Tiffany Favrile lily shade with wavy rim

Tiffany Favrile lily shade with ruffled rim

Tiffany Studios produced lily lamps in many sizes from 3-light to 18-light, as well as custom-order. Over the course of decades, the models were tweaked with subtle improvements, like thicker tubing, bronze leaf switches, better patina, etc. Early on, Tiffany spent little time matching shades, as can be seen in period photographs in books like Tiffany at Auction by Alistair Duncan. Later examples have better matched shades, which today’s collectors prefer.

Tiffany Favrile lily shade with straight rim

Tiffany Favrile lily shade (damaged) with 10-point rim

Most Tiffany lily lamps have gold iridescent shades, but the shapes vary. For the most part, they fall into four categories — straight, 10-point, wavy and ruffled.

Many of you may recall Minna Rosenblatt, a NYC dealer who had a shop on Madison Ave. For many years, she specialized in the works of Tiffany Studios, especially lamps.

Looking into the mouth of a Tiffany Favrile 10-point lily shade

She was a master salesperson, who could sell ice in the winter. She was the first person who I heard use the term “10-point” to describe a lily shape. The 10 points can easily be seen by looking into the mouth of the shade.

No need to look into the mouths of the other shapes to verify their shapes — they’re easy to tell. Besides the shape, other variations include color, iridescence, ribbing and size.

Occasionally I’m asked to find a replacement lily shade for a missing or damaged one. When matching them, I look first to the shape, then to the color, and then to the other characteristics. There are no perfect matches, only good ones. In today’s market, an individual lily shade is likely to cost $3-4,000. As most dealers are unwilling to sell individual lily shades, it’s best to buy good quality, complete lamps.

I’m taking a lot of time to add new items to my website. In the last few days I’ve added to the Gallé glass and Icart etchings listings. Please take a look, as every day I’m adding more. Click on this link chasenantiques.com.

Please send me your suggestions or questions about art glass, lamps, Louis Icart, shows, auctions, etc. If it’s interesting, I’ll answer your question in a future blog.

A. Walter pâte-de-verre tray with lizard

I buy and sell a lot of French cameo glass, mostly from the Art Nouveau period, 1890-1920, and the Art Deco period, 1920-1940. Some of the highest quality glass from these periods is not cameo glass, but rather pâte-de-verre (pronounced pot, as in pot of stew). It was formed in molds from colored glass powders and heated in kilns until the glass solidified, a process called vitrification. Upon removal from the molds, the items were cleaned with hydroflouric acid, washed, polished and finished for sale. Decorators such as Henri Bergé and Joseph-Gabriel Argy-Rousseau created the original models from which the molds were made. Multiple copies of the same model can be produced with a mold, so the differences that are seen are in the colors. Depending on the choice of colors or the firing temperature, each example of the same model will differ in color, but not design. Collectors value some colors more than others, so the price will vary for the same model. Muted colors tend to be less desirable and therefore lower in price.

Argy-Rousseau pâte-de-verre wolf vase

Argy-Rousseau’s production included vases, sculptures, boxes, and pendants, whereas Walter produced very few vases. Argy-Rousseau’s most desirable models include animals like wolves or lions, or women, like ballerinas.

A. Walter pâte-de-verre paperweight with snail

Almeric Walter produced his best work after the end of WWI into the 1920s. He is most famous for his 3-dimensional sculptures, especially with animals like lizards or insects like bees. He preferred to use opaque glass, whereas Argy-Rousseau used both translucent and opaque glass.

The start of the Depression in 1929 impacted the production of pâte-de-verre glass dramatically. Interest and production waned significantly in the 1930s. The glassware was mostly forgotten for decades and rediscovered later. By the 1970s, it had become highly collectible and has been ever since.

Please send me your suggestions or questions about art glass, lamps, Louis Icart, shows, auctions, etc. If it’s interesting, I’ll answer your question in a future blog entry.

