This is perhaps the best blank I’ve ever seen on a piece of Dorflinger. It’s extremely thick and even more impressive than it’s thickness is its clarity. The term “water-white” doesn’t even begin to describe it. Add to that the sheer size of the piece and you’ve got a world-class pitcher. The Victor pattern is easily one of Dorfligner’s most underrated patterns.
This pitcher features a chain of jeweled-center hobstars on both the top and bottom. The base chain also features crosshatching between each hobstar. Both of these two chains are linked by long vertical bars of notched prism. After every four bars, there is a completely clear pointed miter which runs directly between the two hobstars. The base is covered with a deeply cut 24-point hobstar. The handle of this piece is incredible. Over an 1″ thick in some places, it’s cut like Dorflinger did to many of their choice pitchers and decanters – with large honail and notching on either side.
This pitcher is in drop-dead mint condition. I can’t even find a fleck in the cutting. Dorflinger, being the master wood-wheel polish folks, did a number on this one. It just radiates light like you wish every piece did. This very large tankard measures 14″ tall and 5 5/8″ across the base.
This beautiful and extremely rare centerpiece was most likely designed by William C. Anderson. It has been submitted to the Anderson study group and they agree, unanimously, that this is the case. It is extremely similar to the Lillian-Travis pattern but the geometric portion of the pattern is clearly different. The piece features 3 pieces of glass – a top bowl, a bottom stand, and a ball-like cover to the connection.
The vesicas on the outer border are very similar to Libbey’s Circles and Arcs. These vesicas house the interior realistic cutting which features beautiful thistle cutting with large blooms. It’s particularly neat how Anderson uses hobnail to create the center of the flower for a realistic effect. Another sign of the great amount of quality and thought that went into this piece is the central hobstar which actually surrounds the connection for the base! The base portion of the centerpiece features the same flower cutting and an unusual punty “matrix.” This matrix, which features a crosscut and small notch between each punty, is on countless examples of Anderson’s designs and is featured prominently in “The Chain of Evidence.” The ball connection cover is cut with notched prism.
Centerpieces like this are rare, but I believe this to be the only one known by William C. Anderson. It’s in perfect condition and on a dazzling blank. When assembled, this piece measures 13 3/4″ tall and 10 1/2″ wide.
This gorgeous ferner is in Tuthill’s Blackberry pattern and is signed on the base. While many ferners are junky, throwaway pieces, this one really brings a great deal of more quality than most.
Each vine of the Blackberry pattern features 3 berries strewn between leaves and thorns. The end of each vine culminates in a well done, Tuthill-stylized flower. The very center of the ferner has a clear punty. The edge is particularly nice with a draping design and coined edge. The 3 applied feet feature a 3-pronged application.
This ferner is in terrific condition and measures 8″ wide and 4″ tall. A great opportunity to own a rare piece of Tuthill at a bargain price.
In all my years collecting and selling, this is the first piece I’ve ever seen in person of this pattern. For years, it was known as the Six Sea Shells pattern but is now known properly as Protean. Its understated elegance bring out the quality of the blank itself.
The central 6-point star formation contains a fanned center and is surrounded by crosshatching. There are six spokes to the pattern which contain 8-pointed hobstars, squared off and surrounded by crosshatching and fans on either side. Each spoke is separated by elongated, spreading fans.
The blank of this bowl is spectacular-it’s very heavy, extremely clear and the wood wheel polish brings the pattern to life. This rare piece is in perfect condition and measures 9″ wide and 3 3/4″ tall.
What a beautiful piece of colored cut glass this is – the shade of cranberry is just a touch away from ruby. Colored cut glass is easily the most popular and desirable item and values of such pieces continue to skyrocket. Another identical piece to this one, with a different sterling stopper, was sold on eBay with a Mt. Washington paper label and is extremely similar to their Boston pattern. I’m attaching a photo of the paper label of the piece that was sold on eBay.
Pairpoint cut some similar patterns to this (in color as well) and Bergen’s Florida pattern is particularly similar. Punties adorn the perimeter of the piece and provide a lens-like glimpse into the rest of the pattern. Vertical notched prism runs from the base of the piece to each punty. In between each punty there is a deeper, longer miter from the aforementioned notched prism. The neck of the piece is fluted and notched – the cutter managed (I have no idea how) to leave just a touch of cranberry on each notched portion! The base is cut to clear as well with the full cranberry color.
The stopper of this piece is marked sterling and has a fancy decoration on the top and underside. It is particularly difficult to tell if this is a replacement stopper – it is certainly proportional to the piece and a good fit. It does have a slight wobble, yet if turned with some downward force, you can turn the bottle upside down and the stopper will remain put! Both the stopper and bottle have a #5 scratched in them as well. The cologne measures 4 5/8″ tall and 3 1/4″ wide. It’s in perfect condition with the exception of one deep scratch next to a punty which is pictured in the last photo. This piece of authentic color will surely bring a bit of life and pop to your cabinet.
This champagne pitcher, cut in what is one of the finest renditions of the Russian pattern, was made by J. Hoare. Hoare pioneered ABP glass and often cut unusual shapes like this in their early days. This exact piece is shown in their catalog on pg. 77.
