Daum Glass

Daum Glass 

Daum Glass 

Inspired by the Galle pieces Shown at the 1889 Paris exhibition, Daum Freres began to produce art glass.

It’s cameo work soon gained a reputation that some believed rivalled that of Galle.

The rich multi-coloured art Nouveau cameo designs of the brothers Daum were inspired by the landscape, 

Flora, and fauna of their native Nancy.

Many of the trade mark innovative techniques the cloudy, mottled rich background, coloured enamel detail, the   martele  [hammered metal effect] - background, the complex intercalary pieces with patterns at varying depths, and applied decoration were developed to enhance the naturalistic decoration.

Daum Glass 

Jean Daum took over the company in 1909 and by the late 1920s he began to pioneer the new art décor  style in which the factory became pre-eminent.

Shapes became simpler and often featured stylised geometric, rather than naturalistic, Flora acid etched patterns.

Vases often had a single layer of opaque coloured glass that was acid etched to reveal it clear Colourless body.

In the 1920s and 30s, Lamps became an increasingly important area of production, some featuring metal mounts by such major designers as Louis Majorelle  and  Edgar Brandt.

The landscape cameo  vase  were predominantly made after world War one.

Daum Glass 

The most expensive examples had multiple layers of colour that were etched, engraved, carved, and enamelled.

The most skilful Daum glass workers could use up to 5 layers of colour a technically demanding process, since different colours cool at different rates.

THE  BROTHERS DAUM.

Jean Louis Auguste Daum [1853-1090] had trained as a lawyer and his brother Jean Antonin [1864-1931] as an engineer before they took over the fathers glassworks in Nancy. Jean Antonin, was headed the Daum decorating studio, was the more artistic of the two.

Daum Glass 

He described himself as preoccupied with the visual, rather than the symbolic, beauty of nature, the magic of colour and the language of flowers.

The brothers constantly experimented with new techniques, which they often combined in one piece without losing the overall unity of style, colour and decoration.

Daum Glass 

I hope you have found this page on Daum Glass    to be both informative and helpful, please feel free to peruse this blog and read one of my many articles on glass.

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Auto Vintage

 Auto Vintage

Auto Vintage

Automobile represents a bygone age of handmade signs, crafted bonnets mascots, and ephemera full of period character.

It covers a wide range of items connected with cars, trucks, motorbikes, and other motorised vehicles.

They are markets for everything automotive, including toolkits, hubcaps, and spark plugs, and prices to suit most budgets from enamelled petrol cans from the 30s and 50s, worth about $10-$30 up to most valuable bonnet mascots, a Mr Bibendum Michelin man mascot by Ets Generes of Paris can fetch $5000 or more.


Auto Vintage

Car mascots, placed on top of radiator caps, are often expensive, but earlier examples from the 1920s can sell for less than $200 $400, especially if they are small are for lesser-known makes.

Auto Vintage

Common themes are goddesses and lucky horseshoes.

A mascot marked with a high quality makers name such as F Bazin, Lejeune, Red Ashay or Lalique, is highly prized.

A 1920s silver-plated bronze mascot by Bazin can go for more than $2000.

Auto Vintage

Factors affecting price include condition and rarity, with the highest price paid for hard to find mascots from 1930s glass mascots from this period are sought after.

Lalique made the best quality, although examples by period imitator’s sabino of Paris and red ashay in Britain can also cost less than $2000-$3000.

Smaller or newer mascots from the 1940s onwards can be more reasonably priced but are starting to attract interest.

Auto Vintage

A 7.5 cm a prox 3 inches high Bentley B mascot with outstretched wings from the 1950s and 60s can often be found for less than $200.

All the lamps generally command the highest prices.

Auto Vintage

A pair of brass side lamps from 1910 can be worth about $1000-$2000.

Auto Vintage

Lamps from the 1950s onwards are less expensive, and can be bought for around $30 to hundred dollars .

A 1960s Lumax carp lamp with its original box is worth about $30-$40.

Auto Vintage

The German company Carl Zeiss made headlamps from the 1920s onwards and these are particularly sought after, especially the rare fork mounted examples.

A Rolls-Royce chrome plated silver wraith, Scott from 1930s and 40s will set you back around 500 $600.

A Bugatti owners club enamelled and chromed motor barge from the 1930s and 40s retails for around $60-$80 in 2013.

A British automo

bile racing club badge. 1912, sells for around $50-$70. 

 

Auto Vintage

Grille badges issued by motoring organisations, such as the AA and RAC, and car clubs are eagerly collected.

High quality badges are made from chromed brass, embellished with coloured vitreous enamels.

Badges from the 1950s onwards can be found for around $30 $80 are less, but examples from the 1920s and 30s can be worth more than $200.

Badges for members of owners clubs are racing clubs made from the 1950s onwards tend to sell for around $50-$200.

Original signs from garage forecourts and sales material from showrooms are popular.

A 1920s vacuum motor car oils enamel signs can be worth about $200 and rarely enamel golden shell motorcycle while signs can cost double.

Porcelain signs from the 1920s and 30s made by companies such as Esso and mobil oil can cost more than $400-$500 if you have space, petrol pumps are also desirable, especially those from the late 1950s and 60s with illuminated globes.

Expect to pay $700-$800 or more for a 1958 shall pump with a functioning globe.

A Desmo us motor-vehicle horn from the 1920s will cost you around $80 to a $120 dollars.