Call or write and let me know what you would like to buy, sell, or trade. philchasen@gmail.com or 516-922-2090. And please visit my website. chasenantiques.com

A rare and fantastic Martin Brothers stoneware creature

If you’re not familiar with the Martin Brothers of London & Southall, you should be. They produced the zaniest, most whimsical stoneware that one could imagine. What’s amazing is that they did it over 100 years ago. Many Martin Brothers objects look like they could have been made yesterday.

A Martin Brothers spoon warmer

It’s hard to be neutral about Martin Bros. ceramics — either you love it or you hate it. In case you couldn’t figure it out (of course you could), I fall into the “I LOVE IT!” category. I look at a wonderful piece and smile. I love all the categories of items I sell, but Martin Brothers has to be my favorite. There are quite a few important collectors who agree and have put their money where their mouths are — I’m talking about very serious and valuable collections.

A rare and wonderful Martin Brothers double bird of two lovers.

Early Martin Bros. ceramics from the 1870s and 1880s was for lack of a better word “ordinary”. They produced vases with simple and realistic flowers or geometric decorations. At some point in the 1890s, they started to produce “grotesque” objects with sea creatures or monsters, or wildly imaginative birds. The more grotesque, the better. Today, the most famous and highly sought after pieces are the bird tobacco jars, with removable heads. Each bird is an individual, with no two identical, as they were not made in molds. The more personality, the better the bird.

Save up your pennies, because Martin Bros. does not come cheap. A decent bird tobacco jar starts at $15,000 and goes up quickly from there, depending on the personality, glaze, size and condition.

Please send me your suggestions or questions about art glass, lamps, Louis Icart, shows, auctions, etc. If it’s interesting, I’ll answer your question in a future blog entry.

Call or write and let me know what you would like to buy, sell, or trade. philchasen@gmail or 516-922-2090. And please visit my website. chasenantiques.com

The Chrysler Building in New York City

The Art Deco movement began developing in the 1910s during a transitional period from the Art Nouveau movement. It was in full bloom by the 1920s and 1930s. Art Deco is characterized by stylized designs of people and flowers, as well as geometric designs, and is frequently symmetrical. This is the total opposite of Art Nouveau, where asymmetry is the usual rule. European works of Art Nouveau art trumped American examples, but not necessarily so with the Art Deco movement. There are exceptional examples on both sides of the pond.

An entrance to Rockefeller Center in New York City by Alfred Auguste Janniot

New York City has some of the finest examples of Art Deco architecture in the world. The Chrysler Building, the Empire State Building and Rockefeller Center are prime examples. In collaboration with famous European artists, the French sculptor, Alfred Auguste Janniot, was employed to create a superb Art Deco, gilded bronze entrance to Rockefeller Center.

Le Verre Francais Poissons vase

In France, Charles Schneider fully embraced the Art Deco movement and created the finest glass of the period. The designs were stylized and symmetrical. The technique was acid-etching and the vases were signed “Le Verre Francais”. The colors of Art Deco glass are bright and happy as opposed to the mostly true-to-life colors of the Art Nouveau period.

Icart etching 'Speed II', 1933

Louis Icart was most popular during the Art Deco period. His art became more Art Deco as the period became more popular. Here is an example of one of his famous etchings, entitled Speed II, published in 1933. It’s more Art Deco than his original version which was published in 1927 and was very successful. Notice especially the change in the woman’s hairdo.

Speed I on the left and Speed II on the right

By the early 1940s, the Art Deco movement had pretty much run its course, but its popularity is very much alive today.

Please send me your suggestions or questions about art glass, lamps, Louis Icart, shows, auctions, etc. If it’s interesting, I’ll answer your question in a future blog entry.

Call or write and let me know what you would like to buy, sell, or trade. philchasen@gmail or 516-922-2090. And please visit my website. chasenantiques.com

Alphonse Mucha poster 'Job'

The Art Nouveau movement started in the 1890s, drawing its inspiration from nature. Women, flowers and insects were pictured realistically with curved flowing lines that were rarely symmetrical. A poster by the Austrian artist Alphonse Mucha for the cigarette paper “Job” (pronounced “johb”), is a famous and marvelous example of Art Nouveau art.

