N0. 10 F Vol. XXXIII F Pages 5723-5738 F WWW.CUTGLASS.ORG

The Journal of the American Cut Glass Association

July 2011

President’s Message.............................5725

Pattern Quiz...........................................5726The July, 2011 Pattern Quiz by Bill Evans.

Question of the Month...........................5727July’s Question of the month from Craig Carlson.

Looking at the Minutia in Cut Glass....5728Pinwheels, Buzzstars, or Buzz by LindaJo Hare.

Woody Auction Results..........................5730The June 4th auction results by Fred Coveler.

Appreciating Hobstars...........................5732Information on the many variations of hobstar motifs, by Rob Smith.

Volunteer Needed...........................5736The ACGA is looking for a volunteer to become the Treasurer

T A B L E O FCONTENTS ✦ ✦

E D I T O R ’ SREMARKS✦ ✦

A v a i l a b l eCATALOGS✦ ✦

H O B S TA RDIRECTORY✦ ✦

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Editor Contact Information:Robyn Kimberling 972.966.8444

2224 Wren Court, Lewisville, TX 75077thehobstar@yahoo.com

Cover PhotoFrom the collection of Nick Boonstra

Cut Glass Bowl, 9" D. x 4" H. dubbed the HORSE SHOES pattern

Cut Glass Questions?Do YOU Have Questions about your glass that you would love to get answered?

The ACGA Research Committee is looking to reactivate the “Question of the Month” column and would like to know what ques-tions members have about American Bril-liant cut glass. Member’s questions would be answered by a variety of knowledge-able members who will provide a general response to the query. So if you have questions about some aspect of Brilliant cut glass, send your questions to: craig447@aol.com or mail to: Craig Carlson, 17025 E. La Montana Drive, Unit 129, Fountain Hills, AZ 85268.. The Research Committee looks forward to hearing from you.

T A B L E O FCONTENTS ✦ ✦

G L A S SSHARDS✦ ✦

A v a i l a b l eCATALOGS✦ ✦

H O B S TA RDIRECTORY✦ ✦

ACGA WEB SITE PASSWORDvisit www.cutglass.org

for Member Only InformationUser: glassfun

Password: disneytoo

FOR SALE: Cut & Engraved ABCG collection, 200 pieces, many pcs. at cost. Cut glass

catalogues, reference books and Hobstar issues back to 1982. For appointment call Russ Lyons at 972-412-9107 or cell

214-998-9900. Rowlett, TX.

THE PATTERN ID COMMITTEE

invites all ACGA members who have glass and would like help with identification to contact Jim Kimberling at: jtkorjak@centurytel.netacgaid@gmail.com

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TO MY FELLOW CUT GLASS LOVERS

As this ACGA year comes to a close as well as my year as your President, I would like to thank all of you for your volunteerism. As I stated when I became your President, my successes this year would be directly attributed to all that we would be able to accomplish together. You have not let me down.

The Hobstar was one of my focal points. My goal was to bring The Journal of the American Cut Glass As-sociation (our Hobstar) to a level which all of you would not only enjoy reading but would provide educational in-formation. For many of us old-timers, we looked forward to The Hobstar when we saw it in our mailbox and it was the first item we pulled out to read. When I chaired the ad hoc Committee on The Hobstar, many people remembered several items of interest which had gone to the wayside. While they say that you can never go back, I looked forward to bringing some of the old items back and merging them with the new. Dr. Mark Alan Vin-son who serves as the Chair of The Hobstar Editorial Review Committee has worked hard to review articles which have been given to him. He has brought a higher standard to the process when he reviews the articles for grammar and spelling. The new rule imposed is that after his review, the article must be approved by the author of said article before being placed in The Hobstar. He retains a copy of the approval for legal purposes.

The ACGA Research Committee chaired by Craig Carlson has taken on the responsibility of the “Question of the Month” for The Hobstar. This allows our mem-bership to ask questions about American Cut Glass. The sharing of this information in this type of format is a great concept and one which we will continue.

I also had a goal this year to attend as many ACGA chapter meetings as possible. I managed to visit ten chapters with ten remaining. I visited Mid-Atlantic, Sunburst, Lone Star, Columbia, Heartland, Carolinas, Great Lakes, Empire, Magnolia and Crystal Cross-roads. I learned a great deal while attending the chapter meetings. Many of our members, I was advised, do not

attend our conventions, but prefer to attend Brilliant Weekends instead. It was felt that conventions have just become too costly. Some ideas and suggestions made by chapters members, I have implemented. To all the chapter members, I wish to thank you for your warm hospitality and the sharing of ideas with me. You gave me a strong base from which to evolve.

