Why there are Variations in Chalet’s Designs, Production and Markings
Some of the most frequent questions I get asked or posts I see pertain to variations in a form. Usually, the collector is wondering if variations mean that the piece is not Chalet or a reproduction/copy/fake or conversely if they have found a Chalet gem. Questions have ranged from differences in design and styling, colour, height, casings, weight or marking. And often the collector would also like to know the impact of these differences on a piece’s desirability, rarity, and monetary value. Therefore, I want to begin this article by stating, without equivocation, that variations between any and all forms of the same design/style are the norm – not the exception. And the same is true of the glass produced by Lorraine Glass Industries, EDAG, Rossi Glass, Continental, and Alta Glass as it was hand worked as well. Since variations are so common, it usually follows that a piece does not become inherently more valuable because of them. However, there are “rare” and “unique” exceptions which are discussed later.
An important point to make is that, to date, we have not seen a verified “faked” piece. Usually claims that a piece is not genuine are subjective or based on unfamiliarity with the form and its variations or overall inexperience and no proofs are offered to support or confirm the “fakery” charge. However, with regard to markings, we do regularly see Chalet stickers that seem out of context to the piece – this is just part of the Chalet “narrative” as when pending orders made things very intense at Chalet with orders to be filled piling up, Angelo Tedesco would call on his family (including small nieces and nephews) and hand them a roll of labels and they would get busy. This was a family run business and not only were the owners related, many of the other glass blowers and support staff were also connected. We have also seen pieces with more than one etching, an etching and a sticker or even two different stickers. Every now and then, we have come across Chalet pieces with an EDAG or Lorraine sticker. This can result from an obvious misrepresentation by a seller or just a uniformed collector that found a label lying on their floor and cannot remember which piece it belonged to and makes an honest mistake in reattaching. Labels do often come off.
A base ”mismark”(a really off centre placement, incomplete signature, double signing) is simply another type of marking variation. It is not a sign that something is “off” about the authenticity of the piece. Not only were Chalet pieces mouth or hand blown or hand molded, the machines that did the signature etchings were also hand placed and each piece was individually finished. And these machines could be very finickity. Therefore, there are going to be variations in signature placement and precision as a natural result. As there were only two people regularly grinding, polishing, and marking the bases, things could get very hectic in this department which also contributed to some signatures and finishing being less than uniform.
Sometimes a piece was missed altogether!
An unpolished base. Photographs of this purple “stretch centerpiece” are courtesy of 50 Shades member Charles Anderson.
Very often connected with a query about variations, it is common to see both new and experienced collectors speaking or answering in “absolutes” about style, markings, makers, rarity and/or expressing a personal theory or opinion as a hard fact. Equally common are generalizations and declarations that; “So and so always did this…” or “ So and so never did that.” In my experience, I have found the exact opposite to be much more accurate. Since I began collecting and researching, I have only learned 3 things that “never” change or that “always” hold true. These are:
1. Canadian glass collectors have very little hard evidence and facts (especially compared to toy, book, stamp, or coin collecting for example) upon which to rely,
2. “Never say Never” and,
3. The only reliable consistency regarding Chalet and the other glasshouses is their inconsistency.
Wondering and theorizing are vital ways to elicit information, stimulate discussion, and consider others’ viewpoints. Indeed, these are crucial pathways to investigating and answering questions or uncovering facts and growing our collective understanding. However, I would like to address the “concept” of “fact.” Just because you or I or the person third down the aisle thinks, wishes, speculates, or states a belief, it doesn’t necessarily make what we are expressing a fact. A fact is not a “concept” or a “theory.” On the contrary, it is defined as: “The objective truth or reality about an object, matter or event as opposed to interpretation. It is a thing that is known to have been proved to be true.” Key words – objective, reality, truth, proved… Not “I think or I know or I believe…” However, that being said, I am not suggesting that we should stop expressing opinions, making observations, or speculating only that that we should all clearly state that’s what we are doing to better ensure that opinions and facts are not conflated. Furthermore, if an opposing viewpoint or just a question regarding our opinion results, it is crucial to remember that this is not a personal affront. The reality is that it’s merely a different viewpoint or a question. Nothing more or nothing less. Something to keep at the forefront of our minds is that another’s opinion may be just as or even more valid than yours or mine. Moreover, questions and being questioned are how we learn and further discussion. Tying ego to opinion is not a successful way to communicate as I am sure we can all agree that no one can listen or learn when angry or stubbornly entrenched. The Law of Averages makes it mathematically impossible for us to be right all the time! Above all, remember – when it comes right down to it …, it’s just glass! I know, I know – heresy.