Casa Batlló, a Gaudi building in Barcelona

The Spanish architect Antoni Gaudí, was a great proponent of the Art Nouveau movement. His famous buildings still exist in Spain, mostly in Barcelona.

Emile Gallé dragonfly table

In France, the Art Nouveau movement flourished with Emile Gallé at the forefront. He created some wonderful examples in both glass and wood, often incorporating a dragonfly into his work, one of the quintessential symbols of the Art Nouveau period. Sometimes in glass, two similar examples exist, one with and one without a dragonfly. The value can double with the incorporation of a dragonfly into the work. How about two or three dragonflies? Even better.

The best examples of Art Nouveau are European, but there are some outstanding American examples, with Louis Comfort Tiffany leading the way.

The Art Nouveau movement started to lose its luster in the teens, when it underwent a transitional period, leading to the Art Deco movement in the 1920s and 1930s. More on Art Deco tomorrow.

Tiffany Studios Double Poinsettia table lamp with fantastic Art Nouveau root base

Please send me your suggestions or questions about art glass, lamps, Louis Icart, shows, auctions, etc. If it’s interesting, I’ll answer your question in a future blog entry.

Call or write and let me know what you would like to buy, sell, or trade. philchasen@gmail or 516-922-2090. And please visit my website. chasenantiques.com

Most people are quite timid about using chemicals on glass. They’re afraid they’ll ruin the vase by removing the decoration or somehow damaging it. There are very few times this would actually be accurate. Cold painted decoration on a vase could be ruined by the use of some chemicals but Tiffany Favrile vases or French cameo vases by Daum, Galle, and others have no cold painting, so all of the steps I describe below are appropriate. If you suspect that your vase has cold painting on it, test a small area with one of the cleaners below, using a Q-tip. If the color of the paint comes off, use only the mildest cleaners.

Eco-House citrous thinner

The first step is to remove any substances that will dissolve in organic solvents such as mineral spirits or acetone (nail polish remover). There are some commercial products available that are also good, such as Goo Gone, available at stores like Office Depot, or online. Another product I like is citrous thinner, made from orange peels. It smells a lot better than the other solvents and is quite effective. Use this link if you’d like to order it. Eco-House, Inc.

Start by looking for anything sticky with your eyes and your fingers. Take a rag or paper towel and use just a little solvent. Rub the affected area until the dirt or stickiness is gone. Mineral spirits is a gentler solvent than acetone, so try it first. Mineral spirits is especially good for removing the gum from labels. Use acetone second, if you need a stronger solvent. These various solvents will also remove crayon, sap, or any similar substance.

Easy-Off Fume Free

Next we’re ready for aqueous cleaning. I suggest you do this in a sink. Most of the cleaners will make the vase slippery, so be very careful not to lose control and break your vase. The gentlest cleaners are dishwashing liquid or Windex. I like to use an old toothbrush. Scrub the vase with the first cleaner and see if the dirt comes off. If it’s stubborn, you can proceed to the next level of cleaning power with commercial products like Scrubbing Bubbles or Dow Bathroom Cleaner. Repeat the process. Spray the vase, let it sit for a few minutes and clean with a toothbrush or other similar brush. If that’s not strong enough, you can go to the highest level of cleaning power — Easy-Off. There are two types of Easy-Off available. The blue can, labeled “Fume Free” is the one I recommend. (It’s not really fume free, but not too bad.) It’s powerful and should remove any leftover dirt. Finally rinse your vase thoroughly in plain water and dry completely with an old towel. If it’s safe, let it dry upside down. It’s a good idea to use gloves to protect your hands, an apron to protect your clothing and glasses to protect your eyes. Easy-Off in the yellow can is lye (sodium hydroxide). It’s very powerful. It will eat through your clothes and skin as well as severely damage your eyes. Immediately flush with plain water if you have an accident. You’ll know you’ve gotten it on your skin as it feels very slimy.

