Art Deco vs. Art Moderne

 

QUESTION: I’m a great lover of all things Art Deco, although I don’t know much about it. I’ve heard some people refer to this style as Streamlined Modern while other call it Art Moderne. Can you please tell me a little about this style? And what about Streamlined Modern? Is it related to Art Deco?

ANSWER: Art Deco and Art Moderne overlap, both stylistically and chronologically. Both were in vogue in the first half of the 20th century. But it's more a question of style than dates. While Art Deco emphasized verticality and stylized, geometric ornamentation, Art Moderne was a horizontal design, emphasizing movement and sleekness;.

The Art Deco style made its debut at the 1925 World's Fair in Paris—the Exposition Internationale des Arts Décoratifs et Industriels Modernes or the International Exhibition of Modern and Industrial Decorative Arts—but the term Art Deco wasn’t used until 1966. A group of French architects and interior designers, who banded together to form the Societe des Artistes Decorateurs, developed the style to incorporate elements of style from diverse modern artworks and current fashion trends. Influence from Cubism and Surrealism, Egyptian and African folk art can be seen in the lines and embellishments, and Asian influences contribute symbolism, grace and detail.

Art Deco was already an internationally mature style by 1925—one that had flourished in the years following World War I and peaked at the time of the fair. The enormous commercial success of Art Deco ensured that designers and manufacturers throughout Europe continued to promote this style until well into the 1930s. 

Sometimes Deco designers applied ornamentation to the surface of an object, like a decorative skin, but at other times the utilitarian designs of bowls, plates, vases, and furniture were themselves purely ornamental. These objects weren’t intended for practical use but rather created for their decorative value alone, exploiting the beauty of form or material. Among the most popular and recurring motifs were the human figure, animals, flowers, and plants. Abstract geometric decoration was also common. 

Victorians loved to apply ornamentation onto furniture, to embellish basic frames and shapes. With Art Deco, the texture and embellishment came from contrasts in a variety of colored woods and inlays or in the material itself. Designers often used burled or birds-eye or visibly grained woods, tortoise shell, ivory, tooled leathers. Lacquered glosses accentuated color differences. Animal skins and patterned fabrics in bright colors were also popular as upholstery.

Though it spread to other countries, Art Deco was a distinctively French response to the postwar demand for luxurious objects and fine craftsmanship. French designers utilized lavish materials and such rich, traditional decorative techniques as inlay and veneer on streamlined geometric forms.

Art Deco reflected the general optimism and carefree mood that swept Europe and the United States following World War I. Hope and prosperity are represented in sunburst designs, chevrons and references to the good life in the elegant figures depicted in casual, sensual poses, often dancing or sipping cocktails. The modern influences heralded a bright and shining future outlook that found its way to architecture, jewelry, automobile design and even extended to ordinary things such as refrigerators and trash cans.

Exoticism also played a role in Art Deco. During the 1920s and 1930s, the French government encouraged designers to take advantage of resources—like raw materials and a skilled workforce—that could be imported from the nation's colonies in Asia and Africa. The resulting growth of interest in the arts of colonial countries in Asia and Africa led French designers to explore new materials, such as ivory, sharkskin, and exotic woods, techniques such as lacquering and ceramic glazes, and forms that evoked faraway places and cultures. 

Art Moderne
 Moderne, also called Streamlined Modern, was an American invention that first appeared in the 1930s and lasted into the 1940s. Although taking its design concepts from Art Deco, it was a completely different style It was bigger and bolder. While Art Deco placed an emphasis on shape, Art Moderne was streamlined. Unfortunately, this is the style most Americans confuse with Art Deco.

Think of Art Moderne as Art Deco on steroids. Moderne was positively streamlined—at the time a new scientific theory that shaping objects along curving lines to cut wind resistance would make them move more efficiently. The furniture in this style was much more pared down, making its outline more geometric in sleek curves like a tear drop or torpedo. Moderne designers often conceived pieces as a series of escalating levels- similar to a staircase or the setback effect of skyscrapers that were rising in every city.

While rich colors, bold geometry, and decadent detail work characterized Art Deco, evoking glamour, luxury, and order with symmetrical designs in exuberant shapes, Art Moderne was essentially a machine-made style focused on mass production, functional efficiency, and a more abstract look coming from the Bauhaus in Germany.