We had a Brilliant Weekend in Corning, New York. Not only was this event well attended, but the dealers provided glass that was reasonably priced which allowed a person interested in cut glass to begin their collection or to add to it. This helps us greatly as we look to the future for membership growth.

Our Pattern ID Committee has been actively working to challenge us in future Hobstars. We continue to develop new ideas as we remember that The Hobstar is The Journal of the American Cut Glass Association. We look to the future and those who will be doing research and find our Journal as an excellent source of educational information.

Linda Guyer is our new Web Site Manager. She is working very hard to develop a web site of which we can all be proud.

Another goal is to see the relocation of our cut glass collection to a permanent site. H.C. Brillhart has greatly helped me to put together a committee to review all recommendations made by our membership for the location of our glass collection. Independent from this is the review of our glass for insurance purposes as well as having the glass photographed that has not been done before now. I am hopeful that we will have our cut glass collection in its new home in 2012. I extend a special thank you to those individuals who continue to help with this project.

Our Executive Secretary Kathy Emmerson is cur-rently receiving the membership renewals. I would ask all chapters to make sure that their chapter members renew.

Lastly, it is but a very short time before the ACGA Orlando Convention takes place Wednesday, July 27 – Saturday, July 30, 2011. It will be at the Hilton at Disney Village. There are still rooms available. You may call the hotel directly at 407-827-4000 to make your reservations. Be sure to state the code “CGA” in order to obtain the $99.00 plus tax rate. Parking will only be $5.00 a night. In the March Hobstar you will find the list of the speak-ers with their bios. I hope to see all of you there.F

Karen Udell Parker, President

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The June, 2011 Pattern Quiz was correctly identified by our “pattern guru” in the Great Northwest, Greg Randall of Redmond, Washington. Greg is the winner of the “Eagle Eye Award” for June, 2011. There was no second place identifier this month. Greg’s was the only submission. (See Fig. 1).

The June pattern is shown in several books, but Greg provided Pearson’s Encyclopedia of American Cut and Engraved Glass, Volume III, page 172 as his reference. It is also shown in Dorothy Daniel’s Cut & Engraved Glass 1771 – 1905, page 285, and Revi’s Encyclopedia of Ameri-can Cut & Engraved Glass, page 212. The pattern was given the name ‘Victoria’ by Dorothy Daniel because the designer, Joseph B. Hill, was a British subject of Queen Victoria. “Victoria” was used in both the Pearson and Revi books as well. It was patented by the designer and assigned to the Imperial Cut Glass Company of Phila-delphia, PA. The U.S. Design Patent number 26396 was assigned on December 15, 1896.

The Quizzard, Jr. owns an 8” plate in this pattern and he can testify that it is very well cut on a brilliant, blown blank. My plate was purchased at a Woody Auction in 2006.

The July Pattern Quiz is shown on a triangular-shaped bonbon in the collection of Dow Mitchell of Centennial, Colorado (See Fig. 2). To the Quizzard, Jr.’s knowledge, this ID is only shown in one ACGA catalog

reprint and only one book, and (slyly, he said) “it may not be in a catalog.”

If you have identified pieces that you think might get the pattern peoples’ juices flowing please submit High Quality digital photos for consideration. As items are published in the column, credit will be given to the per-son who submitted them. Please send your photos to my email address at koala_tee@msn.com.

The rules of the Quiz are simple. The first person to email me at the afore-mentioned address (date and time stamp on the email will be the tie breaker) with the correct pattern name and catalog/book references will be awarded the famous “Eagle Eye Award” for the Quiz and be so named and honored in a future column. Second and third runner-ups will also be identified along with the answer to the Quiz.F

Enjoy!!! The Quizzard, Jr.

By Bill Evans

Fig. 1 Imperial Cut Glass Co. “Victoria” Pattern

Fig. 2 – July Pattern

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By Craig Carlson, Research Chair

Question: “It seems to me that there are only 2 grades of cut glass: That which is perfect and everything else.

I can think of no other collectible that has so few options. When you watch Antiques Road-show, for example, when the appraiser looks at a painting or a quilt or a rug that has suffered some damage, he almost always recommends that resto-ration work will raise its value so long as the es-sence of the item remains unaltered. When glass was (is) purchased, there is always the chance that, at some point in its life, some damage will occur, either to the teeth or to the pattern itself. As I recall, certain companies (e.g., Hawkes) advertised a repair department. Now, I understand that if a repair alters the height of a piece or changes a piece from a flower center to a rose bowl, that should be a cause for a price difference. But, I venture to say that most "perfect" pieces have had some work done to them at one time to another. Why are there no condition levels? Why does a piece have a value of $3000 "perfect" and the same piece with some repair done to it have a value of $1,000 or less (for example)? … Why can't the ACGA develop descriptive criteria to account for no damage, minimal dam-age, irreparable damage, etc.? As long as a flaw does not detract from the beauty (or functionality) of a piece, the value (particularly of rare patterns) shouldn't plummet the way it does.”

