Posts Tagged ‘glass’

Make-Don’t, Fake-Do, or the real deal?

Sunday, November 25th, 2018

Every so often I find a piece that stumps me, stopping me dead in my tracks. This is one such example.

I purchased this 6.5 inch high robin’s egg blue satin glass goblet at an antiques shop in Southern Vermont where I have found other interesting antiques with inventive repairs. At first glance, I believed it to have an at-home wood replacement base repair, similar to dozens of others I own. Upon closer inspection, I am not so sure.

Although I have a few examples of finely turned wood bases, this one seems too slick and intentional to be a replacement. The glass itself is in perfect condition, with no indication of its base having been snapped off.


After a bit of research, I believe the goblet to be a reproduction of French Portieux Vallerysthal glass, c.1900. Why it has a wood base is a mystery, but if anyone has any information, I would love to hear from you.

These goblets have their original bases.

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Photo courtesy of eBay

Glass oil lamp with wood base, c.1880

Sunday, September 3rd, 2017

This American pressed glass oil lamp, dating from the late 1800s, can be seen in the exhibit Make-Do’s: Curiously Repaired Antiques at Boscobel House and Gardens in Garrison, New York, on view through October 1. It measures 10 inches high.

It is not uncommon to find glass oil lamps with a make-do repairs. Starting in the late 1700s, most homes had at least one glass oil lamp and due to their daily use and frequent handling, many became damaged. On this example, a brass ferrule joins the surviving glass bowl to a carved wood replacement base, which appears to be an at home repair. The burner is a modern replacement and allows the lamp to function as it originally did over 130 years ago.

This lamp with similar form suggest what the original base on my lamp might have looked like before it took a tumble.

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Photo courtesy of Oil Lamp Antiques

Lalique “Coquilles” glass bowl, c.1900

Friday, May 5th, 2017

This elegant Art Nouveau opaline glass bowl was made by Lalique in France, circa 1900. It is decorated with molded overlapping clam shells in the Coquilles No.2 pattern and measures 8.25 inches in diameter. “R. LALIQUE, FRANCE no. 3201” is etched on the underside.

Most people are amazed when they first encounter staple repairs on ceramics. When they see the same technique applied to glassware, they are stupefied. Click on this entry: Miniature cranberry glass punch cup, c.1890, to see one quarter inch staples holding together a tiny glass cup. It’s hard to imagine how this delicate work was done, let alone how the repairs have remained intact for over 100 years.

Pressed glass goblet with wood base, c.1860

Saturday, April 22nd, 2017

This EAPG (Early American Pattern Glass) goblet in the Honeycomb pattern was made in America during the Industrial Revolution between 1850 and 1870. It stands 3.25 inches high.

After the base snapped off, it was repaired at home with a primitive wood replacement. A quick and easy, yet inelegant, fix. Please take a look at two other similar pieces, Honeycomb pattern goblet and EAPG glass goblet, each with different shaped wood replacement bases. I would like to attend, or perhaps host, a dinner party with mismatched wine goblets such as these, and being able to use the jumper rentals in Phoenix (https://jumpersnrentals.com/phoenix/) would complete my dream. And if things get rowdy, I may have to do a bit of re-repairing of my own.

This goblet with base intact shows what my goblet might have looked like before it became undone.

Photo courtesy of Brey Antiques

Glass trumpet vase, c.1900

Sunday, January 29th, 2017

I found this pretty Bohemian crimped-edge glass vase at a small antiques shop near my house in the Catskills a few summers ago. It is decorated with enamel and gilt flowers in the Art Nouveau style and measures 10 inches high and 6.5 inches in diameter at the base. It was made in Europe at the turn of the 19th century.

Although it has an unusual make-do base repurposed from a brass lamp, I hesitated at first as it didn’t call out to me as most antiques with inventive repairs do. But I ended up buying it and in the years since it has grown on me. The dealer I purchased it from had polished the replacement base within an inch of its life, buffing the brass to match the lustre of the gilding. Typically, I prefer my early repairs to have a dark, rich patina, but in this case I like the gold on gold coloring. It just seems right.

This vase of similar form suggests what the base on mine might have looked like.

Photo courtesy of eBay

Not a make-do, part two

Sunday, August 28th, 2016

“We learn from failure, not from success!” Bram Stoker, Dracula

Well said, Mr. Stoker. Over the years, I have purchased a handful of items which, at the time, appeared to have inventive repairs. But upon closer inspection, I discovered they were not make-do’s. Here are a few of my mistakes that I eventually grew to love and even learned something from.