Much of it was designed to be mass-produced, but even if it wasn't, it looked as if it could be: Art Deco's balance and proportion extended to regularity and repetition. Much of the decorative interest in a Moderne piece comes from the precision of line and duplication of functional features. Art Moderne designs often conveyed a sense of motion.

Art Moderne designers favored simpler, aerodynamic lines and forms in the modeling of ships, airplanes, and automobiles. In the modern machine age smooth surfaces, curved corners, and an emphasis on horizontal lines came into fashion. Streamlining appeared on everyday objects and buildings such as roadside diners, motor hotels, movie theaters, early strip malls and shopping centers, seaside marinas, and air and bus terminals. Trains, ocean liners, airplane fuselages, as well as luxury automobiles all sported the Moderne look.

People often refer to furnishings and buildings from the 1920s through the 1940s as Art Deco. Understanding the difference between Art Deco and Art Moderne isn't always easy, especially since Art Deco was originally called Moderne.

To read more articles on antiques, please visit the Antiques Articles section of my Web site.  And to stay up to the minute on antiques and collectibles, please join the over 30,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about "The Age of Photography" in the 2023 Holiday Edition, online now. And to read daily posts about unique objects from the past and their histories, like the #Antiques and More Collection on Facebook.

A Taste of Elegance

QUESTION: From what period does this chair originate? The legs look quite modern. Is it a modern interpretation of an antique design?

ANSWER: This chair is a fine example of French Art Deco. As one of six of a set of dining chairs, it would have been placed under an equally simple, but elegant dining table.

Art Deco emerged in Paris just before World War I as a luxurious design style. But it wasn’t until after the war in the 1920s that Modernism appeared throughout Europe. Until the art world coined the name Art Deco later on in the 1960s, designers referred to the style as Arte Moderne which is French for Modern Art.

Art Nouveau furniture became a commercial failure. The intricate inlays and carvings made it too expensive for all except the very rich.  Concerned by competitive advances in design and manufacturing made in Germany and Austria in the early 20th century, French designers realized they could rejuvenate a their French furniture industry by producing luxurious pieces that a greater number of people could afford.

The founding in 1900 of the Société des Artistes Décorateurs (the Society of Artist-Decorators), a professional designers' association, marked the appearance of new standards for French design and production. Each year the association held exhibitions in which their members exhibited their work. In 1912, the French Government decided to sponsor an international exhibition of decorative arts to promote French design. However, they had to postpone the exhibition, originally scheduled for 1915, until after World War I.

Set at the Trocadero in Paris, near the Eiffel Tower, La Exposition Internationale des Arts Décoratifs et Industriels Modernes (International Exhibition of Modern and Industrial Decorative Arts), held finally in 1925, was a massive trade fair that dazzled more than 16 million visitors during its seven-month run. On exhibit was everything from architecture and interior design to jewelry and perfumes, all intended to promote French luxury items. With such a long name, visitors began referring to the exhibition, and subsequently the design movement, as Art Deco. On display were a wide range of decorative arts, created between the two world wars.



The French Government invited over 20 countries to participate. All works on display had to be modern, no copying of historical styles of the past would be permitted. The stylistic unity of exhibits at the fair indicated that Art Deco had already become an international style by 1925.The great commercial success of Art  ensured that designers and manufacturers throughout Europe would continue to produce furniture in this style until well into the 1930s.

In France, Art Deco combined the traditional quality and luxury of French furniture with the good taste of Classicism and the exoticism of far-off lands. Many designers used sumptuous, expensive materials like exotic hardwoods, ivory, and lacquer combined with geometric forms and luxurious fabrics to provide plush comfort. Motifs like Chinese fretwork, African textile patterns, and Central American ziggurats provided designers with the exotic designs to play with to create a fresh, modern look. They depicted natural motifs as graceful and highly stylized. The use of animal skins, horn, and ivory accents from French colonies in Africa gave pieces exotic appeal.



French Art Deco furniture featured elegant lines and often had ornamentation applied to its surface. It could be utilitarian or purely ornamental, conceived only for its decorative value. It was the look that was important to many French designers, not the use or comfort of the piece. Even today, some pieces look as if their designers intended them to remain on display in a store window and not be used at all. At times it seemed as though the designers and their patrons were trying to escape the dismal reality of daily life at that time.