Clive Harding

Answer: I agree. There is consider-able interest in and diversity of opinion about the desirability of repairing cut glass and the effect on the value of a piece. To consolidate strongly held positions into descriptive criteria is very difficult, especially if you try and relate it to the increase or decrease in the value of an object.

While a poor repair job is easily spotted, a good one is almost impossible to detect. Unless a piece was packed away since purchase or never used, I would expect that most pieces in “mint” condition in a collection have been worked on at some point since they left the factory. The problem becomes when was the work done, how extensive was the work, how well was it done and was it disclosed at the time of sale or re-sale.

As Ellsworth Young wrote in the January 1984 Hobstar, “Some people like to leave things as they are found, others want them repaired or restored as near the original as possible. There is no meeting of minds on the subject, so each to his own prefer-ence or necessity.”

The final decision on buying an object and its value depends on the law of supply and demand and what a buyer is willing to pay for a piece that they want to add to their collection. Most collec-tors want near perfect glass and are unaware of, or don’t care about its repair history. Good or bad, this is what it is.

Craig Carlson, Research Chair F

Question of The Month

July, 2011

Right, broken foot of a cut glass vase which was poorly repaired by gluing the foot back together.

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Pinwheels, Buzzstars, or Buzz Pinwheels, also called buzz, or buzzstars, came into popular use after the 1899 patent submitted by Patrick Healy that was assigned to the American Cut Glass Company. Patrick Healy’s patent displays a more intri-cate pinwheel concept than is commonly seen in Brilliant era glass, but he is often credited with starting the ball rolling on the concept of the pinwheel or buzzstar. The name buzz, or buzzstar comes from the large buzz saws used in period lumber mills, where the teeth of the large saw blade angled out in much the same manner as the miter cuts radiate out from the hob of a cut glass pinwheel.

In Leigh Emmerson’s The Eye for Minutia, a pinwheel (buzz or buzzstar) is defined as “a variety of hobstar that features equally spaced miter cuts that angle out from a central hob, creating the effect of a spinning pinwheel. These angled miter cuts can be left plain or be decorated with flashing or fans.” I know at one point Leigh was considering dropping pinwheels from his research notes as so many companies used this motif. But that being said, there is still interesting information to be gleaned from studying the information that Leigh summarized. It is of particular note with this motif which companies either did not cut pinwheels or cut them extremely in-frequently (Leigh’s research summarizes catalog material available up through 2004). A list of these companies includes Egginton, Hawkes, Mt.

Washington, Sinclaire, C. F. Monroe, Elmira, and Dorflinger.

Leigh documented that some companies used the motif an outstanding number of times and those com-panies include: Maple City (67 patterns); T. B. Clark (62 patterns); and Quaker City (53 patterns); followed by Pitkin & Brooks; Bergen; Laurel; and Fry. Knowing this might help us plan where to start when doing a pattern search for a design that featured pinwheels.

I have sometimes observed a bit of snobbery towards pinwheels, as if they are the black sheep of the cut glass family. I believe, like many aspects of Brilliant era cut glass, there is a quality spectrum—and this includes pinwheels. There are PINWHEELS and then there are pinwheels. In looking through the catalogs, I have noted pinwheels with as many as thirty-two miter arms spinning from the cen-tral hob all the way down to one example, Libbey’s Nassau that only has five miter arms. This is one way to illustrate that this motif runs the gamut of beauty from Cinderella to the ugly step sisters. Particularly later in the Brilliant era, this motif shows up in some less attractive versions that have given the pinwheel a bad reputation. Several of our early cut glass authors made some derogatory comments about pinwheels that have stuck and cast “the ugly step sister” aura on all pinwheel designs.

However, we can find some fabulous examples of this motif, and the sparkle of a well-cut pinwheel is truly spectacular. The T. B. Clark Company used the pinwheel motif in a number of stunning designs that featured as many as thirty-two miters surrounding the pinwheel’s hob. Next time you have your ACGA Maple City/Clark reprint catalog off the shelf, flip through it looking only for the pinwheel designs. You will see that pinwheels were used in some complex designs, some with lapidary cut centers, or many miter arms creating the pinwheel that are combined with good additional geometric cutting. Clark is also noted for cutting pinwheels that circled

Looking at the Minutia

in Cut Glass PatternsMinutia{ }The Oxford American Dictionary defines minutia as “very small

details.” So in these few words we have it clearly defined as to where

we will be centering our study in this new series. For the purpose of this

series the individual parts of a design will be referred to as the motifs, and

the combination of motifs will be referred to as the pattern or design.By Linda Jo Hare

Patrick Healy’s 1899 patent drawing of the “Pinwheel” design.

