features punties stacked in between two bars of crossing cane bound by a fanned square. The portion of the pattern is divided from the second by notched prism. The second portion of the vase features a motif I’ve never seen before. It appears as though bands of crosshatching are sprouting from the vase and the hobstar almost makes a flower like portion perched on top of the crosshatching. Both of these portion of the pattern lead up to a rim which is made of smaller hobstars, fans, crosshatching and hobnail. Fans finish out the vase. The base of the vase features an incredible 12-point hobstar formation with crosshatched points.
The size of this vase is quite large and it is very heavy. It measures 17 5/8″ tall and 5 1/8″ across the base. This vase will surely impress anybody – the quality is top notch and the shape and size are second to none.
Mercedes is one of Clark’s premier patterns – they cut their best blanks in it and charged a good deal more for the pattern. One look at this plate and you can see why – it’s accurately cut and reflects light in the most wonderful ways.
Your eye is immediately drawn into the 4 large hobstars on this piece. Each is deeply cut and surrounds a central hobstar which is framed in a perfect square in the center. In between each hobstar is a formation featuring full fan cutting and crosshatching. Each of the large hobstars is dopped with a smaller, precisely cut hobstars.
The blank of the plate is wonderfully clear and vibrant. It’s in perfect condition with only some minor, barely-there roughness in the cutting. It measures 9 1/8″ wide and 1 1/4″ tall. It is a very heavy piece and worthy of a fine home.
This very large bowl is nearly a single piece eggnog bowl cut in Clark’s Desdemona pattern. It’s an old pattern and completely wood wheel polished.
This pattern is often confused with Hawkes’ Chrysanthemum, for obvious reasons. Converging at the center of the bowl are four large split vesicas containing crosshatching. Surrounding each of these vesicas are two larger bands of cane which meet at a flashed 8-point hobstar! Lying between each of these vesicas is a large, deep 24-point hobstar with a rayed center.
This enormous bowl is in perfect condition and measures 10 3/8″ wide and 4 1/2″ tall. The blank is ultra clear and the bowl resonates witha beautiful chime when tapped.
This cologne, which I’m offering from my personal collection, is one of my all-time favorite colognes. It is shaped like an ovoid barrell. The silver stopper is marked Shrever & Co and is decorated beautifully.
The Kensington pattern is easily one of Hawkes’ best designs. Large, diamond-shaped hobstars surround the perimeter of the piece. Below each are panels of kohinoor cutting. These panels meet a small, meticulously cut hobstars. Rising up between each of the kohinoor panels is a chain of tapering hobstars divided by triple miter cutting. The base of the piece is finished in a rayed star.
The cologne is in perfect condition and measures 6 1/2″ tall and 4″ wide. The blank is exceptional and the cutting is unmatched in quality.
This ladle is cut in Mt. Washington’s Bristol Rose (Corinthian) pattern. This pattern is very difficult to find and always cut on great blanks with superior polishing. The ladle has a gorgeous sweeping shape to it and the ladle is marked, “1880 Pairpoint MFG. CO.”
The way in which Mt. Washington was able to adapt the pattern to this piece is impressive. Large hobstars cover the upper portion of the handle on this piece. A large bursting fan falls between each hobstar. Draped from each bursting fan is a panel of full fans and smaller hobstars. What’s most impressive about the ladle is how much glass they cut off – especially at the curve. Nearly half the blank is cut into! The handle also has a graceful air-bubble left inside.
The ladle is in great condition and only shows some minor roughness on the underside where it would have rested in a punchbowl. It measures The ladle measures 14 1/2″ long and 2 3/4″ tall.
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 7/8″ wide and 1 1/4″ tall. It’s in great condition with the exception of 2 small chips to two individual teeth.