In 1937, the French government sponsored another trade fair, La Exposition Internationale des Arts et Techniques dans la Vie Moderne (The International Exhibition of Arts and Techniques in Modern Life). Less ambitious than the 1925 exhibition, this fair focused more on France's place in the modern world rather than on its production of luxury goods, thus marking the end of the French Art Deco Era.

To read more articles on antiques, please visit the Antiques Article section of my Web site.  And to stay up to the minute on antiques and collectibles, please join the other 18,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about western antiques in the special 2019 Summer Edition, "That's Entertainment," online now. And to read daily posts about unique objects from the past and their histories, like the #Antiques & More Collection on Facebook.

Sit Back and Get Comfy

QUESTION: While out antiquing recently I discovered a beautiful sofa that would add a lot of class to my living room. It’s in great shape, although it may eventually need to be reupholstered. The dealer said it was in the American Empire style. Although I like older things, I’m not very familiar with all the styles of furniture, especially those from the 19th century. What can you tell me about the American Empire style? Do you think this sofa will be a good investment? It isn’t all that comfortable, but I have a overstuffed one in my family room, so this one would be for more formal visits.

ANSWER: The American Empire style is one that isn’t particularly familiar to even moderate antique enthusiasts. It was more of a transitional style, and its pieces come in a wide variety of designs and ornateness.

But before looking at the American Empire style, let’s take a look at how the sofa evolved. People didn’t even know what a sofa was before 1700. They reserved chairs for important guests. Less important ones sat on stools and benches.

By the 18th century, chair makers began to pad the seats of their chairs. Some even padded the backs, but chair backs of the time were still straight and stiff. When the Queen Anne style appeared around 1750, chairs became a bit more comfortable because their backs were curved.

The word sofa itself comes from the Arabic ‘soffah’, which refers to a raised part of the floor covered with rugs and cushions, while the word couch comes from the French word ‘coucher’ and literally means ‘to lay down’.

The first true sofa was the camel-back, so named for the padded hump in its back. The back, seat, and arms also had sufficient padding, making it the most comfortable seat in the room. Thomas Chippendale designed elegant camel-back sofas with simple, thick square legs that gave them stability.

By the dawn of the 19th century, the Federal style had come into vogue. Sofas became straighter, but the seats were narrower and harder. This was the age of good posture—no slouching was allowed. People had to sit up straight. Both the furniture and the clothing they wore dictated it. People back then couldn’t lean back and doze off like they can today.

By the 1830s, the Empire style had gotten a hold in Europe. It took a decade or so for it to travel across the Atlantic Ocean to America. Empire sofas went a step further and rounded the back cushion so people could not lean back.

By the 1850s, people wanted more comfort in their sofas. Sofa makers angled the backs gave their pieces thicker cushions. But even these sofas still had carved wooden pieces that poked and prodded if a person didn’t sit straight.

The Mission style of the early 20th century didn’t improve much on the comfort scale. Sofas in the first two decades featured heavy, square wooden frames with a padded seat and perhaps a few loose cushions for comfort.

It wasn’t until the 1920s that the overstuffed, deep-cushioned sofa appeared. This style has existed until today in one form or another. The large, L-shaped super overstuffed versions found in today’s home are a far cry from the camel-back sofas of the 18th century.

American Empire is a French-inspired Neoclassical style of American furniture and decoration that takes its name and originates from the Empire style introduced during the First French Empire period under Napoleon's rule.



It gained its greatest popularity in the U.S. after 1820. Many examples of American Empire cabinetmaking are characterized by antiquities-inspired carving—gilt-brass ormolu, and decorative inlays such as stamped-brass banding with egg-and-dart, diamond, or Greek-key patterns, or individual shapes such as stars or circles.

The most elaborate furniture in this style appeared between 1815 and 1825, often incorporating columns with rope-twist carving, animal-paw feet, anthemion, stars, and acanthus-leaf ornamentation, sometimes in combination with gilding and vert antique, an antique green simulating aged bronze. A simplified version of American Empire furniture, often referred to as the Grecian style, generally has plainer surfaces in curved forms, highly figured mahogany veneers, and sometimes gilt-stenciled decorations. Many examples of this style survive, exemplified by massive chests of drawers with scroll pillars and glass pulls, work tables with scroll feet and fiddleback chairs.