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both clockwise and counter clockwise and this is easy to observe in their catalogs. Many companies combined hobstars and pinwheels to great effect on the same pattern. Kranz, Smith’s Tribune pattern is one of these and somewhat resembles Hawkes’ Festoon design. Pitkin & Brooks cut a fine version of this motif in its Belmont pattern that features special cutting on the central hob of each pinwheel, featuring five miter cuts forming each point of the hobstar cut on the hob. The pinwheel features many miter cuts that swirl around the central hob that help to make this a well cut example.

The vast majority of pinwheels are decorated by a fan of miters between each large miter arm which fills the space with extra sparkle. An example of an embellished pinwheel taken a step further is the American Cut Glass Company’s “Hurricane” pattern. The pinwheels on this design feature an extended point, a miter accent cross-ing the fine flashing that outlines the entire outer edge that also features the addition of sprigs (three miters that extend beyond the junction of the flashing miters). Other interesting things to look for are patterns that feature a pinwheel within a pinwheel. Several companies

who used this interesting effect were Unger Brothers on Radium, Maple City on Cadillac, and Clark on upright versions of their Angelus design. Quaker City, on their Undine pattern features a pinwheel on pieces with a foot as well as on the body of the design. A sampling of companies who cut what we might reference as a Healy-style pinwheel are Fry on several designs, Kranz, Smith on Astoria, Taylor Brothers on Dawson, and Pitkin & Brooks on Naples.

I hope you have enjoyed our brief tour of some of the pinwheel designs, and your interest has been sparked to examine pinwheels with new enthusiasm. Sometimes by zeroing in on a specific motif we can gain new apprecia-tion for how it was used in cut glass designs, so perhaps we’ll come back to pinwheels at some point in the future for a more in depth look. There are plenty of interesting and complex examples to enjoy.

Many thanks to Cindy and Price Chandler for shar-ing photos of Quaker City’s Roosevelt and Undine pat-terns and Clark’s Angelus pattern for use in this article.F

{ }

Quaker City’s Undine pattern features a pinwheel on the foot as well as on the body of the vase.

T. B. Clark’s Angelus pattern has lapidary centers to its pinwheels on bowls and flatter items and a pinwheel on the hob on tall items such as the vase illustrated here.

Pitkin & Brooks’ Belmont pattern combines both pinwheels and hobstars.

Bottom, Quaker City’s Roosevelt pat-tern, showing the top of a revolving punch bowl, features finely cut pinwheels com-bined with a flam-boyant blank shape and good geometric cutting.

Top, American Cut Glass Company’s embellished pinwheel on “Hurricane.”

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June 4, 2011

The second Woody cut glass auction of 2011 was held at the St. Charles Convention Center, just west of St. Louis, MO, on Saturday, June 4th, starting at 9:30 a.m. Per the auction catalog, this sale featured the collection of Gerry and Jean LaCroix of Massachusetts along with three small private collections. The catalog indicated that the LaCroix collection was the largest collection of colored cut glass Woody Auction has ever sold at one time. Although I did not attend this auction in person, it was available live on Proxibid. The glass was available for inspection starting Friday afternoon and there were 399 glass lots to review, of which 151 lots (38%) were clear glass and 248 lots (62%) were colored glass, almost all of which were European glass and many were indicated as being by Val St. Lambert. Jason Woody led the auctioneering duties ably assisted by several family members. Jason confirmed there were 52 registered bidders present (about 100 people) who pur-chased 308 or 77% of the auction lots, 19 absentee bidders who bought 34 or 9% of the auction lots and 63 registered (though not necessarily bidding) online Proxibid bidders who purchased 57 or 14% of the auction lots. The top prices of the auction went to the clear glass.

1 lot sold for $10,000 or more, 1 lot sold between $5,000 and $10,000, 3 lots sold between $2,500 and $5,000, 21 lots sold between $1,000 and $2,500 (of which 5 lots were colored glass), with the remaining 373 lots (of which 242 were colored glass) selling for an average of $167 each for the clear glass and $202 each for the colored glass. Woody Auction does not charge a buyer’s premium.

The highest-priced piece in this auction was Lot No. 125, which sold at a very impressive $12,500. It was a signed Hawkes bowl in the very rare Imperial Pattern and measured 4” H X 9.75” D.

The next highest price was for Lot No. 20, at $6,500. A beautiful signed J. Hoare two-part punch bowl in the Marquise Pattern measuring 15.5” H X 16” D.

The third highest price was for Lot No. 75, at $4,100. A 14” H footed vase, signed Tuthill, in the very desirable Wild Rose Pattern.

