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Author Topic: Is this Clutha Glass? - Nazeing or Not Nazeing...  (Read 7571 times)

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Offline David555

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Is this Clutha Glass? - Nazeing or Not Nazeing...
« Reply #20 on: September 16, 2005, 05:24:51 PM »
Hi all

Nigel, I do take some of your points

There is much research yet to do on Nazeing

Book references aside -

I can only hold a piece of Monart with it's beautiful swirls so perfectly crafted by the glass maker with (yes we all know it was Xmas glitter) mica flakes glittering perfectly - I know not all had Mica flakes, but even those without have an evenness and balance of design

I can then hold a piece of signed Gray-Stan with it's delicate white inner surface and perfectly executed cloudy swirls going in this direction and that all again aesthetically balanced

I can say the same for Clutha, but I fear we are talking an earlier date here with the Dresser pieces I would hold up for comparison

I then hold up a piece of Nazeing with the label and see blotches instead of well defined and researched swirls or cased patterns, I see a crudely made piece which seems out of proportion, the glass thinner at some places than others and uneven (non ground rim)

This is what I see with my designer’s eyes and 15 years in the glass collecting researching business

More research may hype prices, but quality is a thing more lasting than what would be a cause for inflation

So with all the research that has been done on Monart/Vasart, Powell, WMF, Gray-Stan (I love the story about the search for the perfect formulae), why has no one researched Nazeing to the same extent

I look forward to your further research work and wait to be flabbergasted by some amazing piece of Nazeing that sets the world alight

By the way Frank, I don't agree you helped hype the prices of Monart and Vasart, you have never gone into deep research on WMF glass or Powell, yet a comparably rare piece will fetch the same amount as fine piece of Monart.

A note also on labels - Monart did no harm to the future prospects of their glass by labelling so well - those lovely round labels with hand written codes - I call that the personal touch of a true artisan - I mention this because a Monart label can increase the price by 4 times sometimes, it is collectors who are fascinated by this (like a 1st edition book - signed copy), I think yourself and others research into Monart labels has informed rather than hyped the market - after all each label can tell a story of it's own

Can the same be said of Nazeing?

For some reason it is almost impossible to find pieces with the double goat label left intact - most research seems to be done through retail labels

That has to say something

I expect many big guns will want to crucify me - but know this I have written only on what my own eyes and experience tell me

Nazeing are still going - this from the website (History section)
In 1928 Charles Kempton's son Richard, with two brothers, purchased a farmhouse and four acres of land near Nazeing in the Lee Valley and the name Nazeing Glass Works was born.  With a workforce of just seven employees in 1930, the company made decorative ware, vases, bowls and paperweights in soft pastel colours, that are rare collector’s items today.  One of the employees was a fifteen year old boy - who later became Managing Director in the 1960's!

I thank you for your time - and add if the company thinks that pastel vases made by a 15 year old boy are rare collectables then who am I to criticise

Adam D555 :twisted:  :twisted:
David is my Father's name, 555 is the number of man ('The Pixies'), but please call me ADAM P.

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Offline Frank

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Is this Clutha Glass? - Nazeing or Not Nazeing...
« Reply #21 on: September 16, 2005, 06:02:59 PM »
When I started selling Monart, long before the book, the average price in Scotland was in the range of 10 to 90 pounds, the high price for Mushroom lamps. My average selling price was about 300 pounds with surface decs from 1,000 upwards. Millers published my prices in the 80's. By the time the book came out the market had peaked and it was downhill from then on. They have hardly reached the levels of 1990 yet although there is a slow upward trend.

I agree that Nazeing and most of the look-alikes lacked the design qualities of Monart, WMF, Webb Corbett and Gray-Stan but it is still a collectable range. One reason for the lack of Nazeing material is a fire that destroyed many of the archives and of course not many researchers. For most of the unknown glassworks the problem is lack of research - there is plenty of material on lots of glassworks sitting untouched in archives everywhere. On top of that smaller archives are probably still in the hands of former workers and this will not get to the market until they head off to cloud land.

Prices are partly the result of research but also of the volume produced. Mass produced Lalique is available in huge quantities and can thus sustain a huge base of collectors resulting in a steady market. It is likely that the most common Monart was made in smaller quantities than rare Lalique pieces and yet fetches a tenth or less of the price - I would be surprised if there are more than a hundred active Monart collectors at any one time. Double the numbers of collectors and prices would more than double. Argy Rosseau retailed at lower prices than Monart and may have been made in similar quantities - look at the price difference now.

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