American Empire sofas are in high demand today. Fine examples can sell for anywhere between $10,000 and $30,000. Of course, that’s for those in excellent condition and fully restored. So yes, buying one would be a good investment, as long as it’s held for at least 10 years.

To read more articles on antiques, please visit the Antiques Article section of my Web site.  And to stay up to the minute on antiques and collectibles, please join the other 18,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about Colonial America in the Spring 2018 Edition, "Early Americana," online now.

To Restore or Not—That is the Question

QUESTION:  Hi, my father, who is 93, has a chest his grandfather brought over from Sweden. I'm pretty sure its a Biedermeier. It has some wood damage, and the desk flap needs repair,. If we have it repaired, will it lessen the value? I have always loved it and don't have plans to sell it, but don't want to take away from its worth either. Can you help me?

ANSWER:  Yes, definitely get your Biedermeier secretary restored. For the most part, it’s in excellent condition. Restoring it will only increase its value. Unlike what experts say about antiques produced before 1830, those made after that can often benefit from restoration. In this case, just make sure you use the best restorer you can find. I can’t emphasize this enough. Your secretary is worth a lot of money and will appreciate even more. This is because a lot of Biedermeier pieces got damaged from dampness and such when the style went out of favor. Many sat in barns for years until the veneer literally fell off of them. So there aren’t very pieces that have survived.

So why are Biedermeier pieces so valuable? Next to the Bauhaus, the Biedermeier style movement had perhaps the most influence on modern styles to come. This Neoclassic style  originated in Germany in the early 19th century and played a major role in furniture design. It spread throughout Europe from 1815 to 1848.

The style’s name derived from Ludwig Eichrodt and Adolf Kussmaul, who depicted the typical bourgeois of the period under the name "Gottfried Biedermeier"—from "Gott" meaning "God," fried" meaning "peace," "Bieder" meaning "commonplace," and meier" meaning "steward"—in their Fliegende Blatter, a Viennese journal of the day. However, people didn’t call it Biedermeier until 1886, when Georg Hirth wrote a book about 19th-century interior design, and used the word "Biedermeier" to describe domestic German furniture of the 1820s and 1830s.

Biedermeier furniture suited the modest size and unostentatious needs of comfortable bourgeois houses. And the secretary was the most popular piece.

The less severe appearance of Biedermeier furniture led to a less formal arrangement of rooms as a whole. Flowers, screens, worktables and knick-knacks of all sorts helped to give a sense of family life. The bourgeoisie began to form a personal style, thus creating what’s now known as interior design, making Biedermeier one of the first design movements to reflect it.

People arranged suites of furniture in the corners of rooms. They created areas for eating, chatting, reading, and doing embroidery. Each had a sofa, table and chairs, and some sort of storage cabinet. Biedermeier comfort emphasized family life and private activities, especially letter writing—giving prominence to secretary desks. These featured a central niche, a mirror, and secret drawers.

Most Biedermeier furniture is extremely geometric in appearance. As the popularity of the style grew, some pieces took on new roles—the table became the family table, around which family members could site  for evening activities. Or table tops could be placed against the wall in a vertical position. A portable piano had a drawer for sewing things, while the upper drawer of a chest of drawers might be converted into a writing desk.










Prior to 1830, mahogany appeared in Viennese furniture and gradually replaced walnut. The adoption of this imported wood, which was often given a light finish, caused some craftsmen to apply matching stains and finishes to pieces made in walnut, pear wood, and Hungarian "watered" ash.

Attention to economy meant that local timber was mostly used, especially walnut veneers over a soft wood frame. Inlay served as the main decorative element, featuring the patterned graining of walnut and often reduced to a light-colored border. Sometimes, craftsmen used black poplar or bird's eye maple and colored woods such as cherry and pear became popular.

Cabinetmakers decorated their furniture with black or gold paint, and often employed less expensive stamped brass wreaths and festoons rather than bronze for decorative effect and gilded wooden stars instead of the elaborate metal ornaments of the Empire style. They designed furniture to be seen from the front and concentrated most of the decoration there.

With pieces of furniture as valuable as Biedermeier ones, it’s important to get them appraised by a certified antiques appraiser who specializes in European furniture. While getting an appraisal may appear costly, the cost is well worth it if the piece is damaged or sold. It’s also important to research former owners of the piece to create a provenance.

