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

Posted on September 14, 2009 by Philip Chasen

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 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. Click here if you’d like to order it.

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

Tiffany candle lamps lesson

Posted on September 4, 2009 by Philip Chasen

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

The candle version has an insert with a spring loaded candle. As the candle burns, the spring pushes it up. The example pictured has pulled feather decoration on the glass insert. This is more common than the solid gold iridescent insert.

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

Suggested etiquette when attending an antique show

Posted on August 27, 2009 by Philip Chasen

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

My Icart etching doesn’t look good. What can I do about it?

Posted on August 26, 2009 by Philip Chasen

Most Icart etchings that are in original frames with original mats have problems, such as foxing, light darkening, glue or acidity, amongst others. Read yesterday’s blog for a more complete explanation.

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

My Icart etching doesn’t look good. What is the problem?

Posted on August 25, 2009 by Philip Chasen

Icart was most popular in the 1920s and ’30s. At the time, it was fashionable to give a gift for a wedding or special occasion, rather than money. What better gift than an Icart etching? They were beautiful, signed by the artist, limited edition, and reasonably priced, most in the range of $15-30. The sellers of the art, mainly art galleries and department stores, were not interested in the art as investment, so they were expedient in framing.

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

What was done that was expedient? The worst offense was to use glue. Loose sheets of paper do not usually lay flat when framed, especially in humid areas. So the problem was solved by gluing the paper to a board, usually with horse glue. Most times the etching was also framed with a mat in front that was frequently glued to the etching.

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

The third problem is called light darkening. This is the process by which an etching darkens when struck by sunlight, getting worse year after year. Sometimes the darkening is so severe that it’s difficult to make out the image, but that’s rare. Usually there is slight to moderate darkening.

An Icart etching with foxing in the margins

The last problem is called foxing. This is usually (but not always) caused by fungal or mold growth on the paper, aided by high humidity. It shows up as brown spots.

Can anything be done about these problems? Tune in tomorrow for “My Icart etching doesn’t look good. What can I do about it?”

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 importance of flowers in French Cameo Glass, especially Daum Nancy

Posted on August 21, 2009 by Philip Chasen

Rare and unusual shaped Daum Nancy bowl with violets

When I first started collecting and selling French cameo glass over 30 years ago, there were red flowers and blue flowers and yellow flowers. Then one day a Japanese client asked me the name of the flower on the vase I was offering. What a strange question! Nobody had ever asked me that question before. Now suddenly I had to become a botanist and know my flowers. Well it’s a good thing I did because the market has changed dramatically since then.

Fine Daum Nancy ewer with poppies

Japanese buyers changed the nature of the French cameo glass market. They were very particular about which flowers they wanted and which they didn’t. Violets were their favorite, with roses and poppies tied for second. Then in 1990, Japanese buyers suddenly dropped out of the market because of a crash in the value of their real estate. As a result, one might think that Japanese buyers have little impact on today’s market, but their influence remains strong. The flowers favored by Japanese buyers earlier are the ones that are still favored today. As an example, Daum vases with violets can sometimes command double the prices of similar vases with different flowers.

Vases by Daum Nancy with wheel-carved tobacco flowers

Daum Nancy vase with wheel-carved tobacco flowers

Vases by Daum Nancy with tobacco flowers are more sophisticated than other similar vases because the flowers on these vases are almost always wheel-carved. The problem is that the flowers are not enameled, so the color is too similar to the background. Most buyers don’t find them as attractive as some other flowers. This is one of those instances where even though the technique and quality are excellent, the vases are difficult to sell.

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

Beware of Tiffany Studios fakes, especially on eBay

Posted on August 14, 2009 by Philip Chasen

Tiffany fake #1

Tiffany fake #3

Tiffany fake #2

Thanks to Hank Hancock for the idea for this blog and the photos.

The problem with fake Tiffany Favrile glass items is not widespread, but you certainly want to avoid becoming one of the people who gets stuck with one. The following examples have all been for sale on eBay recently. It’s hard to say whether the sellers are nefarious and know they are selling reproductions or just ignorant, but my experience tells me a fair percentage of them know the truth.

Tiffany fake #4

Tiffany fake #6

Tiffany fake #5

So how can you tell? Sorry, but there’s no easy answer. Familiarity with the shapes, colors and decorations of authentic Tiffany Favrile glass is the best way to tell. To the trained eye, these items stick out like sore thumbs. It’s not necessary to look at fake signatures if you already know the item is fake just by looking at it. But there’s the rub. It takes quite a bit of time and effort to train one’s eye.

So what do you do? You have to buy from reputable dealers, collectors and auction houses that will absolutely guarantee the authenticity of the items they sell. Anyone can make a mistake, but only an honest person will make good on correcting a mistake, should one occur. This advice may be self-serving, but nonetheless, it’s absolutely true. Remember the old adage “If you don’t know your art, know your dealer”.

Fake Tiffany counterclockwise signature

Also look at Tiffany signatures. 99% of the time, an authentic signature is counter-clockwise. Many fake signatures are clockwise. The forger for this vase knew to make it counterclockwise, but it’s still an awful fake. After looking at enough signatures, it gets increasingly easy to recognize a genuine one.

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

Tiffany Studios numbering explained

Posted on August 7, 2009 by Philip Chasen

A typical Tiffany Studios numbered signature

Tiffany Studios numbered their vases. Each number is a unique registry number that corresponds to that vase only. The earliest vases from 1892-3 had numbers and no letters. In 1894, the prefix A was introduced with the first vase being A1. Each subsequent vase received the next consecutive number until A9999 was reached and then the next letter, B, was used. When the entire alphabet was completed, the prefix letter was changed to a suffix letter, so the next number after Z9999 would be 1A, followed by 2A, etc. After 9999A, the next number would be 1B, until the entire alphabet would be used up.

Tiffany vases can be dated according to a chart in the Robert Koch book, Louis C. Tiffany’s Glass Bronzes Lamps, on page 56. Prefix A corresponds to 1894, suffix A to 1906, etc.

A typical Tiffany Studios unnumbered signature

Items without numbers were generally utilitarian items like bowls or glasses that came in sets. These were part of general production and usually unnumbered. The signatures might be “L.C.T.” or “L.C.T. Favrile” or “L.C.Tiffany Favrile” or some other variation.

A typical Tiffany Studios signature with a shape number

Later items, especially pastel ones, have numbers that do not include a letter. These are shape numbers, not registry numbers. For example, 1881 is a trumpet vase and is repeated on all trumpet vases of the same size and shape. (Credit Gordon (Hank) Hancock for this information. Hank is writing a book on Tiffany pastel glass that will be very useful.)

A typical Tiffany Studios late production compound number signature

Compound signatures include the shape number first and then the serial number. This system was developed late into Tiffany production, so it will not be found on earlier vases. The example pictured shows that the vase is shape 1525, with serial number 9008M. To the best of my knowledge, this has never been explained before in writing.

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

Tiffany candle lamps lesson

Suggested etiquette when attending an antique show

My Icart etching doesn’t look good. What can I do about it?

My Icart etching doesn’t look good. What is the problem?

The importance of flowers in French Cameo Glass, especially Daum Nancy

Beware of Tiffany Studios fakes, especially on eBay

Tiffany Studios numbering explained