To clean the inside of a vase, you’ll need various brushes to reach hard-to-get-to areas. Just use one of the sprays above, let sit, and brush away. Justman Brush Company sells hundreds of different brushes.

A vase whose glass has been etched on the interior

Vases that have been used with water over the years can present bigger problems. The first problem is the inside of the vase may be scratched. The second and more serious problem goes under the general category of “sick” glass and may include etching of the glass interior or depositing of lime or other minerals, which usually shows as a white deposit. Cleaners will not effectively fix these problems. The only real way to treat problems of this sort is to go to an expert who can “tumble” the vase to resurface the interior. It’s basically the same as sandpapering the entire interior — great for a transparent vase, but not as good for a vase that has a finish on the interior like an iridescent vase. Use this link for Paul Nulton, who does this kind of work.

Sometimes with a minimum amount of work, the results can be quite gratifying. Many vases were kept in homes where the owners smoked or the air was smoky from fireplaces or stoves. This shows as a dingy brown overall covering. Cleaning this off can sometimes reveal unexpected bright and beautiful colors.

Please send me your suggestions or questions about art glass, lamps, Louis Icart, shows, auctions, etc. If it’s interesting, I’ll answer your question in a future blog entry.

Call or write and let me know what you would like to buy, sell, or trade. philchasen@gmail or 516-922-2090. And please visit my website. chasenantiques.com

Electric, kerosene and candle versions of Tiffany Studios candle lamps

You would think that all Tiffany candle lamps use candles, but not all do. There are actually three versions — electric, kerosene and candle. All candle lamps have three basic components, the base, the insert and the shade. They may differ in the height of the base, the decoration on the insert and the decoration on the shade. The typical shade is undecorated iridescent gold with beautiful stretch glass.

Candle insert with pulled feather decoration

Gold iridescent insert with electric socket and pull chain

The electric version has an electric socket for a light bulb. The wire passes down from the socket, through a hole in the bottom of the insert where it enters the base and emerges from a hole in the base. The hole in the base is original from Tiffany Studios on all electric candle lamps. The example pictured has the rarer undecorated gold iridescent glass insert.

Pulled feather insert with kerosene burner and pulled feather decorated chimney

The kerosene version has a wick and a burner. The kerosene is stored in the insert, then absorbed by the wick and burned. This version has a fourth part, the chimney. It’s the rarest of the three versions and the most desirable, especially by collectors of miniature oil lamps.

No post on Monday, Labor Day. Tuesday’s post will be about the results of the Baltimore Summer Antiques Show.

Please send me your suggestions or questions about art glass, lamps, Louis Icart, shows, auctions, etc. If it’s interesting, I’ll answer your question in a future blog entry.

Call or write and let me know what you would like to buy, sell, or trade. philchasen@gmail or 516-922-2090. And please visit my website. chasenantiques.com

Philip & Lia Chasen

Having exhibited at hundreds of shows over 35 years, I’ve seen attendees do some unusual and sometimes unacceptable things.  As a service to the showgoing public (and also to me),  I’ve decided to write about some of them as suggested guidance.  I would think that some of them are obvious, but apparently not.

It is totally unacceptable to open a closed showcase and handle the merchandise without first asking permission.  This really has me scratching my head.  It’s completely obvious to me, but not to the people who’ve done this in my booth.  The first thing I think is that the person may accidentally damage an item.  Then I question whether this person might be a shoplifter.  It feels like someone has come into my house and started opening the drawers.

Some jokes are older than rocks.  Here are a couple.  After asking the price for an item and finding out it’s expensive, I frequently hear “Do you have a pair?” Arrgghh!  How about this reply?  “I’ve got such good taste.”   May I suggest “Thank you” or something similar?

Is it OK to negotiate?  Absolutely, it’s expected.  I suggest asking “What is your best price?” or “Can you do better?” Making an offer is also quite acceptable.  “Would you take $X?”  The dealer may say yes, no, or make a counteroffer. If you make an offer, you’re on the hook, so don’t make one if you’re not prepared to complete the transaction.