 To read more articles on antiques, please visit my Web site.  And to stay up to the minute on antiques and collectibles, please join the other 18,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about the Victorians in the Winter 2018 Edition, "All Things Victorian," coming this week.

A One-Armed Chair

QUESTION: We bought an old farmhouse three years ago and this chair has been in our barn. What can you tell me about it?

ANSWER: What you have is a one-arm ladies chair made in the Eastlake style from 1870-1885. And, yes, it was part of a parlor set, which usually included a love seat, a two-armed gentleman's chair, and a one-armed ladies' chair. Furniture manufacturers made these chairs with one arm and low to the ground because the ladies of the time wore dresses with lots of fabric in their skirts, covering over one or more petticoats. Eastlake suggested that chairs be made low to the floor so that ladies could remove their shoes without having to bend over in an un-lady-like manner. The new middle class housewives loved it.

The Eastlake style grew out of the beginning of the Aesthetic Movement which later evolved into the Arts and Crafts Movement. Charles Lock Eastlake, himself, wasn't a furniture maker but wrote a book, Hints on Household Taste, published in England in 1868 and the United States in 1872, which called for the manufacture of simple sturdy furniture and gave suggestions on how to decorate a home in a simple, refined manner. He was a noted, trend-setting British architect, author, and lecturer, and by the time his book hit booksellers in America, it was an instant hit with middle-class housewives who wanted to keep up with the trends in home decoration.

Although Eastlake furniture is technically considered Victorian, it breaks away from the excessive high relief carving, classical elements, and numerous curves of other styles produced during this time. Eastlake’s reformed style offered the first glimpses of modernism and was on exhibit at the Philadelphia Centennial Exhibition.

In contrast with other Victorian styles of furniture produced in America featuring classical motifs, Eastlake furniture was more geometric and incorporates softer curves. Though some pieces may have incorporated Renaissance Revival and medieval influences, they don’t overwhelm the pices.

A number of manufacturers made this furniture and most didn’t mark their pieces. Using oak, cherry, rosewood, and walnut, they often emphasized wood grains. Sometimes, it’s difficult to tell what type of wood manufacturers used because of the dark varnishes they used to coat the surface.

In contrast to Arts and Crafts furniture, Eastlake pieces weren’t completely lacking in ornamentation and decorative elements. But the ornamental carving on these pieces was lightly incised rather than deeply carved. Generally, new Eastlake furniture came in a broad range of quality and price levels.

The Luck 'O the Irish

QUESTION: I have two chairs that I’ve been told are Irish Chippendale. Both feature lion mask carvings on the knees of the front legs. Are these lion mask carvings rare on Irish furniture?

ANSWER: Before tackling whether your chairs are rare or not because of their lion mask motifs, let’s first define exactly what “Irish” Chippendale furniture is?

Most people think Thomas Chippendale designed and built his famous furniture. He definitely designed it and built some for wealthy clients, but mostly he’s known for his famous Gentleman and Cabinet-Maker’s Director, a catalog of furniture patterns which included detailed drawings of all of his furniture design ideas, plus variations. Cabinetmakers all over the world bought the book and created their own versions of his designs based on the materials available in their locale and on the wishes of their wealthier customers.

Although Irish Chippendale is somewhat of a misnomer, the name which attaches to that peculiar style as well as its general contour comes from Thomas Chippendale It was the work of cabinetmakers in Ireland, and of those who made furniture for the Irish market at a time when Chippendale was influencing the furniture produced by his contemporaries. It was, however, apparently formulated to some extent independently, and even earlier than it was possible for the influence of Chippendale to have spread so far afield.

Chippendale based his designs on those of Queen Anne pieces, especially the cabriole leg. Since Ireland was under British rule in the 18th century, it’s possible that some of the wealthier Irish families imported pieces made by Chippendale in England. The evolution of the Irish Chippendale style was a gradual one. It didn’t just happen overnight. Eighteenth-century cabinetmakers all looked to each other for ideas, incorporating many of them into their designs. In addition, their clients often asked for particular features and motifs on the furniture they commissioned. The wealthy traveled and most likely experienced Chippendale’s designs where they visited, creating a demand for a Chippendale-related style in Ireland sooner than the popularity of the English cabinetmaker’s work would otherwise have done.

