This vase was cut and signed by Libbey in their own variation of the Ellsmere design. I have never seen this blank used before by Libbey or another company and it’s unique and stunning in its own right. Another example of this design can be seen here.
The flowing top portion of this vase has the design split into two repeating sections. The upper portion of the pattern features deep scallops surrounded by notching and a wide band of triple miter cane and tight crosshatching. This area sits above large, deep hobstars and a diamond-shaped field containing a rayed star. The lower bortion of the vase is cut with stair cutting and the base is finished with a rayed star.
The vase is in great condition and has a tiny fleabite on the rim. It’s on a clear blank and measures a very lalrge 16 1/4″ tall and 5″ wide.
This special piece was cut by Clark Cut Glass at the heigh of the Brilliant Period. It’s one of the highest quality and most massive punch bowls I’ve seen. It is signed on the top with the Clark script signature.
The Angelus design is one of Clark’s most brilliant featuring one of their most desirable motifs – rose diamonds. These huge jewels cut in the glass are surrounded by spinning pinwheel cutting. A chain of hobstars, separated with hobnail fields wraps around each of these. Three spurring vesicas of cane, crosshatching and hobnail divide the rest of the design.
The blank of this piece is simply outstanding – as it needs to be to show off those big lapidary knobs. It’s massive, weighing 30 pounds total and measuring 16″ tall and 14″ wide. It’s in excellent condition and I only find one tiny, little nip to the inside of the rim.
The is a beautiful in a design I’ve never seen. It has some elements of Libbey and Anderson work so my attribution would be with either of those two.
The design of this bowl is very intricate – with loops of triple miter cane making up vesicas that house clear button hobstars and hobnail. These vesicas come together in the center of the bowl at 4 diamond shaped hobstars. The other portion of the pattern features a deep hobstar perched between two vesicas of crosshatching and surrounded on either side by notching and fans.
The bowl is on a giant, clear blank and measures 10 1/2″ wide and 4 1/2″ tall. It’s in excellent condition and has a few tiny fleabites in the fan cutting.
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This carafe is cut by Elmira in their No. 17 design. It’s a complex and eye-pleasing pattern that weaves seamlessly with a variety of motifs.
Bands of crosshatching provide the framework for the design on this carafe – they create arches around which provide for fields of cane and deeply cut hobstars. This covers the entire body of the carafe save for the neck, which is fluted and notched. The base is covered with a rayed star.
The condition of the carafe is good but it does have a minor, tiny flake near the edge of the spout – it is paper thin. The carafe measures and is being offered at a bargain price.
I’d argue that this is Tuthill’s best pattern. The Wild Rose design exemplifies what Tuthill is most-well known for – the combination of world-class cutting and engraving.
The pattern displays beautifully on this compote – four panels of deep, intaglio engraving are carved on the upper portion of the piece. These panels are framed on all sides by a silvery crosshatched border and 4 flat, pointed hobstars. The neck of the piece is engraved which shows a huge touch of quality and the base is finished with another rose.
The compote is in perfect condition and on a clear blank measuring 7 1/4″ tall and 6 1/2″ wide.
This seldom seen form, cut signed by Hawkes, is one of the rarer items of the Brilliant Period. Only a handful exist, and I’ve never seen one cut in this design. This exact piece is shown in a 1908 ad from good Housekeeping and is titled, “8-inch covered preserve dish.”
The pattern consists of large hobstars surrounde don either side with a clear, cross cut. Tiny fans surround each of those crosses. The cut in pattern lid mimics the design and features a cut finial while the base houses a rayed star.
This rare piece measures 8″ wide and 6″ tall and is in perfect condition on a clear blank.
This highly detailed carafe is cut in an unknown design – one I’ve seen before on this bowl I’ve sold in the past. I’ve always assumed this design was cut by Pitkin & Brooks, Quakery City, or William C. Anderson/American Cut Glass.
Four large, diamond-shaped hobstars are surrounded by tiny bands of Russian cutting. This framework allows for a relief that is filled with parallel, notched cutting, more tiny Russian, and a deep hobstar. The base is covered with a 16 point hobstar and the neck has a strawberry-diamond band around it.
The carafe is in perfect condition and measures 8 1/2″ tall and 6″ wide and is quite heavy.
The Kensington pattern is one of Hawkes’ most intense and skillfully cut patterns. Not even the tiniest of details was spared. This tray is signed directly in the center with the Hawkes trefoil logo.
The center of the Kensington pattern is essentially made up of a large 8-pointed star formation. The center of this formation features a large hobstar and the points of the formation feature two tiny hobstars separated by a triple miter motif. The smaller of the two hobstars is perfectly executed and smaller than a fingernail. Falling in between the points of the 8-pointed star are undulating motifs of tiny hobstars and kohinoor fields. The exterior portion of the pattern features eight large deeply cut hobstars.
The tray is on a thick, clear blank and measures 10″ wide and 1 1/2″ tall. It’s in perfect condition.
This special piece is something I’m letting go from my personal collection. It’s cut in Egginton’s Trellis pattern and singed with the Egginton trademark on the base.
The Trellis pattern features deep, clear channels weaving around flat, knobbed hostars. Cutting this type of motif was extremely difficult and required time and skill of the craftsman of the period. The stem of the compote is fluted and finished with a St. Louis diamond cut at hte knob. The base is fully cut in a hobstar cluster.
The compote is in perfect condition and on the clearest blank. It’s 8″ wide and 8″ tall.
This unusual shaped bowl was cut by Libbey in their high-quality Prism design. This was one of their more expensive patterns and has one a ton of detail for a seemingly repetitive pattern. It’s signed on the edge with the Libbey trademark.
There are two layers of clear hobnail coming from the center of the bowl. 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. They flow into pointed teeth. The center is complete with a gorgeous hobstar. While difficult to see, this is a straight, six-sided bowl.
It’s in perfect condition and measures 8 1/4″ wide and 3 1/2″ tall.
This is an unusual sized piece cut in Hawkes incredible Oriental design – easily one of their most elaborate patterns from the Brilliant Period.
The Oriental design has three fields which feature an extremely unusual hobstar formation, which features thirteen hobstars each! Each of these areas is surrounded on all sides in zippered cutting which runs into a square-off hobstar. The center of the plate features a beautiful cluster of hobstars. The remaining portion of the pattern consists of chains of hobstars and crosshatching separated by notching and additional crosshatching in the teeth.
The bowl is in perfect condition and measures 7″ wide and 3″ tall. I’ve never seen another bowl in this dimension and certainly not cut this well.
This gorgeous piece is one of the most recognizable of Straus’s work. It’s cut in their Fatima design on an unusual footed-globe blank.
Straus cut large, deep hobstars around the rim of this piece. Separating each star is a panel featuring two parallel bands of notching housing a deep, scalloped channel. This frames a diamond-shaped field of cane and crosshatch cutting. The neck of the piece is fluted and notched and the base is covered with a 24-point hobstar.
The vase is extremely heavy and measures 7″ wide and 6 1/2″ tall. It’s in perfect condition and a clear blank.