Woody Auction ResultsBy Fred Coveler

Lot No. 125, Hawkes Imperial Pattern Bowl

Lot No. 20, Hoare Marquise Punch Bowl

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The fourth highest price was for Lot 50 at $4,000. A 13.75” D round tray, signed Egginton, in a very unusual and beautiful pattern.

The top lots were in extremely fine condition, drew spirited bidding and their new owners should be pleased with their purchases.

Successful floor bidders were able to wrap their pur-chases and take them home and Woody Auction packed the rest to take back with them and ship to their new

owners. Jason Woody says the next cut glass auction will be held on Saturday, November 19, 2011, at the St. Charles Convention Center (just West of St. Louis) and will in-clude about 400 lots. Watch the Woody Auction website for forthcoming information.

Photos and descriptions provided courtesy of Woody Auction. F

Lot No. 75, Tuthill Wild Rose Pattern Vase

Lot No. 50, Signed Egginton Tray

n Bernie Adams, Germantown, MDn Linda Alexander, Phoenixville, PAn Margie Bence, Indiana, PAn Carol Brinkmeyer, St. Louis, MOn Pamela Carlson, Orange, CAn Michael Cook, Santa Barbara, CAn John Day, Washington, PAn Nancy Del Bon, Reno, NVn Rika Hawes, Phildelphia, PAn William Heiser, Wheatland, MOn Kevin Hentrup, Fishers, INn Myrna Hoke, Hummelstown, PA

n Bruce Koegler, Bala Cynwyd, PAn Carolyn Koslow, Herndon, VAn Cecile Martin, Lexington, KYn Eileen McSweeney, Schaumburg, ILn Charlene Meany, Florham Park, NJn Gary & Michele, Meinhardt, Kahoka, MOn Peter Meyers, Jackson, MS

n Nancy Ouellette, Lomita, CAn Richard & Rose Robbins, Westport, CTn Edward Sawidd, Dunellen, NJn Jerry Taylor, Palm Beach Gardens, FLn Charlton Veazey, Macon, GA

New Members

n Margeria Neu, Cuyahoga Falls, OH

Welcome Back

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Every cutting house of the Brilliant Period probably cut hobstar motifs, and over time many variations and distinctive features were used to differentiate patterns that were based on or included hobstars. It has been speculated that hobstars cover more cutting area than any other motif used by cutting houses of the Brilliant Period. Surprisingly, there is quite a lot that’s useful to know about hobstars. This first of a series of articles illustrates and introduces basic hobstar concepts. It’s not intended to be compre-hensive, but it does present some interesting perspectives related to one of our most common cutting motifs.

HOBSTAR BASICS

What’s a hobstar? A hobstar is a relatively elaborate decorative cutting motif that usually fills a circular, oval or polygonal area. A basic hobstar configuration consists of

a number of points plus a central hobnail, or “hob.” In the most common version, points and the edge of the central hob are formed by straight cut miters, one miter per point. Since cutting costs are proportional to cutting time, the more expensive but visually elaborate hobstars have more points, and are made with more required miter cuts.

Our first example hobstar (see Figure 1) has sixteen points formed by sixteen straight miters. In this drawing, we show only the center line location for each miter. The interval between ends of each miter is in this example six points. The resulting central feature within the area is called a hobnail, often abbreviated as “hob.” The miter cuts that define the hobnail perimeter give it a “raised” appearance, because the bounding miters cut away the glass adjacent to the hobnail perimeter. The greater the depth of these miters, the more cutting time is required to form the deco-ration, and the more “raised” the hobnail appears.

From this discussion, one might conclude that more valuable or desirable decorative hobstars have a) more points, and b) deeper miters. In American Brilliant period cut glass we encounter decorative hobstar cuttings having from 4 to about 64 points, resulting in hobs with 4 to 64 sides. As can be seen in Figure 2, greater point intervals for the same area result in longer relatively slender points surrounding relatively small hobs, while smaller intervals yield shorter fat points with larger hobs.

Imagine how challenging it must be to freehand rough cut a hobstar: with the points marked in red lead around an enclosing circular area. The cutter must precisely define each straight miter, despite the surface variations (curvature, etc.) of the underlying blank. Miters must meet precisely at hobstar point locations, and the miters depths must be uniform until they consistently taper in to form the “sharp” points. Any deviation from perfection will be immediately noticeable. Indeed, one way to evaluate the relative quality of cutting is to carefully examine hobstar features; we’ll discuss that idea more thoroughly in a later section.

AppreciatingHobstars

By Rob Smith

Figure 1. A simple sixteen point hobstar fills a circular area with a visually pleasing decora-tion using only sixteen miter cuts. This example is designed to terminate each miter six points clockwise and counterclockwise from the meet-ing point.