Whatever may have been the origin of the Irish Chippendale style, whether made in Dublin or in Irish provincial towns, such furniture had a sufficiently characteristic style running through it which gave it an individuality all its own. Some decorative arts historians believe that the Irish Chippendale style had a Dutch influence which shows in the somewhat heavy foliated carving of the rail, chiefly shown on the edge of tabletops.

Irish cabinetmakers captured the "spirit " of Chippendale in their designs, but for the most part they wrongly interpreted it. Also, many of the pieces show the features of the earlier Queen Ann and Jacobean styles. This indicates that many of the Irish cabinetmakers were unfamiliar with the Chippendale style as such and just added the features requested by their clients to their existing furniture designs.

The lion mask, a motif used from antiquity as an emblem of strength, courage, and majesty, is one such feature. The lion mask holding a ring in its mouth for a handle derives from ancient Roman furniture and continues to be popular as doorknocker even today. From the early to mid-18th century, the lion mask enjoyed popularity as a favored motif for furniture ornament, used as an arm rest support or to decorate the knee of a cabriole leg. Occasionally, a lion's paw or pelt appears alongside the mask. Thus the lion mask was a common facet of Irish Chippendale design.

Unlike other examples of furniture made in the Chippendale style, those pieces made in Ireland feature lion masks prominently in their design. Because much of Irish Chippendale furniture dates a bit before Thomas Chippendale published his catalog of furniture patterns, your chairs are most likely slightly older than furniture made in the traditional Chippendale style during the last half of the 18th century and not a rarity as you originally asked.

To learn more about Thomas Chippendale and his style of furniture, read "Chippendale---The Royalty of Antique Furniture" and "Chippendale Changed the Way Furniture Looked."

Determing Value

This is the 200th post of this blog. And being so, I thought I’d break away from my usual question and answer format and discuss a topic for which I receive lots of questions—value. I routinely tell everyone that I don’t do valuations. I do that because value is one of the hardest things to determine without lots of expert information. That’s why certified appraisers are in such high demand. But they’re expensive, so most people seek free value advice.

Value of any kind is subjective. It depends on several things—age, rarity, authenticity, trendiness, and historical association. Just because an item is old doesn’t make it valuable. Take glass from ancient Rome. At over two 2,000 years old, you’d think it would be worth a fortune. But the truth is there’s so much of it around that it isn’t worth as much as you’d think.

Throughout history, people had as much junk as we have today. But they didn’t value things in quite the same way as we do today. For ordinary people, old furniture was just old furniture. Old dishes were often mismatched. Let’s face it, they didn’t have “Antiques Roadshow” to make them think that just about everything was valuable.

To determine an item’s value, you first have to determine its age. The type of wood used in furniture, particularly the secondary woods used for the inside of drawers, is an important clue of age. If you see a  circular saw pattern in the wood on a piece of furniture, you know it was made after 1840.

Not everything rare is valuable either. An old book by an unknown author might be extremely rare. But to be valuable, someone must want to buy it. Nevertheless, rarity is a key determinant of value. Start by considering how rare an item was when it first appeared on the market.

Think in terms of different levels of production. At the bottom are mass-produced items made of ordinary and usually cheaper materials. At the top are unique items made of the finest materials. Generally, if an item was rare and valuable when it was made, it'll be even more rare and valuable today. Previously expensive objects will still be expensive today.

When an antique or collectible is in demand by collectors, it’s price can skyrocket. And when prices climb, fakes and forgeries abound. Some forgers use as much skill producing fakes as if they were making an original. Fraudulent antiques lie in wait for the uninformed. A good example is the myriad of fake Chippendale furniture coming out of Indonesia.

Perfectly round wood in a piece of furniture, for example, is a tell-tale sign of a forgery, because wood becomes distorted with age. Look carefully at ceramics to see if someone painted the decoration on top of the glaze after the firing.

When it comes to collecting antiques, condition is prime. Did you know that the patina on fine furniture----produced before 1830—is one of its most important features, and too much cleaning and restoration can ruin it? Did you know, for example, that the value of a rare book can drop by more than 100 percent if it doesn't have its dust jacket?

Another thing that influences value is how typical an item is. Collectors are always looking for representative examples of a given period, craft or style. When an item sparks a collecting trend, prices always go up.

