This bowl, in Quaker City’s Columbia exemplifies what the Brilliant Period is all about – deep, sharp, rich cutting adorn the entire piece.
The Columbia pattern is set up with a large, deep central hobstar. Surrounding this hobstar are clusters of 6 hobstars each. In between each hobstar cluster is a split vesica with sharp hobnail and notched prism. The pattern is a well conceived design that doesn’t leave much empty space on the bowl.
The blank of this bowl is probably the best figured blank I’ve ever seen – very clear, thick and smooth. It radiates the entire spectrum of visible light when shone upon. The cutting is astonishingly deep and sharp. The bowl is in perfect condition and measures 8″ wide and 3 7/8″ tall.
This is a particularly attractive milk pitcher in Dorflinger’s Old Colonial pattern. The pattern lends itself to this shape and displays perfectly.
The Colonial pattern is made up of split diamonds featuring a plain and cross-hatched triangle. Also included in the pattern are diamonds of strawberry-diamond cutting. Fans finish out the pattern. The base has a beautiful 20-point hobstar and the handle is finished in strawberry-diamond cutting. The lip and neck of the pitcher is fluted and notched.
The pitcher is wonderfully wood wheel polished and in perfect condition. It measures 7 1/4″ and 5 3/4″ tall.
This beautiful compote is in Dorflinger’s particularly noteworthy #99 pattern. It’s exactly as shown in the Dorflinger line drawing catalog. It’s very interesting how Dorflinger manipulated and altered the pattern to fit onto this unique blank.
On this compote, the 99 pattern is split into two main cuttings – either a field of cane, or in the same allotted space, a rich hobstar. These spaces are divided by a bar of crosshatching on either side. One particularly nice feature of this compote is the pattern cut knob on the stem. The base is finished with a rayed star and the neck is fluted and notched.
The compote is in perfect condition with hardly a scratch on it and the crystal clear glass is wood polished for that satiny finish that Dorflinger is so well known for. The compote measures 7 1/8″ tall and 7″ in diameter.
Large roseglobes are an uncommon item out of the brilliant period. This one, cut in the Monarch pattern by J. Hoare, is a wonderful example.
The Monarch pattern in this example contains two very large stacked hobstars. These hobstars are divided by two triangular field of crosshatching. The distinct motif of the pattern consists of a flat hobstar, a large, 8-pointed star, and additional crosshatching. All of this cutting tops of Monarch’s signature element- a pointed field of crosshatching with a deep, clear cut up the center of it.The base is finished in a rayed star and the top is notched at the edge.
I cannot stress enough how high of a quality this blank is. It’s exceptionally clear and the cutting refracts light from every polished surface. It’s a marvel to look at and behold – the piece is quite large and particularly well done. It measures over 7 1/4″ in diameter and nearly 6″ tall. It’s in perfect condition with barely a fleabite to the cutting.
I absolutely adore this piece in Libbey’s very rare and extremely well done Rosella pattern. This was Libbey’s most expensive pattern according to their catalog – more than Aztec, Marcella and the various other Libbey rarities. Unfortunately, this piece has a crack in one of the handle attachments. It’s completely stable, but there nonetheless. The piece is signed Libbey on the edge.
The Rosella pattern is a beautiful display of William C. Anderson’s finest design traits. A chain of clear button hobstars runs along hte edge of the piece surrounded by feathering and a checked motif. The center four-point formation is made up for 4 clear button hobstars, crosshatching, and a larger, central hobstar. The rope handle is a display of genius glassmaking with twisted molten glass and the ends are crosshatched.
The basket measures 9″ long and 7 3/4″ wide. As mentioned before, one handle attachment is damaged but the basket is in otherwise perfect condition. The glass and cutting is of the highest, brilliant quality.
This beautiful pitcher is in Tuthill’s very rare and and particularly desirable Wild Rose pattern. This pattern is Tuthill’s best example of deep, realistic intaglio engraving and rich, geometric cutting that Tuthill is so well known for. The pitcher is signed on the handle with the Tuthill trademark.
The wild rose pattern is made up of a long stalk of wild rose engraving. The flower is so life-like that it appears to jump off of the glass. A great amount of depth and detail is achieved in this workmanship. The cutting in the Wild Rose pattern consists of vesicas of very sharply cut hob-diamond perched atop a flat hobstar. The top portion of the hob-diamond meets two fields of very small and precise crosshatching. Even the handle is engraved with wild rose and the base is covered with a large blossom which can be seen in the photo.
The glass on this pitcher is exceptionally clear and heavy. The pitcher is in near-mint condition with one very flat flake along the bevel of a tooth and another very small flake in the cutting. The pitcher measures 11 1/4″ tall and 5 1/8″ wide. This is truly a great example of Tuthill’s best work
This is a stellar bowl in Libbey’s very rare and highly desirable Isabella pattern. Often times, this pattern is continued in a repetitive nature through the center of a piece however, on this bowl, Libbey chose to place a hobstar in the center. I have seen this featured on an Isabella ice bucket as well as some stemware. It adds a really elegant touch.