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HISTORY

Despite its pervasive use in American Brilliant Period cutting designs, the hobstar probably originated much earlier, somewhere in Europe. R. J. Charleston (a Brit-ish glass scholar) suggests that “the elaborate star patterns

apparently [originated] in Bohemian Biedermeier glasses ...” [Charleston]. During the 19th century British glass makers used the term “jeweled star” to refer to hobstars, and most hobs of that era were undecorated. [Havens]. Hobstars appeared in both European and American cut glass designs throughout the Brilliant Period, and have continued to be used in glass patterns cut during recent years. [Yasemin]

HOBSTAR FEATURES

Earliest hobstars (and those cheapest and therefore easiest to cut) were relatively simple, having few points and no decorative cuttings to augment hobs or points. How-ever, to increase visual richness and add a bit of competi-tive differentiation, designers soon began to add hobstar features. First, hobstars having high point counts began to appear in the most expensive new patterns. Less expensive designs began using a variety of decorative cuttings added to the hobs (e.g., Figure 3). Later, points were enriched by interior decorative cuttings (for example, see Figure 4). Yet later, some designers began to add cutting features between hobstar points (Figure 5). As we will soon see, the pro-liferation of possibilities soon led to a wonderfully diverse spectrum of hobstar designs.

In subsequent articles, we’ll explore in greater depth the richness of hobstar design possibilities. Part II will explore some structural innovations that added distinct

Figure 2. Increasing the hobstar point interval makes hobs smaller and points longer. All examples are equal diameter 12 point hobstars: a) three point interval; b) four point interval; c) five point interval. This might sug-gest that an N point hobstar with interval N/2 is equiva-lent to an N point rayed star, and that rayed stars could be considered degenerate hobstars. Not at our house! Figure 3. A hobstar having sixteen slender points

and a relatively small rayed star hob produced by an interval of seven points, the maximum feasible interval for sixteen points. From the bottom of a vase cut in the Chester pattern by Dorflinger (called “Sussex” by Pearson). See [DorLine] pp. 126-127 et al; [Feller] pp. 33, 235 et al; [AD1] pp. DRF-77, DRF-98, DRF-111; [P1] p. 20; FC04.050.

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visual effects to some types of hobstars. For example, Fig-ure 6 shows a ten point hobstar in which five miters meet at each point! In Part III we’ll consider hob matters, including various hob shapes, decorative cuttings and other distinc-tive treatments. For example, Figure 7 shows a relatively expensive and unusual possibility, a hobstar with a faceted or jeweled central hob.

The focal point (sic) of Part IV will be variations and decorative cuttings on hobstar points. Figure 8 shows a ten point hobstar having split points; we’ll learn that pattern designers found many different ways to add visual com-plexity to the point areas.

Finally, in Part V we will discuss cut glass decorative schemes involving hobstars cast onto various shapes, ag-gregations of several hobstars, and factors related to hobstar cutting quality. There are also brief introductions to several area-filling decorative motifs that are cheaper to cut than hobstars. As will be seen, hobstar motifs offer an almost limitless range of decorative possibilities. Careful analysis of hobstar features can enhance appreciation of this oft-encountered motif, and can also provide clues regarding pattern design origins, age and even pattern identifications.

Figure 4. An six point hobstar with a large hobstarred hob and double outlined points filled with crosscut-ting. This example was produced by an interval of two points: why is this the only feasible interval for a six point hobstar?

Figure 5. A five point hobstar with hobstarred hob, points filled with crosscutting and flashing around the hobstar perimeter. The only feasible design for five point hobstars uses two point intervals, so that five point hobstars have a distinctive form factor. From the bottom of a bowl cut in the Marathon pattern by Dorflinger, see [Dorflinger 1970] pp. 24, 25; [Feller] pp. 273-274, 356; [Hobstar] CNP 1286 (Nov., 1990 p. 4); FC06.031.

Figure 6. A ten point hobstar in which each point is formed by the meeting of five miters, two of which ex-tend beyond the points. From a bowl cut in the Jubilee pattern by Hawkes, see [Hawkes 1902] p. 45; [New Revi] p. 168; [Complete] p. 80; FC04.071.

ACKNOWLEDGEMENTS

This article series has benefited greatly from the insights and suggestions of several advanced collectors who know quite a lot about hobstars. Some of this mate-rial wasn’t included until suggested by these fine reviewers. Illustrations came from many different sources; the pattern identifications and related literature citations have been an ongoing matter of discussion and research for several years.

FIGURE CAPTIONS

Editorial Note. There are references and teaching points embedded in many captions so they are paragraphs rather than sentences.

References

[AD1] Cut Glass Advertisements Book One (Albert Bros. through Dor-flinger), R. J. and V. K. Smith eds., LABAC, 2003.