So, now that I have concluded my preamble, let’s concentrate on “variation facts.” It is undisputable that variations are found between any number of the same form and that these are not limited to just height, weight or colour. Those three variants are certainly the most obvious but we also see a multitude of varying shades of the “same” colour, changing degrees in the thickness of sommerso casings and design features like pulls and “fingers” or “spikes” or “curls”, while certainly remaining consistent vis a vis their presence, position, and number in the overall design of a particular form, very often show subtle differences in slant or size from one piece to another.
But why, you may ask, did these variations occur? Not only was each and every Chalet piece hand worked, colour formulas were always hand measured and mixed so of course tonal variations would result. Again, it is mathematically impossible for variation not to naturally occur given these by hand processes. In addition, environmental factors (how thoroughly a crucible was cleaned when colours were switched out or the age of a mixture in a crucible are two such influences) also resulted in colour variants. Remember the time and place. This was not an automated production process in a modern, brightly lit, air-conditioned and sterile plant with filtering systems and ISO quality standards and objectives. The Chalet factory was an excruciatingly hot, cramped, and dark shop with limited space in an old building with open windows in a small city in the 1960’s and 1970’s where the artists not only worked with dangerous materials but wore little if any protective clothing, no eye goggles, and smoked on the workplace floor while they created art. In the summer months, the heat from the ovens made it impossible to work afternoons – shifts started at 5:30 a.m. and ended at 1:30 p.m.
1967. Work floor of the Chalet Artistic Glass factory.
As all hand worked glass shows deviation, the pieces on the first Chalet Artistic Glass sales/catalogue brochure were depicted through drawings done by hand to avoid the very perception and expectation of conformity. And to imply originality and artistry.
The Chalet owners were glassblowers and workers from Murano who had come from generations of glass makers. Therefore, they knew from the start that every piece in the Chalet inventory would be different even if the overall form was the same. Sometimes just slightly but at other times, significantly. This is especially notable when the variations created by design evolution are compared for the reason that some of Chalet’s earlier pieces are very different than their counterparts of later years although the inventory number remained the same. Why did the design of certain pieces change? For many reasons. For one, Chalet Artistic Glass was a business and as such responded to popularity trends amongst its customers, increases in the cost of materials and labour and demands from suppliers and distributors. Additionally, pragmatism and personal taste and artistic creativity also cannot be discounted.
The primary reason we know these to be facts is that we have verbal proof right from Angelo Tedesco himself in his 1965 interview for the National Film Board’s “Why Canada.” We also have physical proof as the lead content of Chalet’s pieces was increased to over 24%. How is that proof? Chalet increased lead content so that their pieces could be marketed as “lead crystal” even though art glass is not typically described as “lead crystal.” This was done so that Riekes Crisa, an American giant in the distribution of home décor, would carry their products. Chalet made much of this with special press releases, product launches and created branding to reflect this as well.
Another excellent physical proof is the evolution of one of Chalet’s bases. Two and four “toe footed” bases were adopted on many styles because Chalet’s artists “… needed something to hold onto.” A fact shared directly from Chalet Maestro Bruno Panizzon who was with the company from 1962-1975. These bases replaced the more organic versions used in Chalet’s early years and demonstrate a case of “form vs. function” in changing design.
So, right from the beginning we find that it is a “fact” that the Chalet “narrative” not only allowed for but expected and accepted naturally occurring variations in addition to actively facilitating greater and deliberate changes in styles and formulas and this was done for both business and creative reasons.
It is only logical that the longer a company is in business, the more variants there are going to be in their products. Responsiveness to both supply and demand ensures this. Take a look at McDonald’s as a prime example. In 1940, brothers Maurice (Mac) and Richard McDonald established the inaugural McDonald’s eatery in San Bernadino, California. Initially, it operated as a drive-in establishment and offered an extensive array of menu items. Right up until 1955, when McDonald’s started franchising. This expansion saw changes in both its menu and service structure. Today we can see that while the “golden arches” have been retained numerous other aspects of the stores have been greatly altered. Branding and marketing strategies are constantly reacting to reflect what is going on in its marketplace, which is not only reflected in areas such as in-store appearance and company mascots but also the menu changes that have been made over the company lifespan. Although staples like hamburgers, shakes and fries remain, their ingredients, preparation and presentation are vastly different from what was available decades ago.