The Isabella pattern features Libbey’s best early cutting. Elongated hexagonal fields of hobnail surround the main portion of the pattern. This main portion is made up with what is essentially a triple miter, clear-button hobstar. I think Isabella is the only pattern in the entire Brilliant Period to feature this motif-if you see it anywhere, you’re most likely looking at a piece of Isabella. Surrounding this hobstar are four fields of crosshatching bordered by two clear channels. Additionally, Libbey-style flat hobstars round of the pattern on both the top and bottom of the bowl. A beautiful 24-point hobstar is covers the center.
The bowl is extremely heavy and the blank is exceptionally clear (to a degree of being world-class). The polishing is wood wheel and of the most complimentary radiance to the clear blank. The bowl is in perfect, original condition. It measures 9 1/8″ wide and 4 1/4″ tall.
I once had a champagne pitcher in Libbey’s highly coveted Grand Prize pitcher. A few years later, that same pitcher sold for $15,000 at auction. I consider this pitcher, in Straus’s Kenilworth pattern, to be more well done than that Grand Prize piece.
This piece must have close to 200 hobstars all over it. The sides of the pitcher feature four hobstars in shield formation. They are divided with vesicas of crosshatching. The rest of the piece is covered with the most complex cluster cutting. It’s actually very similar to Libbey’s Star pattern. This overall complex design really amazes me and one can easily get lost by taking a casual look at the piece. Even the handle is completely cut in pattern. The silver top is unmarked. The base is finished with a hobstar as well.
The piece is in perfect condition although the silver top sits just slightly tilted on one side. This beautiful creation measures 12″ tall and 5″ wide and is on the most stunning of blanks. Honestly, if a lesser-cut Grand Prize pitcher is worth $15,000, my asking price on this pitcher is a bargain.
This ice cream tray is in Sinclaire’s extremely rare and highly sought after Snowflake and Holly pattern. It is signed Sinclaire in the center.
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 outrageously clear and slightly thicker than most other pieces of Snowflake and Holly I’ve seen. It is in near mint condition, with only one tiny (and I stress the word tiny) nick to the ribbed cutting on the edge. The tray measures 12 1/4″ long by 9 3/4″ wide.
This lamp, which is signed Hawkes on both the top and bottom, is in Hawkes’ Radiant pattern. The exact piece is featured in a number of trade advertisements by Hawkes and I’ve included one in this photo set.
The Radiant pattern is appropriately titled as this pattern really shines when this lamp is turned on. The pattern is made up of huge, brilliant hobstars with split points. Dividing these hobstars is parallel line cutting and triple miter cane! Both the rim of the top and base are notched perfectly.
The lamp is in incredible condition and only has a few fleabites in the shade’s cutting. There is also a small, unoticeable chip in the pattern as well. The lamp is quite large and measures 16″ high and 12″ in diameter. The electric works have been completely redone by the previous owner and is 100% fuctional.
This bowl is probably one of the greatest bargains I’ve offering on this site. It is in a pattern similar to expanding star (but better) and the silver is marked Sterling with Gorham hallmarks indicating a year of 1907.
The bowl features a central hobstar. Sprouting outwards from this are fields of crosshatching and additional, flat hobstars. This whole formation is feathered and meets a very well-designed border of more hobstars divided by crosshatching.
The bowl is in perfect condition except for two dents on the silver rim. It measures 8 3/4″ wide and 4″ tall. This is probably one of the best bargains on criticalglass.com
This is something you are not going to see again. This decanter is signed Libbey (in a circle) on both the base of the decanter and the stopper. I have never (and I think I speak collectively for most collectors) seen any amethyst, American glass. There are some combinations of colors that are fairly close, but not this beautiful puple masterpiece.
The color of the decanter is very concentrated at the base, which is uncut. It’s almost black from the high amount of concentration. Moving up the decanter, the amount of amethyst is reduced, thus allowing more light to pass through it and a stronger purple color.
The piece is extremely well-engraved and features bird, flora and fruit (I think they are cherries). Typically you only see animals in American glass on presentation, one-off pieces. The quality of engraving, with the obvious use of this color makes this one of the rarest pieces in the brilliant period. Take a look and there is no mistaking how important, rare and desirable this is. Even the beautiful, air-trapped stopper is cut in pattern and repeats the flutes amethyst cutting!
This piece has a nice weight to it and is not one of the later, more etched Libbey colored pieces – this is heavily engraved. It measures 12″ tall and 4″ wide. It’s in perfect condition.