This version of the Russian pattern is particularly tight and accurate. The pattern runs the entire length of the pitcher and only stops where there is a clear portion for the handle attachment. It’s amazing that the cutter/designer was able to perfectly and proportionally cut the spiked (another Hoare trait) rim to contort to the pattern. It’s also astounding how the pattern never stops and bends itself around a 90 degree angle at the corners. The handle is triple notched and the base finished with a rayed star.
The champagne pitcher is in perfect condition save for tiny chip to an upper corner. It measures 11 3/4″ tall and 3 3/4″ high. The old, wood wheel polish makes the pattern sparkle with mirror like brilliance.
This pattern has many, many design elements that Hoare frequently employed in their patterns. The silver has a beautiful flower decoration and is marked what I believe to be Gorham.
The central portion of the pattern contains a cluster of seven flat hobstars. Surrounding the cluster is crosshatching, fangs and an unusual parallel notched cutting. Huge hobstars cover the perimeter of the piece and are topped with the J. Hoare style “eyebrow” cutting.
This bowl is in mint condition and I don’t even see a dent on the sterling rim. It measures 9″ tall and 3 3/4″ tall. The blank is extremely heavy and the clarity is top notch.
This is probably the best finger bowl I’ve ever seen. It has great thickness at the bottom and amazing depth and accuracy of cutting. Hawkes Venetian was an early, high-quality pattern which features the most impressive wood wheel polishing. The design is particularly eye catching on this finger bowl.
The outer layer of the Venetian contains a chain of 8-point hobstars. Each hobstar has a field of fans in between it’s point and a smaller, clear-button 8-point hobstar on the interior. Fans lie in between each of the larger stars. The center and signature portion of the pattern is made up for 6-looped split-vesicas with the finest of crosshatching. Take a look at the photo and you will be able to see how much more quality this piece carries than other finger bowls.
This piece is in perfect condition and measures 5″ wide and 2 3/4″ tall. The blank and cutting are outstanding and the wood wheel polish makes the pattern pop off the glass.
This is a true rarity-a non-imported American Cut Glass toothpick holder. This one, signed Hawkes, is one of the best I’ve seen by far.
The pattern on the holder contains quite a bit of cutting for such a small piece. The main motif appears to be a rayed star which uses a variety of depth and width in the miters to create an almost butterfly-like form. Dividing each of these sections are two vertical fields of crosshatching. The rim is finsihed with some deep pyramidal notches. The base is finished with a rayed star.
The piece is in perfect condition and measures 3 1/8″ tall and 2 1/4″ across the base. This is a beautiful rarity and unique cabinet piece!
This beautiful bowl is cut in a fairly complex unidentified pattern. The rim is hallmarked and these are shown in the last photo.
This pattern contains a central 24-point hobstar. Extending from the hobstar is a large hobstar/cluster formation which provides framework for the outer portion of the pattern. Nestled in the formation are stretched Christmas stars. The stars have clear mitered vesicas on either side. These vesicas house an unusual hobnail type of cutting.
The bowl is in good condition but does have a few minor nicks in the pattern. The silver is also in good shape with only small divots. The blank of the bowl is heavy and clear and it measures 9″ wide and 4″ tall.
This bell, in Dorflinger’s Marlboro pattern, is a true rarity simply because so few bells survived. This one still has its original clapper intact! This piece is finished in a smooth and radiant wood wheel polish which Dorflinger is particularly well known for.
The Marlboro pattern consists of several 8-pointed stars with crosshatching between each point. Alternating panels of crosshatching and fan drift down the rest of the perimeter which finish out the lovely pattern. The handle is finished in the manner that Dorflinger used on their bells- a field of strawberry diamond cutting and a circular miter which makes a button-like formation at the top.
The bell is in perfect condition with the exception of one very small, shallow flake to the edge of the rim. It’s actually hard to see unless you feel for it. The bell measures 5 3/4″ tall and just under 3″ tall. It’s on a gorgeous, clear blank.
This piece left me flabbergasted when I saw it the first time. Massive a more than fitting term to describe it. It’s like the entire blank is thick, to the point of being over sized and then the stopper really pushes it over the top. It weighs nearly 8 pounds. The decanter is signed Hoare and is in their Monarch pattern. I can’t reiterate enough that this is an extremely large, heavy decanter (more so than the dimensions lead on).
The Monarch pattern is one of Hoare’s most collectible patterns and came in a variety of shapes and sizes-this being the most unique I’ve seen. The decanter flares in and out quite a bit towards the bottom and is perched on a pedestal that is over 1/2″ thick. The monarch pattern consists of one large deep hobstar surrounded on either end by fans. The rest of the pattern consists of a crosshatched vesica with a vertical split topped by a Christmas style star. The stopper proudly displays the entire Monarch pattern as well and is finished with a large rayed star. It also has a giant air bubble beneath the pattern. The neck of the decanter and stopper are fluted and notched. The pedestal of the decanter is cut with a beautiful rayed star.
Again-this piece is a hunk of glass which weighs a ton. The stopper, pedestal and unusual blank place it in a league of its own. It measures 14″ tall and 6 1/4″ wide. An intimidatingly delightful decanter all-around. It’s in perfect (save for one tiny flake on the edge of the spout) condition with the lightest, tiniest and most negligible stain in the base.
