Not Chalet, Not Canadian

A longtime collector and 50 Shades member, Kevin Kodak, and I discussed addressing this topic years ago However, we needed to build up the files of examples of pieces with unknown or confused identification before we could address the topic thoroughly for other collectors. Well, that time has come!

Chalet Artistic Glass did not produce, brand, and retail their product without being keenly aware of not only the styles and lines of glass being blown by their Canadian contemporaries but those being produced in countries worldwide as well. We have documented evidence that Angelo Tedesco and Sid Hayes were “…all about the business” and as such closely watched trends and quickly moved to respond to such. Artists were often handed work orders which featured pieces from other companies and told to “… make Chalet.” Please refer to “Chalet Crystal Clear Continued” for details and photography with regard to this.

Therefore, company design and production was not only shaped by generations of Murano tradition and training (as were many glasshouses and artists in many other countries of that era) but influenced by what the Chalet owners currently saw happening in other markets. The artists and Maestri have also told us that the owners were influenced by demands from large distributors such as N. C. Cameron & Sons and Riekes Crisa which resulted in certain forms and entire lines being created. And as stated above, obviously Chalet’s contemporaries in Canada also played a role regarding design influences as conversely Chalet did with them.

So, it is not surprising that a universal question shared by Canadian art glass lovers in collectors’ groups is: “Is this Chalet?” Since often the answer is: “ No, Not Chalet. Not Canadian.”, in this article I am going to present a myriad of “Not Canadian” examples of which identification questions are frequently asked. Specifically, pieces from Czech, Japanese, Mexican, Swedish, Scandinavian, American makers, some unknown as well as pieces from Italian glasshouses.

Let’s start off by addressing some European examples. And lead with those from Murano glasshouses as even though Chalet made a conscious effort to produce glass of “… a more Canadian design” Murano and Venetian styles, past and at that time, were still a significant outside influence.

Shared colour palettes as well as styles also lead to confusion. This one 2-tone in particular:

This example will also serve to address another oft asked question which is: “Did Chalet make pieces with star bases?” No - although Lorraine Glass Industries did upon occasion. The Murano centerpiece on the left is frequently misidentified as a piece by Chalet. In fact, I purchased it as such in a Toronto antique store when I was a very new collector. I was disappointed, when I learned that it was not but my mother was very happy to give it a new home! I am showing it here with this etched “Chalet Canada” centerpiece, at right, from the collection of Cindy Bishop-Laughlin. This is an excellent example of how Chalet was influenced by Murano but then “made Chalet.”

These two are often confused:

Chalet bowl on left and Murano bowl at right. The base is much higher on the Italian piece – less organic looking. The Chalet bowl is also frequently mistaken for a piece from the Belgian glasshouse of Val St. Lambert. More regarding that glasshouse that follows.

This example is included for interest’s sake.

Chalet vase on left and Murano vase at right. The Chalet piece is signed with the engraved ‘Canada Art” signature. If it was not, I doubt if I would have identified it as a piece of Chalet. To date, a unique ”made Chalet” vase and easy to see from where identification confusion would occur. Stephen Malcolmson is its extremely fortunate owner.

Questions about these forms are quite common:

Chalet fruit pieces are in top row. The apples and pears in bottom row are Murano – Alfredo Barbini. You will note that the sets in the middle are bookends. Chalet did produce bookends as well which are not as common. The gold dust fill in Chalet fruit is limited to the applied crystal leaves – never in the sommerso orb of colour. Photographs on top left courtesy of Lori Hazuka Morin and at top right Lise Legare-Kowalchuk.

If a clear crystal koala of this style is unmarked making a positive accurate identification is difficult:

How Chalet came to make this form is an interesting story – here is the link to another article “From Concept to Catalogue.” This is the only verified Chalet form, to date, that we can trace moving from artist’s sample through to production line and distribution.

