A day in the life of an antiques dealer

Fine 8½ inch Grueby vase

Fine 8½ inch Grueby vase

I exhibit at shows around the country and one question that is often asked of me is “How do you get these things?” Well, here’s one day in my life that will partially answer the question.

Yesterday, Saturday, was planned in advance. There were three auctions around the country where I was going to bid. That’s usually a simple matter of arranging with the auction houses to leave bids (called absentee bids) or bidding on the telephone. I don’t usually like to leave absentee bids because a dishonest auctioneer can run the bid, which means he will execute the maximum bid, rather than bidding competitively with the audience. An honest auctioneer won’t do this, but even after many years in the business, it’s difficult to ascertain the truly honest ones. I will leave absentee bids at auction houses that have proven their honesty to me.

So far, so good, until a fly got into the ointment. One of the auctioneers changed some of the usual rules. He decided not to permit any phone or absentee bids whatsoever. From a business point of view, that doesn’t seem to make any sense. There are bidders who don’t have the ability or the desire to travel big distances to bid on an item. This auctioneer was closing the door on all bidders around the United States and the world, who were not within traveling distance. That makes even less sense in today’s Internet world, as bidders from remote locations have the ability to find an item and bid on it. Auctions are supposed to be competitive events where the highest bidder gets the item. To be fair, there is something positive to be said for this rule change. Those people who are willing to travel to personally attend such an auction are qualified and determined. After making the trip, they’re not going home empty-handed. They’re going to bid strongly, including on items they didn’t intend to until they showed up in person.

OK, back to Saturday’s plan. My wife and I were willing to drive 4½ hours to upstate New York to attend an auction with six Icart etchings, a Gallé faience vase and a Rookwood iris glaze vase with fish. The logic was that I’m a strong bidder and there was a decent likelihood that I could go home with most or all of these items at good prices. So we left Long Island at 10:45 AM and started driving upstate. At about 11:30 AM, I got a call from auction house #1 and successfully bid on a fine Grueby vase (see photo above), but was forced to pay more than I had originally planned. But the vase is such a nice example that I’m happy to get it.

We arrived at the auction house in upstate New York at about 3:30 PM and viewed the items. They were as represented, so now we had to amuse ourselves until the auction started at 5 PM. Unfortunately there was nothing in the area to do, so we aimlessly drove around until the auction began. In the meantime, auction house #1 called again for me to bid on a very nice Gallé vase. The estimate was $1/1500. I was prepared to bid $1800 plus the buyer’s premium, for a total of about $2100. The bidding began at $500 and I bid $550 and then, amazingly, the bidding stopped. I bought the vase for $550 + buyer’s premium, for a total of $649. ?#%@#&?? I never look a gift horse in the mouth and this was a nice gift.

Louis Icart original etching <i>Bubbles</i>

Louis Icart original etching Bubbles

Back to the live auction. First came the Gallé faience vase, a large early example that ordinarily I would have no interest in. This vase was for collectors of Gallé esoterica, and I don’t know many such collectors, so I wasn’t going to bid much. I was outbid and relieved. Then came the Rookwood vase. Rookwood sales have been few and far between recently, so again I wasn’t going to bid a lot. I was outbid again. Then at 6 PM, the auctioneer began selling the Icart etchings. First up was the best one, Bubbles. I had hoped to buy it in the $1,500-2,000 range. I bid $3,000 and was outbid by a young couple in the back, who paid $3,100 + buyer’s premium, for a total of $3,472. Disappointment! Pals, another good one came up next. Again outbid by the same couple. Drats! The third one was Silk Robe, another good one. Same result. Triple drats! This evening is not going quite as planned. I started thinking I was going home with nothing when Orchids came to the auction block. This time I was the successful bidder. Yay! Mockery and Don Juan were next and I was able to buy both. The trip wasn’t a total waste.

Daum Nancy covered salt, similar to the one sold at a Florida auction

Daum Nancy covered salt, similar to the one sold at a Florida auction

We were able to leave fairly early at about 6:45 PM and started driving home, though at times through torrential rain. At 8 PM, auction house #3, in Florida, called me to bid on a Daum Nancy covered salt. It was the only good item in a small auction. It wasn’t well advertised and I only found out about it because the auctioneer sent me an email asking for an authentication. So I knew I could sneak up on this item and get it for a bargain. Wrong!! Again outbid, as the salt sold for $1,232.

Home at 10:45 PM, 12 hours after we left. Expenditures — 12 hours time x 2 people, gas, tolls, wear and tear. Bounty — 1 Grueby vase, 1 Gallé vase, 3 Icart etchings. It looks so easy when people visit us at shows and see all the merchandise nicely set up. Multiply this story by the hundreds of items that we display and you have a partial answer to the original question, “How do you get these things?”