It is odd to see some collectors ignoring or arguing against these proofs. Why? Just because Chalet’s product was art glass, it does not negate the fact that it was a business and run as such. No one is suggesting that the reality of Chalet Artistic Glass being a factory business diminishes either the beauty of their product or the creativity of the Chalet artists. They are not mutually exclusive. As we have both physical and verbal evidence proving that Chalet was a business and that variations occurred because of this, it is totally nonsensical for us then to not accept that it would have been impossible for Chalet to stay in business without an ongoing outlay of effort, time, thought and money. Chalet’s success did not just happen or exist in a vacuum. Indeed, from all that we have learned from customers, family, and the Chalet artists, we know that Angelo Tedesco was tireless in his personal efforts to achieve a healthy bottom line. My favourite anecdote about this very aspect of Chalet Artistic Glass came from another Cornwall business owner (the now retired owner of Pommier Jewellers) that carried Chalet product. He told me that Angelo would personally and regularly pull up his Cadillac (seats and trunk filled with Chalet glass) to his store door so that he would come out and make his selection. This was a routine occurrence and not just an isolated incident as well as being a shared experience for many other local carriers of Chalet. Talk about giving curbside pick-up a whole new meaning! As an end note, Pommier Jewellers still operates and remains a family business – a Cornwall landmark for over a hundred years.
Accepting variation was not just a logical and inevitable creative and business strategy but something Chalet also skillfully maximized as a marketing philosophy. Not just through the deliberate selection of the company name when it changed from Murano Glass but, over and over, their branding stressed that Chalet glass was “ … artistic, original, hand-made, hand-formed, hand-crafted.” They did this through visuals as well – such as using the image of a glass blower with a canna on many Chalet tags and labels or stickers in the shape of an artist’s palette. Even the company’s stationary, which depicted the tools used in creating glass, didn’t miss a beat.
Photo courtesy of 50 Shades member Kevin Hall.
Not only can slight deviations be expected and explained by the lack of automation and a range of environmental factors but these types of variations also resulted because of the human factor. To start, the ovens and crucibles were hand built. In addition, some of the tools used were individualized, rather than standard in each team or across the factory floor, as sometimes the instruments that the artist used were of a personal and treasured design – handmade by him or handed down from another. This was, in glass factories at this time, an absolutely accepted practice. Each artist brought differing skills, strengths and shortcomings to his glass blowing. Moreover, the teams of artists working together were fluid, composed of different artists from one shift to another and each team had a different Maestro adding the finishing touches. All and more factors contributing to variations in the overall execution of a design or in specific techniques or tools used.
I think the best and easiest way to further scrutinize the facts regarding many of the variations stated above is to single out for examination one of the forms featured on a Chalet production/inventory sheet. On the handful of catalogue pages that we have, it appears that Chalet generally presented a grouping of products. Sometimes they were all related (the bonbonniere sheets are a good example here) and sometimes they were not. These inventory sheets were also used as sales tools and showed not only the different forms but the range (if applicable) of production heights in which they were manufactured. A Chalet inventory sheet gives us a logical and evidence-based starting point in further establishing “Chalet fact and fiction.” So, I chose an iconic Chalet piece “V32” or what we collectors call the “crystal twist” vase. Not only is it featured on Chalet inventory sheets but it was produced throughout the entire life of the company. It is also one that many of you are likely to have in your collections or at least have seen posted.
This particular Chalet sales/catalogue page courtesy of Mario Panizzon. Son of Chalet Maestro Bruno Panizzon.
Please note the differences in this style (bottom middle) from the version depicted in the 1962 brochure shown above. On that sheet, it is the piece in the bottom row to the right of the company name. Although it is still designated V32, you will note some evolution in design. In addition, the 1962 brochure above does not specify heights for any pieces.
This later production sheet shows V32 only being produced in 2 heights – a 10” and a 12”. However, we know that it has been found in a wide range of other heights. If you own this vase, grab a measuring tape, and determine the height of the ones you have. While you may find that yours are the 10” or 12”, it is very possible that your pieces do not conform to the sizes listed in the production sheet. In my case, I presently have three in my collection (all etched with the “Chalet Canada” signature). Not one of them “conform” to the production sheet with regard to their height. The clear crystal “mini” is 6”, the sapphire blue 10 ½” and the amber vase is a whopping 16”. Incidentally, this monster vase was the piece that moved me from just decorating with a few pieces of glass to becoming a dedicated collector. To date, it is the tallest crystal twist vase that we have found.
