How can you tell if an etching is authentic?

Posted on August 18, 2014 by Philip Chasen

My goal is to publish new posts twice a week — Mondays and Thursdays. However, if you don’t see a new post on Thursday, it’s because I was too busy, so please look for a new one the following Monday.

There isn’t much going on in the summer, so I’ve decided to reprint another one of my most popular blogs — How can you tell if an etching is authentic? Here it is in its entirety.

Louis Icart pulling a proof of Joy of Life from the etching press

First one has to understand the process of producing an etching. The artist does his work on a copper plate, so the “original” is a copper plate that’s rarely for sale. To produce the image, the plate first is hand-inked. Then the paper is laid down on top and the two pass together through the etching press, under tremendous pressure. The pressure transfers the image to the paper. Since the copper plate has thickness, it “dents” the paper around the edge of the image. This “dent” is called a plate impression. You can see it and feel it around the edge of the plate. So #1. A real etching has a plate impression.

Since the process is not photographic and there is no printing press, there are no dots in the image. If you use a magnifying glass to look at a photograph in a newspaper, you can see the entire image is made up of dots. Use a magnifying glass with an original etching and there are no dots. So #2. An authentic etching does not have any dots in the image.

After the edition is printed by the master printer, it is given back to the artist for hand-signing. Prints or other fakes have copies of the signature. So #3. Authentic etchings are hand-signed by the artist, usually in pencil.

In the case of Louis Icart, a raised seal called a blindstamp, was created in mid-1926, and is usually found in the lower left corner, just below the image. Most Icart images produced after this time have the blindstamp, but don’t use this information as a crutch. There are some fake etchings that have fake blindstamps. And conversely, there are many authentic Icart etchings that do not have blindstamps. Supposedly the etchings without blindstamps were not for export from France, but personally I’ve found too many instances where this rule doesn’t pertain.

Don’t forget to make your last-minute arrangements for the Baltimore Summer Antiques Fair. It starts this Thursday, August 21st at noon and continues until Sunday, August 24th at 6 PM. I promise you’ll enjoy the show and the Baltimore Inner Harbor. Please come to my booth, #2100, and say hello. Thursday’s blog will be from Baltimore on opening day of the Baltimore Summer Antiques Fair and next Monday I’ll post the results of the show.

Click here to view our new website and look around. We always strive to offer the finest objects for sale on our website and at every show. There are many items for sale, sold items with prices and free lessons about glass and lamps.

How to clean antique glass including Tiffany Studios Favrile and French Cameo Glass

Posted on August 14, 2014 by Philip Chasen

There isn’t much going on in the summer, so I’ve decided to reprint one of my most popular blogs — How to clean antique glass including Tiffany Studios Favrile and French Cameo Glass. Here it is in its entirety.

Having sold many thousands of antique glass vases over the years, I’ve learned a lot about how to clean them from trial and error and a few mistakes. It also doesn’t hurt to have a Master’s Degree in Chemistry.

Most people are quite timid about using chemicals on glass. They’re afraid they’ll ruin their vase by removing the decoration or somehow damaging it. There are very few times this would actually be true. Cold-painted decoration on a vase could be ruined by the use of some chemicals but Tiffany Favrile vases and 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 any color comes off, stop and use only the mildest cleaners.

Eco-House citrous thinner

The first step is to remove any sticky substances, which will dissolve in organic solvents such as mineral spirits or acetone (nail polish remover). There are also some good commercial products available, 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. Click here if you’d like to order it.

Start by looking for anything sticky with your eyes and your fingers. Wet a rag or paper towel with 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 old 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 your vase slippery, so be very careful not to lose control and break it. The gentlest cleaners are dishwashing liquid or Windex. I like to use them with 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 again with a toothbrush or 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 it’s 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 the dirt nicely, but also 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 if it feels slimy.

To clean the inside of your 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 may be scratches on the inside of the vase. 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 coating. Cleaning this off often reveals unexpected bright and beautiful colors.

Don’t forget to make your arrangements for the Baltimore Summer Antiques Fair. It starts next Thursday, August 21st at noon and continues until Sunday, August 24th at 6 PM. I promise you’ll enjoy the show and the Baltimore Inner Harbor. Please come to my booth and say hello. Monday I’ll post the results, which I trust will be good.