Today I’ll be adding to my website several new Galle vases that I’ve recently acquired. I added a few the other day and today more. Please take a look. 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.

Results from the Los Angeles Antiques Show, April 22-25, 2010

Bernard Steinitz, from Paris, set up a great exhibit in a fully walled room

Bernard Steinitz, from Paris, set up a great exhibit in a fully walled room

The Los Angeles Antiques Show is a small, but very upscale show, with a high percentage of European dealers, some of whom were really impacted by the travel ban caused by the smoke from the Icelandic volcano. A couple of the dealers set up fantastic booths, that had to cost tens of thousands of dollars, especially coming from Europe. I wish I knew how they fared.

My booth at the Los Angeles Antiques Show, 4/25/10

My booth at the Los Angeles Antiques Show, 4/25/10

The show started off slowly on Wednesday night, with the usual preview party — many guests, very few sales. Opening day attendance on Thursday was poor, which was surprising. Friday was quite slow too, but that’s usual for a four-day show. I was told that attendance and business would pick up on the weekend and it did. Saturday was a decent day, but far from a barnburner. Attendance on Sunday was moderate, with commensurate sales. Overall, the show was decent, with interest across the board from Tiffany to Icart to Grueby pottery. As the show is a big investment in resources and time, I’m not sure I’m willing to try it again. I’ll make that decision later.

Icart Eve

Icart Eve

Icart Venus

Icart Venus

A little humorous aside. Louis Icart produced an etching called “Eve”. As everyone familiar with Icart knows, the mate to “Eve” is “Venus”. A decorator, who was not familiar with Icart, came into my booth and admired Eve. I told her that I had the mate to Eve, so she asked if it was “Adam”. I haven’t had that good a laugh at an antique show in a long time. (Now that I read it, I think this joke is only funny to devotees of Icart. The rest of you will just have to take my word it’s funny.)

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.

Color variations in original Louis Icart etchings

Many times I write about antique shows or auctions, but occasionally I like to teach. I taught in the NYC public schools for over eight years in the 1970s, so I guess I still have the teacher in me.

Louis Icart examining Joy of Life, hot off the press

Louis Icart examining Joy of Life, hot off the press

As I specialize in the artwork of Louis Icart, I often write about him. In order to better understand today’s topic, I’ll give a brief refresher course on the process of etching.

The artist starts with a copper plate and uses a combination of drypoint etching tools, and/or acid, to create the artwork directly on the plate. The plate is then hand-inked and covered with a sheet of paper. Together they pass through an etching press that applies tremendous pressure and transfers the image to the paper. If the etching is colorful, the plate is inked again with different colors, and the same sheet is passed through the press again. Registration of the paper is accomplished with tiny pinholes that align the colors. Manipulation of the ink when it’s wet (with wooden tools) is also done to achieve different effects. The result is that even though the artwork is the same on the plate, the final etchings can and do differ.

One variation of Attic Room

One variation of Attic Room

Another variation of Attic Room

Another variation of Attic Room

Above are two images of the Icart etching “Attic Room”. This is one that Icart intentionally issued in a variety of color combinations. Notice the completely different colors in her dress, the birds, the lampshade, the walls, the dresser, etc.

In an extraordinary example, Icart produced a one-of-a-kind color variation of the 1927 etching “Speed”. He gave this as a gift to his daughter, Reine, with a hand-written notation on the etching. Notice the beige dog in the front and the red shoes. To my knowledge, no one has ever seen another example of this variation.

A typical example of the 1927 version of Speed

A typical example of the 1927 version of Speed

A unique variation of Speed, a gift for Icart's daughter, Reine

A unique variation of Speed, a gift for Icart's daughter, Reine

For a nearly complete list of the Louis Icart etchings I have for sale, please click on the following link. Icart etchings for sale.

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 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.

Results from the Palm Beach Jewelry, Art & Antiques Show

A few of the lamps in my booth

A few of the lamps in my booth

It’s Tuesday, 5 PM, and the show is winding down. It’s hard work sitting for so many hours, talking to hundreds of people, but it’s gratifying when the show goes well, and this one went well. I personally talked to about a dozen exhibitors and most were very pleased with the results. One painting dealer (there were many painting dealers at this show) told me he did poorly. One general dealer told me he would have made a profit, had his expenses not been so high. Another dealer in English furniture and objects told me he had a good show. A Steuben dealer had a very good final day for a very good show overall. For the most part, most dealers did well.

Attendance was truly outstanding throughout the show, especially on the weekend. Today, Tuesday, was the lowest attendance, but even that was pretty good. The problem was that all the real buyers already were here, so today’s crowd was out for a good time only. If the show had ended yesterday, it would basically have been the same.