Finally, an object’s association with someone famous automatically increases its value. That’s because more collectors want to own it. And that’s the bottom line with value. The more people who want to own an object, the more its worth. And an item is only worth what the last person paid for it.

I hope you find this post as useful as the previous 199. I’ve enjoyed writing this blog and plan to continue bringing you insightful information about antiques and collectibles. For more in-depth articles, please visit The Antique Almanac, my new monthly E-zine on antiques and collectibles. You’ll never know what you’ll learn next.

Electric Lamps for Everyone

QUESTION: Several years ago, I bought an early electric glass lamp at a flea market. Although it was filthy and needed lots of TLC, I decided that I just couldn’t live without it. After giving it a thorough cleaning and having it rewired, I noticed how much it looked like the Tiffany lamps of the early 1900s. Upon further inspection, I noticed E M & Co. impressed into the base. So far, I’ve been unable to discover who E M & Co. is? Can you tell me who made my lamp and a little about it.

ANSWER: You’re the proud owner of a beautiful silhouette lamp—called that because of the silhouettes created by the shade when the lamp is on—made by the Edward Miller & Company of Meriden, Connecticut.

Unfortunately, when people think of metal and glass lamps of the early 20th century, they usually associate all lamps with Louis Comfort Tiffany. Then their eyes light up with dollar signs. But most of the lamps from this period were not made by Tiffany.

When Tiffany first began making his lamps, they were expensive to make and expensive to buy. Prices for them ran into the hundreds of dollars. Slag glass panel lamps, as they're known  today, had a few large pieces of glass fitted into a cast metal frame that simulated the effects of the more expensive leaded glass lamps. That made them affordable for the average person. A 1925 Sears, Roebuck and Co. catalog offers metal table lamps fitted with "art glass" priced from $6.90 to $19.

Many companies made this type of lamp. Often the lamps weren’t signed, but if the makers did mark them, they usually cast their mark into the metal on the bottom of the base. Sometimes they placed a mark on the metal edge of a shade or elsewhere on the base. Some lamps had paper labels, but most of them are long gone. Edward Miller & Company was one of many lamp makers.

The Miller Company began in 1844 in Meriden, Connecticut, as Joel Miller and Son. Originally, the company produced metal candle-holders, then moved on to kerosene lamps, gas lighting, and electric lighting. The name of the company changed, also, becoming Edward Miller & Company, then The Miller Company, both under the mark E M & CO on their lamp bases.

Although Miller produced expensive leaded glass lamps, the company took advantage of the opportunity to sell lighting to the middle classes as more homes became wired for electricity. The company sold lamps in bulk to utility companies in large cities who retailed them to their customers. A 1920 Philadelphia Electric Company catalog shows lamps with prices from $12.50 to $60, depending on size.

Miller took advantage of the latest discovery in lighting—electricity. Up to the last decade of the 19th century, everyone owned and used either gas or kerosene lamps. But the light they gave off was dim. The discovery of electricity led to lamps that glowed brighter in a downward direction, thus offering improved lighting for reading and sewing.

Though electrical lamps offered lots of advantages, there were problems with the carbon filaments in early incandescent light bulbs that didn't last long. The bulbs turned dark inside from carbon, and they used a lot of electricity per watt of light. The invention of the tungsten filament bulb and improvements to it made between 1906 and 1910 established electric lamps as a practical and reliable alternative to gas and kerosene.

These early electric lamps offered a variety of base and shade overlay designs, influenced by several style movements including Art Nouveau with its intricate curvy lines and botanical themes, Arts and Crafts with its simpler forms and straighter lines, and Orientalism with its Middle Eastern flavor. And with the discovery of King Tut's tomb in 1922 , people’s interest in everything Egyptian grew.

Lamp creators took their inspiration from all of these influences, giving consumers a choice of floral designs, geometric patterns, or scenes with camels, palm trees and pyramids. Other designs reflected Neo-Classical Revival architectural and furniture styles, employing fluted columns, garlands, and urns as design elements.

Manufacturers produced slag glass lamps with amber glass, as well as other colors. Amber was the dominant color because it proved to be the most restful for reading. These lamps often have more than one color of glass. Makers sometimes used various colors of slag glass to simulate sunsets or water behind their metal frames.