[Charleston] Charleston, Robert J., Glass and the Glass Used in England, c400-1940, Harper Collins,1984.

[CIL] Cut Glass Catalogs: Clark, International Cut Glass, Libbey, et al., Val and Rob Smith eds., LABAC, 2006.

[Clark 1901] T. B. Clark Rich Cut Glass 1901 Catalog, ACGA gray cover reprint, 1988.

[Complete] The Complete Cut and Engraved Glass of Corning, E. S. Far-rar and J. S. Spillman, Crown, 1979.

[Dorflinger 1970] C. Dorflinger & Sons Cut Glass Catalog, reprinted by A. C. Revi (1970), again reprinted by the Dorflinger Glass Study Group (1981) and again later by P. Miles (n. d., with typewritten pat-tern index).

[DorLine] Dorflinger Line Drawings, reprinted by the ACGA in conjunction with the Dorflinger Museum, 1994.

[FC0x] Cut Glass Pattern Flash Cards, Sets One through Six (more to follow), Val & Rob Smith, eds., V-R Information Systems, 2009-2011.

[Feller] Dorflinger, America’s Finest Glass, J. Q. Feller, Antique Publi-cations, 1988.

[Hawkes 1902] T. G. Hawkes & Co. Salesman Sample Cards [Catalog] circa 1902, as reprinted by the ACGA and the CMoG (solid brown covers), 1989.

[Havens] Jim Havens, http://www.brilliantglass.com/about_abcg/motifs_3.html.

[Hobstar] The Hobstar, published ten times per year by The American Cut Glass Association.

[New Revi] Encyclopedia of American Cut and Engraved Glass, A. C. Revi, Schiffer, 2000.

[P1] Encyclopedia of American Cut and Engraved Glass, Volume 1: Geo-metric Conceptions, J. M. Pearson, 1975.

[Yasemin] http://www.brilliantglass.com/identifying_cut_glass/yasemin.html.

Figure 7. A 24 point hobstar having a faceted or “jew-eled” central hob. From the Waldorf pattern by Clark, circa 1901, see [Clark 1901] pp 4, 7 et al; [CIL] p. 14 et al; [AD1] p. CLK-45; [Hobstar] CNP 5573 (Oct., 2010).

Figure 8. A ten point hobstar having split points and “eyebrows” between points. From an unidentified bowl signed Hawkes.

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Volunteer Needed The American Cut Glass Association (ACGA)

is looking for a volunteer to become the Treasurer for the organization. Ginger Taylor, who has

been doing a magnificent job as current Treasurer, will not have the time to continue to

volunteer as ACGA Treasurer.

Basic duties of the job include but are not limited to: keeping the financial information of the Association in accordance with the

financial policies; pay the association bills; send finan-cial information to ACGA Board members as required; prepare the budget for the association with input and

agreement of the Board; attend Board meetings; handle all other financial matters as required by law.

If interested and for further details, please contact Karen Parker, President, ACGA. (703) 425-5574

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Cut Glass MASTER PATTERN INDEX Frustrated by weak Pattern Identification tools? You need the Master Pattern Index, covering and cross-referencing all American Brilliant Cut Glass literature. It’s really helpful: 50,000+ citations provide comprehensive Brilliant Period cut glass reference access. Entries include identified and pictured patterns found in all Hobstars, ACGA and other catalog reprints (including those not previously in-dexed), LABAC books. reference books and flash cards. This huge aggregation of pattern sources is an incredibly valuable research tool! The Master Index replicates no prior material. It is new information that took several years of hard work to accumulate, review and refine. Lots

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For only a short time, Master Pattern Index sets are available to everyone. Send your prepaid order to 281 E. Bald Eagle Drive, Shelton, WA 98584-6607. Include payment in full ($100 per set, check made to “Marcie McKaig”), recipient shipping address (no PO Box please!) and a contact email or phone number. Questions? Contact Marcie at 360-426-1933 or mmarcie@hctc.com. Prepaid orders close Sept. 22, 2011. Neither the ACGA nor LABAC will keep a long-term inventory of these sets, so this is your chance to obtain an extremely useful research and identification tool.

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8advertisingAdvertising in The Hobstar is open to all. Rates are based on a per issue display basis as follows

Single column 2.25” (1/8 page) $25.00 4.75” (1/4 page) $50.00 9.50” (1/2 page) $90.00Double column 4.75” (1/2 page) $90.00 9.50” (full page) $150.00

For instructions regarding submissions of ads, contact:

Robyn Kimberling 2224 Wren Court, Lewisville, TX 75077972.966.8444, thehobstar@yahoo.com

The editor reserves the right to accept or reject ads at her discretion. Please call for color options.