The show promoter did an excellent job. There were banners everywhere around town announcing the show, including a beautiful full-size outdoor billboard. If you lived anywhere in this area, it would have been impossible not to know about the show. Too bad most other show promoters do not put the same effort and resources into promotion.

Original Louis Icart oil painting 'Aux Trianons'

Original Louis Icart oil painting 'Aux Trianons'

Interest was strong in everything Tiffany, including lamps, desk sets and glass. Sales in Icart etchings and oil paintings were strong, a welcome change from the recent tepid interest. Surprisingly, interest in French glass was good, but sales were not.

It appears after several strong shows in Florida that the market has come back in a meaningful way. Besides personal experience, I’ve seen lots of anecdotal evidence. It appears that the economy is recovering nicely and that the statistics will soon reflect the increased optimism I see.

I’m taking a lot of time to add new items to my website. I’ve already listed new items under Gallé glass (including a blownout vase), Daum Nancy glass and Tiffany Studios glass. Soon I’ll be adding many Tiffany Studios desk pieces. 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 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

Business is strong at the Original Miami Beach Convention Center Antiques Show

Saturday, 1/23/10, at the Original Miami Beach Antiques Show

Saturday, 1/23/10, at the Original Miami Beach Antiques Show

I’m writing this post on Sunday, with two days left to the show, but I can already give a basic report on the show results. Attendance was very strong for the first three days and included a good number of foreign buyers, but crowded aisles is not enough. It has to be accompanied by good sales, and sales were excellent. After speaking to quite a few dealers, strong results were almost universal. I personally spoke to only one dealer who said she was having a poor show. Unfortunately, there are always some dealers who don’t do well. It’s part of the normal distribution curve of results. Thankfully, this time the curve was skewed to the good side. So now I’ve exhibited in two shows in 2010 and both results were good. It’s starting to appear that business is returning to normal, a nice change from the relatively soft business of 2009.

Louis Icart oil painting 'Rendezvous dans le Parc'

Louis Icart oil painting 'Rendezvous dans le Parc'

Sales were good in many categories, including R. Lalique glass, Rookwood pottery, Tiffany lily lamps and Icart oil paintings. No one category was especially strong, with sales distributed evenly over many categories. That’s noteworthy as a good indicator of improving business.

I’m taking a lot of time to add new items to my website. I’ve already listed new items under Gallé glass (including a blownout vase), Daum Nancy glass and Tiffany Studios glass. Soon I’ll be adding many Tiffany Studios desk pieces. 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 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

Now is the time to buy Louis Icart etchings at historically low prices

I studied economics in college, so I understand the basics of the laws of supply and demand. The price of an item is inversely proportional to the supply, i.e., the price rises when the supply goes down and falls when the supply goes up. Also the price of an item is directly proportional to the demand, i.e., the price rises when the demand goes up and falls when the demand goes down.

Louis Icart etching 'Two Beauties'

Louis Icart etching 'Two Beauties'

The market in the works of Louis Icart follows these laws. Historically, the high-water mark for the Icart market was in the late 1980s, when the Japanese were buying heavily. The demand was so strong that prices for even the lowliest of Icart etchings was $4,000 and for the best and rarest as much as $55,000, e.g. Two Beauties.

Louis Icart etching 'Laziness'

Louis Icart etching 'Laziness'

The low-water mark for Icart etchings seems to be now. For whatever reason, there are few new collectors looking to acquire Icart etchings and existing collectors are not adding many to their collections. So, logically, the prices need to drop to increase demand. To that extent, I am going to drastically reduce the prices of authentic Icart etchings to levels not seen in 40 years. The new prices will start at $850 for the very same etchings that were selling for $4,000. Each and every one will come with a certificate of authenticity. I am changing from retailer to wholesaler for Icart etchings. Please check my website for the latest listings and prices. Click this link. Louis Icart Sale. Don’t take long to make up your mind, because at these prices, they’ll be gone fast. Most are available for immediate shipping, so if you still need a last-minute gift, there’s still time!

I’m taking a lot of time to add new items to my website. I’ve already listed new items under Gallé glass (including a blownout vase), Daum Nancy glass and Tiffany Studios glass. Soon I’ll be adding many Tiffany Studios desk pieces. Many are priced right for great holiday gift-giving. Who wouldn’t like to receive a genuine Tiffany desk set accessory as a Christmas or Chanukah gift? 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 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

What is Art Deco?

The Chrysler Building in New York City

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

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

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

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

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

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

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

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

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?

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.

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

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

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

Unusual shaped Daum Nancy bowl with violets

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

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