A form that is so commonly asked about are “Christmas trees.” There are exceedingly detailed articles on both the Chalet Christmas trees and the Chalet ring trees. Not only are Christmas trees on most collectors’ “I want” list but there are so many from so many different glasshouses worldwide that this is an ongoing areas of mistaken identification. Please reference the linked articles for more information. Just a quick example:

Chalet trees at left and Murano trees at right. The clear crystal Chalet tree is from the forest of Ella Hanks and the clear crystal Murano Ferro and Lazzarini tree is from the forest of Jonathon Tremblay.

Chalet did not produce a bull figurine but this is a question that comes up quite often. As well, the Chalet mountain goat and musk ox figurines are often confusing for collectors. The Chalet figurines shown below, both the clear and the first 2-tone are of the Chalet mountain goat – horns back. The figurine to its right is the Chalet musk ox – horns forward. They are often wrongly called bulls by collectors but we know for certain that this is incorrect as both are listed on a Chalet inventory page as “Mountain Goat # 623” and “Musk Ox # 624.”

Chalet figurines on left and Murano figurines at right. The blue/green 2-tone Murano bull figurine is very often thought to be Canadian. However, although Chalet did not make a bull figurine, it is believed that Lorraine Glass Industries did although I can not show a verified Lorraine piece at this time. Bulls at right from the collection of Kim Tersteeg.

Chalet mountain goat figurine on left and Murano figurine at right. Mountain goat at left from the collection of Jo Highland.

I have seen several instances in which Murano collectors take great exception to bonboniere being identified as Chalet. This is due to their lack of knowledge regarding Chalet hand-molded forms. Many of those who do not collect Chalet are under the impression that the big, bold dining room and fireplace mantle pieces are the only forms that Chalet produced.

Chalet *bonboniere* on left and Murano *bonboniere* at right. The “id tell” for these two pieces is that only in the case of some small candleholders did Chalet grind the mold marks off the bases of their bonboniere. The Chalet candleholder bonboniere tend to have a very flat wider base. You can tell how easily misidentification can occur as some Murano *bonboniere* have base mold marks as well although many more are ground smooth. Murano piece from the collection of Kevin Hall.

You will find both Chalet and Murano bonboniere with a rough pontil on base and elevated by “petal feet.” More shared characteristics leading to misidentification.

The Chalet basket *bonboniere* on left retains its N. C. Cameron & Sons label. Stickered Murano basket *bomboniere* at right. Murano *bonboniere* at right again from the collection of Kevin Hall.

Another style that is ripe for confusion. Green Chalet bonboniere on left and Murano bomboniere at right.

Please note that bonboniere with gold embellishment have been verified as “Not Chalet” by Chalet artist and bonboniere Master Roberto De Marchi.

Definite “kissing cousins”:

Chalet bowl on left and Murano bowl at right. Lorraine Glass Industries also produced pieces remarkably similar to these. This is not surprising given that Lorraine was also an Italian-Canadian glasshouse with Murano roots and trained artists.

And another:

Recently, this vase has come up repeatedly:

Chalet vase on left (courtesy of Ryan Robertson) and Jordan’s Importing Company (JICO) vase at right. Questions about other JICO forms also come up very frequently. This particular vase was done in a range of 2-tone colour combinations. Features in a vase assortment on the JICO catalogue page directly following.

This JICO ashtray (at right) is also found on a Jordan’s catalogue page:

The Chalet ashtray on the left bears the hand engraved “Canada Art” branding.

In my opinion, the next most often “Not Chalet, Not Canadian” glass confused with or misidentified as Chalet is Czech glass. From different glasshouses, here are some of the pieces that come up:

The piece at top right is by Herrachov Glass. Pattern 53576. The blue at top left is etched “Chalet Canada.” The piece in the bottom row is also a Chalet piece – another signed with the hand-engraved “Canada Art.” Photographs courtesy of the Zhao family (top left) and Don Smith of the Cornwall Community Museum (bottom left and right).