Today, these same slag lamps sell for $500 to $1.500, depending on style, size, and especially condition. Smaller varieties, known as boudoir lamps, sell for less while larger ones sell for more.

With the onset of the Great Depression, the market for more expensive dramatic, heavy lamps with glass shades faded and manufacturers responded with cheaper, lightweight lamps with paper or fabric shades.

9 Ways to Help Identify Antique Furniture

QUESTION: Some friends of my mom’s gave me what looks like a Chippendale desk. They didn’t know anything about it, so I’ve had to do some research on my own. The only problem is that I can’t seem to find out much about it. Can you please help me out?

ANSWER: Not only will I try to tell you something about your desk, I’d like to give you and others some tips on what to look for when trying to identify antique furniture.

First and foremost, you need to determine if the piece you have is really an authentic antique or whether it’s a reproduction, a revival piece, a fake, or just a piece of junk. The key to the history of valuable antiques is whether they have a provenance—a history of ownership. This document lists the maker, all the owners to the present, and whether any repairs have been done to it. If you were spending five or six figures for a piece of furniture, you certainly would want to know everything you can about it.

But what about everyday pieces that don’t come with a provenance. Identifying them is a bit more difficult. Follow these steps and you should be able to determine quite a bit about any older piece of furniture that you have.

1. Determine the style. Using photographs in antiques books and photos online, try to determine the style of your piece. Certain styles, such as Chippendale, have telltale features, such as ball-and-claw feet, that help to identify them.

2. If it’s not authentic, determine if your piece is a revival or a reproduction. The difference between a revival and a reproduction is quite simple. The first is stylized version of the original style. So Colonial Revival furniture represents stylized versions of true 18th-century American Colonial pieces. A reproduction, on the other hand, is an exact replica of the original, often made of the same type of wood, using the same woodworking techniques.

3. Determine its age. Check to see if it has any nails or screws. An original Chippendale desk would have been assembled with pegs and mortar and tenon joints. Does it have any manufacturers labels anywhere? If so, then it’s definitely a Colonial Revival piece or even a fine reproduction from the mid-20th century.

4. Check any drawers for dovetailing. You can usually tell if the dovetails are handmade or done by machine. Those done by machine are very regular and even and can usually be found on pieces after about 1870.

5. Look inside the drawers or pullouts and see if the maker used the same wood—for example, mahogany. Later versions will have used some sort of fruitwood---pear, apple, or even poplar---for the drawer backs and sides. If its an older piece, the drawer bottoms will be made of a thinner version of the same wood.

6. Does the piece have decoration that isn’t in keeping with its style? Look at the detailing on your piece of furniture. Does it have added knobs or edging that doesn’t seem to go with the style of the piece. Often one of the owners of the piece may have added these to make it more up to date. The opposite also applies. Can you tell if any details have been removed for the sake of updating?.

7. Have any repairs been made to the piece? Look for signs of glue, nails, or screws that seem newer than the piece, itself. Also look for replaced wood panels, veneer, or detailing, such as finials.

8. Has the hardware been replaced or is it original? You can usually tell if hardware has been replaced. For instance, you’ll often see chests of drawers sporting glass or brass knobs. Originally, these chests usually had wooden knobs, but antique dealers, in an effort to make them more attractive to decorators, replace the original knobs with glass or brass ones. It’s actually better to replace missing original knob with a reproduction rather than replace the entire set with hardware that wouldn’t have been originally on the piece.

9. Were you told anything it about it? Did the seller or the person who gave you the piece tell you anything about its past? Did you ask them?

By studying the closeup photos that accompany this blog, you’ll notice the following about this desk.

First, your desk is definitely from the late 19th century---I’d say probably the 1880s, based on the 1886 mark you found. Second, the dovetails are definitely 19th century. But the real signs are the nails or screws that appear in one of the photos and the rather poor craftsmanship of the carving and joining. In an authentic Chippendale, the wood would be perfectly matched---the top of the leg where it joins the desk is a good example. Also, the stain would be even. I believe this piece had been refinished at some point, and not very well. I can tell that from the molding closeup from the front rim of the desk. And the last sign is the carving, itself. The little stars were stamped in. No 18th-century craftsman would have ever done that.

When asking someone to help you identify a piece, it helps if you take closeup photos of certain parts of the piece—hardware, dovetails, inside of drawers, carving, repairs, even the back.