Learn your Gallé and Daum Nancy shapes to stay out of trouble

Posted on April 2, 2012 by Philip Chasen

Glass vases are easily damaged. It’s the nature of glass — it’s delicate. So what does one do if a vase gets chipped? Doesn’t make sense to throw it in the garbage, so you get it fixed. Repairs to tiny chips don’t have much of an effect on value. For bigger chips or cracks, a makeover may be necessary, and that will certainly affect value. The vase will still have some value, but that’s a nebulous area. If it’s sold at auction, the discount could be slight or major. And that’s where the problem lies.

Sometimes the experts at auction galleries know that a vase has had a major alteration and sometimes they don’t. That puts most of the responsibility on your shoulders. If you know what the shape should be, you’ll notice any alterations. Here are a couple of examples.

Sotheby's lot #211 is on the left

The first is a Gallé chrysanthemum blownout vase that was sold at Sotheby’s New York on March 7, 2012, as lot #211. It was estimated at $6,000 – $8,000 and sold for $7,500, including buyer’s premium. Chrysanthemum is a rare model that would have done much better, if it were perfect. As you can see from the photo, a substantial portion of the top of the vase was missing. My guess is that the buyer was unaware of the problem (and will be pretty unhappy if (s)he reads this blog).

Bonham's vase is on the left

Bonham’s will be selling a Gallé seed pod blownout vase. They know that the top has been cut off, so it’s listed in the catalog as “reduced”, but they apparently don’t know the foot has been “reduced” also. The estimate is conservative at $1,000 – $1,500. This is a vase that is so problematic, it’s anyone’s guess what it may sell for (and it may not sell, if there’s a reserve).

So what is a collector to do? There are only a few choices. The first is to become knowledgeable and learn your shapes. That’s not an easy thing to do, as it takes lots of time and exposure to the vast selection of French cameo glass available. The second is to buy from a dealer who’s knowledgeable and whom you trust. (Hmm, I have a suggestion.) Third, is to deal with reputable auction galleries. Ask for condition reports in advance. Hopefully, the experts in charge will have the knowledge you need.

Our next show is the Arlington Park Racetrack Antiques Show, in Arlington Heights, IL, April 13-15. We always enjoy coming to the greater Chicago area. We’ve got lots of friends there and look forward to seeing them again. Come to the show! There are some great exhibitors and we’ll be bringing an outstanding display.
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Rare Le Verre Francais Lézards vase, 11½ inches tall

Look around my website. There are many items for sale, sold items with prices and free lessons about glass and lamps. I regularly add Tiffany vases, lamps and desk accessories, as well as French cameo glass by Galle and Daum Nancy and Louis Icart etchings. Here’s the link. chasenantiques.com

French cameo glass reproductions are still a problem

Posted on October 27, 2011 by Philip Chasen

Recently I’ve had more time to write about the interesting things happening in the antiques world. When there’s no one in my booth at a show, I keep busy by writing blog posts. So for the next few weeks, I will publish new posts twice a week — Mondays and Thursdays. However, if you don’t see a new post on Thursday, it’s because I was too busy, so please look for a new one the following Monday.

French cameo glass reproductions have been around since the 1980s, when the Romanians started making them. In my continuing effort to help people avoid making purchasing mistakes, I try to educate the public. If you haven’t read my lessons on French cameo glass, I suggest you start by clicking the following link. Free French cameo glass lessons. Then read my several blog posts about reproductions. (Use the search bar on the right.) Then come and visit me at one of my shows. I’ll be happy to answer your questions in person.

If you are trying to determine the authenticity of a vase, first compare it to the photos below. If yours is very similar, you probably have a reproduction. Then compare it to the many photos of authentic vases on my website that I have for sale or have sold. If you still can’t tell or want to be 100% sure, my fee for appraisals is $125 for the first item and $75 for each additional item. All I need is one or two emailed photos and your credit card information. (Please don’t send credit card information in an email.)

Vase with spurious Daum Nancy signature

Apparently all the free help I provide is insufficient, as half of the items I appraise turn out to be reproductions. Most of them are instantly identifiable to the trained eye, but that takes years of work. So to help more people, here are photos of some of the reproductions I’ve appraised in the last few years.

Galle reproduction #1

Galle reproduction #2

Galle reproduction #3

Galle reproduction #4

Galle reproduction #5

Galle reproduction #6

This Galle vase is authentic. Can you tell the difference? It has superb color.