Chalet centerpiece at left and centerpiece by Karal Zemek for Msistov glass works - Niagara series.

This vase is also from the Niagara series by Karel Zemek. There is really no Chalet piece that is close in appearance but the question, “Is this Chalet?” regarding this vase is common. I bought one (the amber and green at right) thinking it was Chalet when I was an inexperienced collector.

The forms in top row are all signed pieces made by Chalet Artistic Glass. The forms in bottom row are Frantisek Zemek for Msistov from his famous “Rhapsody” series. Photographs at top from left to right: Dwain Robertson, Pina Pina, and Jeremiah Shaver.

“Pretty in Pink” questions arise often with regard to these forms produced by Chribska glass works:

Moving on to the Belgian glasshouse of Val St. Lambert. Quite a few examples here of confusing similarities between Chalet and this glasshouse. This bowl form the in particular is the one about which most questions are asked:

Chalet bowls on left and Val St Lambert bowls all at right. As shown, Val St Lambert produced this bowl in an extremely wide range of varying shades and tones of colour upon colour. The deep purple Chalet piece in the gallery (top left photo) is from the collection of Cindy-Bishop Laughlin.

Questions are also asked about these vases:

The blue vase at right is a Val St Lambert piece and the red/orange vase is by Chalet Artistic Glass. From the collection of Ella Hanks.

Val St Lambert had an extensive line of cranberry in crystal – as did Chalet which leads into another area of confusion. I cannot remember how many times I have picked up different vases with this colouring and turned it over expecting to see “Chalet Canada” only to find the Val St Lambert signature – which is sometimes hard to see or decipher. This glasshouse also used different labels on their products.

Chalet vases at left in both top and bottom rows and St. Lambert vases on right.

When Ella Hanks showed this, I was stunned! Who influenced who? I am including this example not because of identification questions because I bet that most collectors take as a given that unmarked “tornados” are Chalet as they are unaware that another glasshouse produced this style. It is included as a “Never say Never” reminder.

Animal figurines and Christmas trees from the Swedish glass house of FM Ronneby Konstglas/Marcolin are often confused with Chalet. This glasshouse had an extensive range of product but it is in these two areas that confusion results:

This “buddha belly” owl figurine in particular:

The Chalet owl in the photograph at top is on the left and the FM Ronneby figurine is at right. The most obvious difference between the two is their size – the Chalet owl is much larger at a hair over 5” while the Ronneby is just 3 ½.” Shown in the bottom row – Chalet, Ronneby, and Ronneby. Please note that Chalet did not produce this figurine in one solid colour. Clear owls from the collection of Deborah Patterson.

Both companies did do this style with inclusions as well. However, the techniques are different.

Chalet *avventurina* owl on left from the collection of Cindy Bishop-Laughlin and Ronneby *sfumato* owl at right from the collection of Deborah Patterson.

Another animal figurine example from these two glasshouses :

Chalet piece at left and Swedish piece on right.

We often are asked: “Did Chalet make this gold Christmas tree?”

No. This is a tree from FM Ronneby Konstglas/Marcolin. Chalet did not make Christmas tress with gold or silver fill. Ronneby made this style in clear crystal and emerald-green as well.

This ashtray style from the French glass house of Cristillaire Lorraine also creates identification confusion:

Etched “Chalet Canada” ashtrays, the orange at left and the clear crystal at left in the photo gallery from the collection of Deborah Patterson. French ashtray at top right. It is obvious why confusion would result when these three kicky little pieces share so many similarities.

My last European example is Scandinavian. This Holmegaard design often raises the “Is this Chalet flag?”

Vintage Ikea “Holmegaard style” at left and vintage Holmegaard designed at right. There really is no Chalet “kissing cousin” in this style. However, this form is one that that comes up regularly for discussion.

