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Recent Posts

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1
Glass / Re: Help with this Lamp please
« Last post by marcus on Today at 03:52:17 PM »
Has anybody any thoughts about this lamp yet please? I would at least like to rule out Bagley, if it is not by them. Some have told me elsewhere, that it's a rare "Acorn" lamp by them, but it is not, however the similarities to it being a Bagley piece, are strongly evident, but??? I only have Angela's fabulous book (first issue) at my disposal and so perhaps she can either rule it in or out perhaps. The only pointers that I have are that the electrical fittings are period & English and I purchased it from England, but that's meaningless in this day & age.   
2
France / Re: Etling catalogue - is it out there?
« Last post by marcus on Today at 03:41:03 PM »
Anne Tique - It is very difficult to obtain copyright on ones own artistic designs even today. I can also recall when I was lamp-working glass, an occasion when I just knew that a guy was watching me work in a way which told be he was a glass blower too. He purchased my finished piece and then started knocking-them-out at his own studios. There was little that could be done about it, however from that day whenever I produced a new design I would photograph it, place it into a sealed envelope and send it Recorded Delivery to myself & my solicitor where they remained sealed & dated, just in case any lawsuit needed to be taken. Forgeries though are a completely different story. "Most" serious collectors of Sabino's work and of course Lalique, can spot a forgery or fake from a mile away, and is quite often the case that the glass itself no matter how well a fake has been produced, that is the tell-tale sign.
3
France / Re: Etling catalogue - is it out there?
« Last post by marcus on Today at 03:27:18 PM »
It is surely more that just probable that as with today, that "named" glass factories such as Sabino and Lalique, that numerous designers produced their works. It is common knowledge that d'Avesn   for example designed a couple(?) of items whilst at Lalique, however Lalique purchased the copyright to all of d'Avesn's designs whilst under his employment and I can think of at least 18 patterns which d'Avesn wasn't credited for. He was more prolific than most in France during his working career and it still as yet unknown how many examples he produced not only as a freelance but also for other factories. His work, runs into many hundreds of different designs.  I'm also aware that he even designed at least one pattern produced for and by Val Saint Lambert, whilst he was still at Verlys.  I am not here to name & shame, however there is currently a very well known seller online that offers many modern-day replicas and fakes recently produced in former Czechoslovakia, and also currently has one of  "his" faked Etling statues (complete with moulded phoney signature) for sale for a ridiculous price. He has also purchased glass figurines by the relatively little-known Maurice Model and then had them re-produced with an Etling signature... One always has to be on guard when an unknown pattern suddenly appears and then many same examples quickly follow... So-called Hoffman Malachite glass is just one casualty as so too is Galle and Daum, for example. I for one, don't have anything against modern-day copies provided they are sold as such. After all, not many can afford to collect genuine Rene Lalique car mascots and so 'exact' copies of them are fine in my book at a small fraction in price, but to be knowingly duped by scoundrels like "him" on eBay is not only wrong but also ???
4
France / Re: Etling catalogue - is it out there?
« Last post by Anne Tique on Today at 03:11:13 PM »
Interesting that the same models and patterns are edited under different names.

I don't know if I've mentioned it here before, probably did but I can't even remember where I've been last week, but I read a rapport about a meeting in the 30ies a while ago, of which Marius Sabino was part. He mentioned that something really had to be done to stop the 'copieurs de vitrine', people who copied items displayed in shop windows, by drawing the designs in a little notebook, while they stood outside on the pavement, 'admiring' the items. It was not mentioned how these copiers worked, whether they were hired or working for other houses or they just sold designs by going from door to door, so to speak and I can't remember at the moment, when copyright was introduced in France...
5
Malta Glass / Re: 'Ice cut' vase with Harris signature........
« Last post by glassobsessed on Today at 03:04:44 PM »
There are most definitely a lot of fake signatures out there and more appearing on a monthly basis.

Sorry but I think that is utter rubbish and born of paranoia. In the last ten years of collecting I have seen three or four faked Harris signatures and they were obvious, I have seen dozens and dozens that are genuine, that you doubt the signature on the cut ice lollipop amuses me, it just leaves the field open for the rest of us. As it happens and for a couple of reasons that is one of the more difficult examples of his signature to photograph well.

I bought that particular cut ice lollipop vase at a bootsale for five quid more than ten years ago, luckily for me it was my first piece of Mdina. The person I bought it from had had it in their family for many years, it was bought at the factory in the early 1970s and they knew no more about it than that. Which was more than I knew at the time - I was only really interested in Scandinavian glass and had hardly heard of Mdina. As far as I was concerned I was buying a pretty piece of glass, I had no idea of it's potential value.

How do you think MH's signature varied after lunch and a couple of glasses of wine? When tired? When stressed? When the engraving tool was blunt? There will be more reasons equally as banal for the slight variations we see, let alone the vagaries of signing on small and oddly shaped bases and along with that any development over time.
6
Malta Glass / Re: 'Ice cut' vase with Harris signature........
« Last post by Nemmie on Today at 02:57:01 PM »
I certainly agree with you on that point.

I have been pleased to pick up some relative bargains just because they weren't signed and there was less of a bidding war.



7
British & Irish Glass / Chance tumbler, probably ?
« Last post by keith on Today at 01:48:52 PM »
One with and one without, same marks to the base so I'd go with a yes !  ;D ;D
8
Malta Glass / Re: 'Ice cut' vase with Harris signature........
« Last post by chopin-liszt on Today at 01:33:50 PM »
Which is why I look at the glass itself, not at scratches on the bottom of it and avoid buying anything signed if I possibly can. ;D
The silly prices the scratches can make, make no sense to me at all. 8)
9
Malta Glass / Re: 'Ice cut' vase with Harris signature........
« Last post by Nemmie on Today at 01:19:44 PM »
To be honest, I do not believe there is such a thing as a "handwriting expert".
Handwriting varies incredibly, even in an individual.
Most of my signatures these days look like I'm faking them. ;D No two are ever the same.
What needs to be analysed are the tiny variations in the pressures exerted while writing and the time-related fluency of execution, not the shapes of individual letters. That is more akin to phrenology (bumps on the head relate to personality) or physiognomy (if you look evil outside, you are evil inside).
I don't know how any of that could be analysed while engraving.

I think there are, they work for the police and give evidence in court. I have seen it with my own eyes and heard with my own ears.

You are correct in that some aspects but they also look for consistency in lettering, spacing, slant, signs of hesitancy. All of which are evident in an engraved signature.

I think that until recent years all the signatures I had seen showed a great consistency in all these aspects. So either all the rushed signatures appeared recently or someone is faking them.

Logic dictates it is the latter.

 
10
Malta Glass / Re: 'Ice cut' vase with Harris signature........
« Last post by chopin-liszt on Today at 12:40:22 PM »
To be honest, I do not believe there is such a thing as a "handwriting expert".
Handwriting varies incredibly, even in an individual.
Most of my signatures these days look like I'm faking them. ;D No two are ever the same.
What needs to be analysed are the tiny variations in the pressures exerted while writing and the time-related fluency of execution, not the shapes of individual letters. That is more akin to phrenology (bumps on the head relate to personality) or physiognomy (if you look evil outside, you are evil inside).
I don't know how any of that could be analysed while engraving.
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