Payment must be received before ad is placed

The Hobstar is published by the American Cut Glass Association, Inc, (ACGA) for the express benefit of its mem-bers. All rights are reserved. Opinions expressed in any signed article appearing in The Hobstar are solely those of the author and do not necessarily reflect the views or opinions of the ACGA. The Hobstar editor reserves the right to accept or re-ject any material submitted for publication. Printed by Classic, Inc., 305 Market Street Shreveport, LA. 71101

ACGA Membership RENEWAL: ANNUAL DUES July 1, 2011 to June 30, 2012The Hobstar will be sent as selected:$35 — Receive The Hobstar via the Members Only section of the ACGA web site. Membership Directory is available to all members at this level on the ACGA web site. Email address required$55 — Receive The Hobstar in hard copy via Bulk Mail. Also available on ACGA web site. Do you wish to receive a hard copy of the Membership Directory? Yes ______ No ______$65 — Receive The Hobstar in hard copy via First Class Mail. Also available on ACGA web site.Do you wish to receive a hard copy of the Membership Directory? Yes ______ No ______International membership fee is $65.00 unless accepting The Hobstar & Directory online only

For address, phone or email change contact acgakathy@aol.com

ACGA Website www.cutglass.org

2011

ACGA Convention: Wednesday July 27, 2011 - Saturday July 30, 2011 Hilton Lake Buena Vista , Walt Disney World Resort 1751 Hotel Plaza Boulevard, P. O. Box 22781, Lake Buena Vista , FL 32830 Phone: 407-827-4000, Group Name: 2011 Annual Convention Group Code: CGAACGA Contact: Bill Meek, Phone: 239-261-2637, bbmeek@comcast.net

Black Hawk Chapter Meeting: Saturday, September 10, 2011 Location: Indiana State Fairgrounds, Indianapolis, INACGA Contact: Steve Mey, Phone: 217.344.6576, stevemey@illinois.eduRichard Lindstrom, Phone: 217.469.2256, pjwlindstrom@gmail.com

Ohio Valley Chapter Meeting: Saturday, September 10, 2011 Location: Hoosier Antiques Show & Sale (Indiana State Fairgrounds), Indianapolis, INACGA Contact: Steve Mey, Phone: 217.344.6576, stevemey@illinois.eduElton Linville, Phone: 812.934.4396, les44@etczone.com

2012 ACGA Convention: Tuesday August 21-Friday August 24, 2012 SanDiego Marriott Mission Valley 8757 Rio San Diego Dr. San Diego, CA 92108 Phone: 619-692-3800ACGA Contact: Judy Manginella, Phone: 760-233-7771, judysuem@cox.net

2013 ACGA Convention: Wednesday July 24 - Saturday July 27, 2013 Hilton Bella Harbor on Lake Ray Hubbard 2055 Summer Lee Drive, Rockwall, TX 75032 Hotel Phone: 214 771 3700ACGA Contact: Mike Kimberling, Phone: 972 877 1166, mikrob4@hotmail.com

8UPCOMINGe v e n t s

2011 ACGA Convention in Orlando

“Where Your Cut Glass Wishes Come True” Wednesday, July 27 – Saturday, July 30 2011

(The preconvention tour to the Morse and Lightner Museums is Tuesday, July 26.) Make your reservations early to stay at the Hilton at Disney Village .

Either telephone the hotel directly at 407-827-4000 or access the dedicated web site through the ACGA Website www.cutglass.org, be sure to state the code ‘CGA’ for the room rate of $99. plus $5. for parking.

P.O. Box 482Ramona, CA 92065-0482

Non-ProfitOrganizationU.S. Postage

PaidShreveport, LAPermit No. 387

COLLECTION REDUCTIONHEALTH ISSUES CAUSE LONG TIME CUT GLASS FAN

TO SELL GREAT CUT GLASS PIECES. HEIR NOT A SERIOUS COLLECTOR

1. Great Cologne in the Teutonic Pattern. Signed Hawkes

Base & Stopper 4” x 8” T--$775

2. Pedestal Creamer & Sugar. This rarity is stunning and perfect. 24 Pt hobstar base--$2450

3. Dorflinger Goblet “Lincoln Administration” Pg. 271 Revi 3-1/2” x 6-1/2” T--$275

4. Ramekin in the starred button Russian Pattern. Sharp, clear and gorgeous--$225

5. Rum Jug in the Anderson Pattern, Fredericka. Rare--$925

6. Comport in the Alhambra Pattern w Wilcox Sterling Rim 6” x 5” T--$1100

ALL VETTED & BLACK LIGHT. MAIL OR PICK UP AT CONVENTION

Contact: Steve Campbell,

314-753-1212

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