Leaving European glass houses and travelling to East Asia. For exhaustive detail regarding vintage and modern Chinese reproductions, please see these articles; “Chalet and Vintage Chinese Reproductions” and “Chalet and Modern Vintage Inspired Chinese Reproductions.

There are 4 forms in particular from 2 different glasshouses that repeatedly create identification confusion:

From 5th Avenue, this elephant figurine:

Chalet on left and 5th Avenue at right. Regarding unmarked pieces, the “id tell” is not the quality, weight or colouring as the 5th Avenue piece is weighty, beautifully made and with a smooth polished base and Chalet had so many colour variations and exceptions that colour is not usually a stand-alone determinant. The “tell” is the positioning of the ears on the Chinese piece. Chalet ears on their elephant figurines are consistently rounded, tucked to the head and back – not down.

From Crystal Brand:

Their “ribbon” baskets and bowls:

Chalet bowl at left and Crystal Brand bowl at right. Both companies made these forms in many other colours. The Chinese bowl is much smaller than the Chalet piece and is not at all heavy.

The Crystal Brand basket stands about 9” and is a weighty piece. It is very nicely made. Produced in a wide range of colours also. The “id tell” here is simple – Chalet did not produce a mini basket in a “ribbon.” If you are interested in the forms that Chalet did produce in a mini, please take a look at this article; “Chalet Piccoli- Celebrating the Little Things in Life.”

Another piece I bought as an inexperienced collector thinking it was Chalet.

This Crystal Brand form is in the Top 3 “Not Chalet, Not Canadian” - the clear crystal mini basket.

This style and size of basket has also been found with a “Toscany Collection” branding. “Made in Taiwan” Toscany stickers have also been found on art glass and china so we are unsure if they were a company division of Crystal Brand or a distributor or another company entirely.

An example of a modern reproduction from a Chinese maker – not a vintage piece but a “vintage inspired” piece. Remember, vintage is a term that pertains to the age of an item – not its style.

Chalet bowl at left and new piece on right. This style of Chalet bowl comes in varied colours but never a pedestal base.

From Japanese glasshouses:

The first:

Chalet cornucopia at left and at right – piece from the Iwatsu Glass Co Ltd. I am unsure if this is from their “Hineri” or ‘Art Glass” line. Glass from this company is very frequently mistaken for Murano or Czech glass as well. Excellent quality. The company, located in Osaka, is still in operation.

The second:

Chalet etched “Chalet Canada” vase at left from the collection of Deborah Patterson and a vase from the Japanese Sanyu Glass Factory Ltd glasshouse at right. Many styles of their vases are frequently mistaken for unmarked Chalet and Lorraine pieces. Photograph courtesy of Alex Wicks.

Another vase example from this same glass house which is also often wrongly identified as Canadian:

The third:

Chalet bird dish, inventory # A 77, at left and Japanese made piece on right. You will often find this piece signed with other glasshouse names (e.g. Langham Glass) but retaining a gold crown-shaped sticker retaining a “Best Art Glass Foreign) import/export label. Dish at bottom right is made by Viking Glass. Both of these are upon occasion identified as Chalet.

Heading to North America:

The Mexican glass house of Kristaluxus:

Unless you have 2 together – impossible to tell apart. In this pair, the Chalet figurine is the taller on the right. The shorter owl to its left is produced by Kristaluxus (the Riekes family had close personal ties to the owners) was produced for Riekes Crisa distribution.

As was this clear crystal whale:

Chalet whale at left and Mexican whale at right. Having the Riekes Crisa catalogues as a resource is invaluable regarding a great many questions regarding unmarked clear crystal animal figurines.

Another that I am including for interest.

Chalet at left and Mexican on right. To date, there has been no confusion regarding these forms as I am sure most collectors are not aware of either. Obvious tells – the differences in overall shape and stem colour.