“I’ll give you $X dollars” gets some dealers quite upset.  I think it makes them feel like peddlers.  It doesn’t bother me, but some dealers see red.

It’s not OK to take photographs in a dealer’s booth without first asking permission.  Some dealers prefer that no photos be taken, as an additional layer of security.

Please send me your suggestions or questions about art glass, lamps, Louis Icart, shows, auctions, etc. If it’s interesting, I’ll answer your question in a future blog entry.

Call or write and let me know what you would like to buy, sell, or trade. philchasen@gmail or 516-922-2090. And please visit my website. chasenantiques.com

Icart "Lady of the Camelias", with original frame and mat

Some people like them that way. They show their age (usually 70-90 years old). They’re probably authentic (it’s difficult to fake the brittleness and other signs of age). They have character, with nicks in the frame and faded mats. The problem is they’re getting worse, year after year. The degradation continues with constant exposure to high acid levels, bright light and humidity. Remember the value is in the etching itself, a sheet of paper. It’s the cake, while the mat and frame are the frosting. Good restorers are capable of reversing most of the damage that’s accrued in almost a century.

The process starts by removing the etching from the frame. That’s pretty simple. There is usually a paper backing that can be torn off. (It can’t be reused so it doesn’t matter if you tear it off.) Below that is the backboard. That’s usually held in with many nails around the perimeter on older frames. Later frames may have framing points. Either one can be removed with a flat screwdriver and a needle nose pliers.

Framing points

Then the backboard is removed to get to the etching underneath. Depending on the technique of the original framer (and they had many different styles), the etching may be a loose sheet that’s taped on the top or the edges (that would be the best). Usually the etching is found within a glue sandwich — glued to the board in the back and the mat in the front. Every variation is possible — the etching may be glued only to the mat in front, or only to the board in the back or only glued around the edges or best of all, no glue at all.

The restorer then puts the etching in a full bath and begins the process of separating the paper from anything it’s glued to and then to removing the glue itself. Sometimes the glue softens and the job of removal is facilitated, but on occasion the glue is tenacious and removal becomes a very labor intensive and time-consuming process. It’s very easy to damage a soaking wet etching, so this job should be left to a professional.

Once the sheet has been freed, a chemical process is started that in most cases can reverse most of the effects of aging. (Sounds wonderful to me. I’d like to get dipped myself and see if I can reverse the effects of aging.) If it’s done properly, the foxing can be eliminated and the light darkening and acid burns can be reversed.  The etching is then thoroughly washed, which eliminates most of the acid. A buffering solution can be added to slow down future acid buildup and finally the etching is dried in a press. Most of the hand-painted details like lipstick are lost in the restoration process and have to be reapplied by hand.

Now the etching is a loose sheet that looks almost as good as the day it was made. It’s ready to be framed properly by modern standards. That means that non-acidic materials are used in the framing and mounting. Rag mats are made of cotton and are pH neutral (A pH of 7 is neutral). Anything that comes in contact with the etching either is acid-free or separated by an acid-free barrier. With proper conservation and framing, your etching will look great and last for many more years.

Contact me if you have an etching that needs conservation.

Please send me your suggestions or questions about art glass, lamps, Louis Icart, shows, auctions, etc. If it’s interesting, I’ll answer your question in a future blog entry.

Call or write and let me know what you would like to buy, sell, or trade. philchasen@gmail or 516-922-2090. And please visit my website. chasenantiques.com

Icart "Silk Robe" in original frame. The mat is glued to the etching and the etching is glued to a board.

The second problem is acidity. Paper is naturally acidic due to the acid in pulp, mainly tannic acid. Over time cellulose fibers in the paper break down and add to the acidity. The framer’s offense was to use acidic mats and back boards in framing the etchings. These materials were in constant contact with the etching, allowing acid to leach onto the paper. All of these acid sources contribute to the problem. The acidity causes the paper to weaken and degrade, making it brittle and yellow and eventually destroying it.

After the mat has been removed, the moderate light darkening of the image is evident

An Icart etching with foxing in the margins