Please also note the variation in the shape of the crystal twists or wings. And though the sapphire has a very narrow diameter, the mini is delightfully “chunky.”
In the photographs immediately following are more of the other twists that I have had over the years – none smaller than the 6” mini or taller than my monster but ranging between the two. We know of 8”, 9”, 11”, 12” and 14” examples and even more that are a hair taller or shorter than those.
Since a picture is worth 1,000 words, let’s use these to get straight to it. We can pretend we are Sgt. Joe Friday (Jack Webb) on “Dragnet” and get to “Just the facts, ma’am.”
It is clear that all vases in this photo are the same form – V32. Additionally, they are all verified Chalet. I think that it can be agreed that while they share similarities, they are also all distinctive – Chalet’s goal. When we disregard the obvious height differences and look at the other differentiations, we are quickly able to identify many. For example, the diameters are not consistent. There are clear differences throughout the body as well as at the throat as some are wider than others. Turning our attention to the side “wings” or “twists”, it becomes apparent that these features also show wide variation. Some are lower than those of their neighbours, others more pronounced. The vases’ tops as well are distinctive one from another in that none of the triangles are the exact same shape. Some are more rounded and gentler than the others. Colouring shows variation too as evidenced by the fact there are tonal ranges between same-coloured vases. Not all the vases are one solid colour, there is a 2-tone. One can tell that some are more heavily cased in crystal so obviously they will weigh more even if the height difference is not pronounced. In fact, a shorter vase can actually weigh more than a taller if its diameter is wider and/or its casings are thicker. Finally, we see only one that retains a sticker.
More V32 forms and more variation. How so? Although these are all the same form, again variations in height, colour, diameter, twists, and styling are obvious. As in the previous image, we can see there is a differing 2-tone combination.
More of the same. Same form and same variations. The diameter of the olive is significantly wider than the others. Also, its twists are less pronounced and it has a thicker and higher crystal base. The orange has a much sharper triangle throat opening and although it has very pronounced twists, it is not heavily cased. The amber is slenderer throughout its body than typical and was quite an elegant 8” mini.
The cranberry-coloured vase shown in the lower middle is from the collection of 50 Shades member Carol Lincz. These are all 10” vases. Roughly – some are a shade less and others a hair more but for comparison purposes, their height differences are negligible. Regardless, these images stand as more proof that the production sheet 10” encompassed slight variation. All are etched with the “Chalet Canada” signature with the orange in the top left also bearing a Chalet label. Presenting a grouping in a gallery like this clearly emphasizes similarities as well as illustrating not only the slight variations but also the more striking differences between these six showcased together.
Through evidence-based research – starting with the two Chalet production sheets featuring the V32 crystal twist vase, a sampling of 17 verified V32 pieces to contrast and compare and a measuring tape, we have established several things as “fact.” Firstly, that V32 is not only found in the 10-and-12-inch heights that the second production sheet specified but in other heights, both shorter and taller, as well. Additionally, we have seen that the typical variations among pieces of the same form predicted and expected by the Chalet owners and Maestri do exist. This is evidenced by the differences in diameter, casings, twists, styling and more than one tone of the same colour. Moreover, as some V32 retain stickers, this verifies that this vase could be etched, stickered or be both signed and stickered. To date, the vast majority of V32 vases appear to have been distributed through Chalet and with either the “Chalet Canada” etching or large black sticker as the most common marking. However, we have found a few that have been marked with other Chalet brandings. For example, this twist bears the hand engraved “Canada Art” signature:
Photograph courtesy of 50 Shades member MAISON gustave.
We have also proven to be fact that variations in these hand worked crystal twists are so common as to be the norm. That pieces that do not conform to the production sheet regarding height or are a more unusual shade or shape are actually not “rare” but to be expected. Some variations may strike you as being “ less than typical” but a slight variation does not justify them being deemed “rare.” Therefore, their monetary value or collectability is generally no more or less than the vast bulk of other comparable pieces. Subjectivity here is not fact. And marketplace value is fickle. For example, a rare piece may often not command a high price if it is not a desirable shape or colour. Crystal twists, although very common, generally command a higher price than we see other common or even rare forms bringing. Why the inconsistency in this case? Popularity of the form.