During a trip to Amsterdam a few years ago I purchased four glasses with silver bases at an antiques market. I was surprised to find over a dozen pieces with similar silver repairs all in one place. Assured by the dealer that the bases were indeed replacements and not original to the glassware, I bought a few of them, even though I was still not entirely convinced of his claim. Upon returning home, I began to research them extensively and after hours of digging deep into the depths of Google, came up with nothing. Months later, I accidentally stumbled upon a similar piece for sale in Amsterdam. After contacting the shop, Valentijn Antiek, and asking for information regarding this specific type of “repair”, I was told that these were not repaired pieces. The dealer went on to tell me that they were and still are being made by contemporary jewelers. I was told “For clarification, you should know something about the (Dutch) national character: The Dutch are and were very frugal. A repair, for example, crystal, should not cost too much. Objects are restored only in case 1) there is not as quick as possible a replacement; 2) the material of the object is expensive and scarce; 3) it is a precious object, because it is a reminder; or because one has received it from someone (like your mother in law) with whom you do not want to have to get a quarrel.”

This delicate champagne flute is the first piece I bought. I still find it hard to believe that its silver base is not an inventive repair.

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This goblet has a nicely detailed silver base. It also had me fooled.

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I was a bit more skeptical of these two, which appear to be from the 1960s. Their silver bases do look intentional.

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I recently found this sharply cut small footed dish at an antiques shop in New Jersey. Although my gut was telling me that the hallmarked silver base was not a replacement I purchased it anyway. It seems that old habits die hard.

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Nostetangen goblets with silver repairs

Saturday, April 9th, 2016

During a recent trip to Oslo, Norway, I discovered that the Museum of Decorative Arts and Design is packed with antiques with inventive repairs. I was particularly impressed by the abundance of intricately engraved 18th century German and Norwegian glassware, many with added silver mounts repairing snapped goblet stems and missing bases. Reflecting their rarity, many of these priceless presentational pieces were brought back to life by esteemed Norwegian jewelers and silversmiths in the 18th and 19th century. Here are some of my favorites:

Goblet (center) engraved by H. G. Kohler, artist and engraver at Nøstetangen Glassworks, on the occasion of the anointing of King Christian VII, 1767. The crimped silver joint was added later to repair the broken stem.

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Goblet, Nøstetangen, ca. 1766-1770. Engraved by H. G. Kohler with later ornate silver replacement base.

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Goblet (center) engraved in Bohemia, c. 1720, with silver cuff to repair a snapped stem.

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Both goblets were engraved at Nøstetangen Glassworks by an unknown engraver in 1748. The goblet at left has a silver cuff repairing a broken stem and the goblet at right has a brass replacement base.

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Stapled crystal decanter, c.1830

Sunday, March 13th, 2016

This cut crystal spirit decanter has panel cut shoulders, a single neck ring and a splayed top. It appears to be late Georgian, made in Ireland or England. It measures 8-1/2 inches high and is missing its mushroom form stopper.

Although it is not unusual to find cracked porcelain repairs with metal staples, glassware repaired in the same manner is less common. These metal staples made of thin wire repair a vertical crack on both sides, giving it the appearance of a laced corset.

This decanter with similar form has its original stopper but is without staple repairs. Guess which one I prefer?

https://www.1stdibs.com

Photo courtesy of 1stdibs

Champagne coupe with wood base, c.1850

Saturday, January 2nd, 2016

This hand blown glass champagne coupe with fluted stem was made around 1850, possibly in America. It measures 5-1/2 inches high.

I imagine during an exuberant New Year’s Eve toast, well over 100 years ago, the base snapped off. Rather than toss out the broken glass, a replacement base was made. A simple, nicely turned wood replacement base was attached to the remaining stem and the champagne was poured once again.

Happy New Year to my friends and followers of Past Imperfect: The Art of Inventive Repair!

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Crystal jug with silver handle, c.1836

Sunday, November 29th, 2015

I found this little gem while vacationing in London last spring. While the majority of my collection is comprised of ceramics, I marvel at inventive repairs done on glass, which seem even more astonishing to me. This cut lead crystal pear shaped jug stands 4.75 inches tall, has an exaggerated spout with scalloped rim and heavily cut patterns. It was made during the Georgian era and is dated 1836, along with the name J. Jopling on a front panel. It is missing its original applied glass handle but in my opinion, the innovative replacement handle is much more interesting than the original one would have been.

Someone was clumsy in the mid 19th century and soon after the glass handle snapped off, it was taken to a silversmith who fashioned an elaborate silver replacement. A clever repair was done incorporating a delicately proportioned silver-plated handle and support wires and cuffs so that no holes were drilled through the body of the jug. Tiny screws at the back near the handle terminals allow for the handle to be completely removed without damage to the fragile glass. As much as I love the workmanship on this early repair, my only regret is that the repairer did not sign his work.

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This jug with similar form maintains its original handle and gives you an idea of what my jug might have looked like intact.

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Photo courtesy of 1stdibs