Pirelli vintage calendar's $30 - $300

A enamelled British racing and Sports car club badge from the 1950s and 60s from $60-$80.

A enamel and chrome plated national motorist Association badge 1930s and 40s $100 $150.

I hope you have found this pages on ,Auto Vintage  to be both informative and helpful please feel free to leave any comments are helpful remarks.

Happy hunting, from the collectibles coach.     

Festival of Britai

 Festival of Britain

Symbolised the nation’s recovery after the war and was a milestone of our social history.

 Festival of Britain.

 Festival of Britain

Demand is increasing for memorabilia from the event as part of the recent upsurge in interest in the 1950s styles and achievements.

In 1951, after years of austerity, the festival of Britain was mounted to celebrate all that was good about Britain and to promote the arts and sciences and their impact on modern design.

 Festival of Britain.

Although the festival was countrywide, its heart was London’s South bank, where the enormous Dome of discovery, the rocket shaped skylon, and the Royal Festival Hall embodied a new view of modernity.

More than 10 million people visited the festival over a period of five months.

 Festival of Britain.

 Festival of Britain.

The designer and typographer Abram Games created the official emblem for the landmark event, a profile of Minerva, the Roman goddess of wisdom and crafts, surmounting a for pointed compass.

Games also designed much of the printed literature.

A vast number of commemorative objects were produced, most items now costing well in the hundred pounds.

Look out for less common pieces, such as glassware, ties or car badges bearing the festival will go are images of any of the key buildings.

 Festival of Britain.

Badges, programs, and postcards are easy to find and cost anything from 2 pounds upwards.

I hope you have found this page to be both informative and helpful.

 Festival of Britain.

I have included a few photographs of items to give you some idea of what’s available.

Happy hunting, from the collectibles coach.

Steuben Glass

Steuben Glass

Steuben Glass

Steubens early range of iridescent art glass played a major role in establishing the company’s fortunes and prestigious reputation.

It also made a major contribution to the development of modern American art glass.

Frederick Carder, co-founder of the Steuben glassworks, was an innovative and talented designer and glass technologist..

His early experiments with coloured art glass resulted in his now famous gold Aurene iridescent range, which he patented in 1904.

Steuben Glass

The gleaming lustrous surfaces of Steuben iridescent pieces proved highly popular with the American public so popular that they challenged Tiffany’s Favrile ware which they closely resembled.

Carder went on to develop new iridescent colour ranges.

Blue Aurene was launched in 1905, and red aurene a difficult and often unstable colour followed, together with Opaline brown, and shades of green.

Verre de soie clear glass with a silky, silvery iridescence was produced from 1905, and Ivrene was launched in the 1920s.

Steuben Glass iridescent colors were rather brighter than those of Tiffany.

Steuben Glass

They were often combine and in one piece and, although Carder believed the colours spoke for themselves, pieces were frequently decorated with flat surface effects such as  pulled feathering.

Steuben Glass

The Aurene range was Steuben major output between about 1904 and 1933.

Vases, dishes, and bowls were staples.

The forms were mostly standard and were designed to appeal to a broad public, but they were transformed by the soft, even coloured sheen, and it is the collar, decoration, and quality of finish that determine value today.

Decorated Aurene glass in particular pieces with interesting surface decoration and colour combinations is the most valuable.

Steuben Glass

I hope you have found this page on  Steuben Glass to be both informative and helpful, please find further reading on iridescent glass on this blog.

Happy hunting,  from the collectibles coach.

Loetz's Glass.

Loetz's Glass

From the 1890s, Loetzs iridescent art glass married inventive  Art Nouveau organic forms with controlled surface decoration.

Loetz's Glass. 

Sometimes known as the Austrian Tiffany, Loetzs glass is keenly collected.

Max Ritter von Spaun decided over the Loetz glassworks during the companies golden years of 1895 to 1905.

During this time the company produced and extensive range of Art Nouveau pieces some Tiffany inspired, with applied and multiple handles, wavy rims, forms-based on roars water sprinklers, and other organic shapes.

The solid, somewhat thick, glass pieces produced by LOETZ were complemented by a wide spectrum of strong, rich iridescent colours, often used in startling contrast.

Loetz's Glass. 

Many pieces had a characteristic rich blue iridescent’s, often with a gleaming oil on water effect.

Unusual round colours included red, purple, and yellow.

The controlled but startling patterns were often based on traditional Art Nouveau motifs, such as Peacock feathers and stylised plants.

Others were decorated with random designs spotted, splashed, and feather patterns, with gold and silver iridescence.

Among the most popular patterns were papillon butterflies, usually in red, gold, or blue, which resembled butterfly wings, and phanomen glass, with wavy internal decoration.

Loetz's Glass. 

Some pieces had specially designed silver mounts.

As the vogue for Art Nouveau faded, the Loetz style changed.

From 1905, forms became less organic and more regular, and the decoration became freer and less obviously controlled.

Loetz's Glass. 

Identifying Loetz glass can pose problems.

It was widely copied, and not all Loetz glass is signed.

Pieces with a Loets or Loetz /Austria Mark were usually produced for export.

Prices start high and continue into tens of thousands of dollars, as there is a very desirable investors market at the moment for Loetz Glass.

I hope you have found this page on Loetz's Glass.   to be informative and helpful, please find further reading on different glass manufacturers within my blog.

Happy hunting from the collectibles coach.