In view of the confusion about how variations relates to “rare” and “unique”, it is pertinent to review the standards and criteria of what can be judged “rare” or “unique.” It is more common than not that these benchmark terms are used wrongly by both sellers and collectors in the majority of descriptions and/or evaluations of both collectability and monetary value. Therefore:
Rare: a piece that was produced in very few numbers and is seen very seldom as well as deviating from the norm in a very singular way.
Are there rare V32 vases? Yes. We have seen rare twists and examples (the oversize amber, the clear crystal mini and the cranberry coloured) are shown above. Let’s take a closer look at the cranberry twist belonging to Carol Lincz (featured both in the picture gallery and directly below). It can be judged rare. Why? Because it meets both the standards in the criteria to be catalogued as “rare” as listed above. Its colour is a very significant deviation from the norm. And the use of cranberry colouring in this way is also a singular deviation from the norm. How so? Solid cranberry colouring was not used in the larger, leaded hand-worked pieces as it was too expensive. We know (firsthand from the Chalet artists) that when we see a piece like this it would have been produced at the end of day and to use up this expensive material. Therefore, these hand blown solid coloured cranberry pieces would be produced not in a large run but in very limited numbers. Interestingly, these pieces were considered “seconds” by Chalet. How times have changed!
Photograph courtesy of 50 Shades member Carol Lincz.
Other rare crystal twists are those we see in purple. Because, again, they meet both criteria – low production numbers and a significant deviation from the norm. As purple was – to quote the Chalet artists who attended the 2010 Chalet exhibit – “always a mistake”, all pieces in purple were also considered to be seconds.
From the collection of 50 Shades member Jo Highland.
Here are three other examples that also meet the “rare” criteria. A smaller uranium V32. I have seen only one other uranium crystal twist. It was also in the aqua “ice” uranium.
This twist with the corroso finish.
We have seen a few of these. I have 3 different ones on file.
And lastly, this incredible V32.
Photograph courtesy of 50 Shades member Cindy Bishop-Laughlin.
Now, let’s examine what standards and criteria a piece must meet to be judged unique:
Unique: a piece that was made only once. A one-of a-kind. Completely stand alone in all ways – style, colour, finish, size must all be one-off.
So, there are obviously no crystal twists that can be deemed one-of-a-kind. Why? Because its form, even with slight or rare variables, is common and was produced in large numbers over a lengthy period. One deviation is not enough.
Chalet Artistic Glass was a factory NOT a collective or artists’ studio. As such, it had established production runs of set product, quotas and a rigid glass blowing hierarchy. Therefore, opportunities to produce unique pieces were few and far between and were controlled by the owners. Typically, a unique piece of Chalet would be an artist’s sample that was not put into production or a special-order piece. Luckily, we have found some unique Chalet pieces. Here are a few examples. “Never say Never!”
Etched “Chalet Canada.”
I am lucky enough to have this odd little “tree” and the bullicante paperweight shown directly above in my personal collection.
A special order Chalet piece. An anniversary gift. Photographs courtesy of 50 Shades member Jeremiah Shaver.
I am going to end the visuals with a photo of a piece which I personally think is probably the most scary piece of Chalet I have ever seen.
The Chalet “killer chick.”
To summarize, I am optimistic that I have succeeded in shedding light on three things:
1. That variables, both deliberate and naturally occurring, in Chalet design, production and markings were not only inevitable but planned for and embraced from the onset of the company’s operation and that this philosophy continued throughout its history. They result from mechanical, human and environmental factors and influences. They were also both creative business-driven.
2. That the importance of avoiding absolute statements when asked about or commenting on variations in various Chalet pieces is crucial.
3. That it is critical for the glass collecting community to embrace inquiries as building blocks for learning and personal development and to recognize that contrasting viewpoints should not be perceived as personal affronts to one’s experience, knowledge, or collection, but rather merely as differences in opinion. Through my own journey, I have come to appreciate that the words "always" and "never" are seldom applicable when it comes to the remarkable catalog of work produced by Chalet. No matter where you are in your journey as a collector, we must continue to approach this subject with open minds so that together we can foster a deeper understanding and knowledge of, and appreciation for, the beautiful and diverse world of Chalet art glass.