In the meantime, check the listings on my website, which I will update as often as I can. I’ll be photographing all my new Gallé and Daum purchases and listing them on my website. Recently I listed quite a few Tiffany, Handel and Pairpoint lamps and some very rare Louis Icart etchings including Melody Hour and Mardi Gras. There are also several fine Daum vases; a Daum lamp; several Galle vases; and several more Tiffany Favrile vases. Coming soon will be several wonderful European ceramic items by Clement Massier, Zsolnay and Amphora. Here’s the link. chasenantiques.com

French cameo glass lessons — Galle blownout vases

Posted on September 16, 2010 by Philip Chasen

The following post took quite some time to write, so I’m leaving it on for an additional couple of days. You won’t want to miss my next post on Wednesday, when I’ll report about an incredible auction result for a rare Tiffany Studios object.

Monumental Galle calla lily blownout vase

The basic technique used in the manufacture of French cameo glass was acid-etching. After the vases were built up with layers of colored glass, they were then cut back with hydrofluoric acid. The design was protected with a waxy substance called a resist. The process was repeated as often as necessary to create the desired level of detail. The result was a raised design that could be seen and felt with your fingers.

The French makers were not content to make the same type of vases again and again, so they experimented with various techniques to achieve different results. It is thought that the technique of mold-blowing by the firm of Emile Gallé was not added to their repertoire until after WWI. By that time, Emile Gallé had already died.

Using this technique, the artists first had to carve an original model, from which a mold was made. Molten glass was poured into the mold to create a blank. From there, the techniques were the same – build up the layers of colored glass and then use acid to cut them back. The result was very effective, creating flowers or fruit or animals, that stuck out from the body of the vase and became three-dimensional.

Galle apple blownout vase

In the United States, the Pairpoint Corp. of New Bedford, Massachusetts, patented the technique for “puffy” lamps in 1907. Pairpoint puffy lamps are basically the same as Galle blownout vases, except that the lamps were hand-painted and then fired, rather than acid-etched. It’s curious. Perhaps there was some trans-ocean cross-pollination between the two companies? Perhaps someone at the Galle factory first saw a Pairpoint puffy lamp and decided the technique could be applied to Galle glass? Or the other way around, although the dating makes this less likely?

Pairpoint puffy Apple Tree lamp

Blownout vases can be of identical form, but not identical. They will differ in color, depending on the choice of colored glass used to cover the blank. They may also differ slightly in design, depending on the etching.

Two Galle clematis blownout vases in different colors

Galle produced approximately fifty different models of blownout vases, from small to huge. The clematis blownout vases pictured above are examples of small blownout vases, approximately 6″ tall. The calla lily vase is huge and the largest of the blownout vases, approximately 14″ tall and bulbous (from memory and surely not accurate).

Blownout vases (sometimes called mold-blown or souffle) are highly desirable and collectible. They have always commanded a premium price over similar, non mold-blown examples. Prices in today’s market range from a low of about $5,000 to over $100,000 for rare models, such as a white elephant blownout. An average price would be about $15,000.

Very rare Gallé white elephant blownout vase

Other companies, such as Daum, employed the technique of mold-blowing, but Gallé embraced the technique and produced the largest number of different blownout vases.

I’ve seen various collectors put together collections that included a number of blownout vases, but to my knowledge, no one has ever tried to put together a collection with every known example of Galle blownouts. I think that would be a great, fun challenge, but one has to have the means and the desire to achieve it.

I just came back from a successful buying trip. Over the next week, I will be adding to my website recently acquired Daum, Galle and R. Lalique vases. Please take a look. Click on this link chasenantiques.com.

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

Variations in Tiffany Studios Favrile lily lamps and shades

Posted on May 10, 2010 by Philip Chasen

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.

Pate-de-verre French glass by A. Walter and Argy-Rousseau

Posted on November 18, 2009 by Philip Chasen

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

Some treasures I’ve owned, part III, Martin Brothers Stoneware

Posted on October 8, 2009 by Philip Chasen

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

What is Art Deco?

Posted on September 22, 2009 by Philip Chasen

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

What is Art Nouveau?

Posted on September 21, 2009 by Philip Chasen

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

Philip Chasen Antiques

The blog for chasenantiques.com

Category Archives: Lessons

How can you tell if an etching is authentic?

How to clean antique glass including Tiffany Studios Favrile and French Cameo Glass

Learn your Gallé and Daum Nancy shapes to stay out of trouble

French cameo glass reproductions are still a problem

French cameo glass lessons — Galle blownout vases

Variations in Tiffany Studios Favrile lily lamps and shades

Pate-de-verre French glass by A. Walter and Argy-Rousseau

Some treasures I’ve owned, part III, Martin Brothers Stoneware

What is Art Deco?

What is Art Nouveau?