Now perhaps the most confusing of all for those who are not aware of American artist Don Shepherd’s history in glass blowing as well as his connection with Chalet. For complete details, please refer to the “Don Shepherd and Chalet” chapter in “Chalet Crystal Clear Continued." Here are a few examples:

Chalet branded owls at top left, Blenko branded owl at bottom left, DAS branded owl at right. So many collectors ask;” Are these identical?” Yes – reason is simple – Chalet had the same molds. However, please be aware that Chalet only produced this style in this pose and in clear crystal in 1,2,3 and 4 owl configurations. Anything in colour or with the ”tilted head” pose (see directly below) is Don Shepherd for DAS, Glass America or Blenko.

Same confusion results holds true for many clear crystal or dark large bottles and vases of Don Shepherd design as these can also bear multiple brandings or Chalet etchings or Glass America labels.

A Don Shepherd Glass America catalogue page:

Some examples of bottles and vases featured on it that we have found with Chalet brandings as well:

Bearing both the Glass America and Chalet indicia. From the collection of Daniel Lynch.

This “bubble bottle” bears the etched “Chalet Canada” signature, an inventory label from Eaton’s (a Chalet retailer) and a Don Shepherd inventory label. This amazing piece from the collection of Bob Burgess.

Once more, this bottle retains a Glass America Sticker as well as an etched Chalet signature. From the collection of Deborah Patterson.

Questions about “swung vase” forms are also quite common. Swung vases were hand-molded pieces. Molten glass was poured into a mold, let harden for a brief period and then the glassblower would remove the vase, clamp the base to a snap, re-heat at the “glory hole” and quite literally swing it about while the glass was still pliable enough to reach the desired length. Then it would be finished by hand. Like all hand-worked glass, no two swung vases are identical.

The best known producers of swung glass vases were L.E. Smith, Viking Glass, Fenton, Fostoria, Imperial and Northwood Glass Company. However, there were a few Murano swung glass manufacturers - the Murano Glass Company being the best known. Chalet did not produce any vases using this technique.

Teleflora is not a glass house or brand - it is the name of the world’s largest flower delivery service which brokers orders for local florists - established in the 1800’s as the Telegraph Delivery Service. Glass vases, a myriad of styles, colours, sizes, quality and age, are seen. Product from makers worldwide is seen - from Italy, China, the United States, France, Czechoslovakia …There is no evidence, however, that Chalet ever provided glass to this company. The most typical period regarding the age of these Teleflora vases is the 1980’s. A sampling:

Chalet Artistic Glass pieces all in top row. The amber vase (second at left) is engraved “Canada Art” and dated “1962.”“Teleflora” vases in bottom row. The first two forms on the bottom left are the ones that collectors most frequently ask “Is this Chalet?” The others are included so you may see just a small example of the variety of glass used. As you can plainly see, the Chalet forms really are not similar - and they were the closest “relatives” I could find.

There are a few forms that consistently come up in various shapes, styles, colours, and sizes from many different glasshouses so I am addressing these separately and by form.

The “DNA” egg-shaped paperweight.

The only styles of Chalet “DNA” paperweights at left. If your paperweight is not one of these three – it is not Chalet. Top left – Deborah Patterson, bottom left – Geoffrey Chown and beside it – from the collection of the Cornwall Community Museum. The paperweight at right is pretty typical of the ones in question that arise. Unknown glasshouse at present. Photograph of mystery paperweight at right courtesy of Chrissy Watson.

The fazoletto vase:

Chalet vases at left. The folds may vary, the colours may vary (also done in clear crystal), the diameter and height may vary but the base on Chalet “handkerchiefs” stays the same. If your vase does not have this base style – it is not Chalet. Photograph at right from an online listing that mis-identified this as Chalet. Note its completely flat base.

The mushroom figurine:

Chalet mushrooms in top, middle and bottom left rows. At top right, a Viking Glass mushroom, a Blenko in middle right row and at bottom right, a Murano (Formasa) mushroom. Chalet mushrooms from the collection of Deborah Patterson.

If your mushroom, is not one of these – it is not Chalet.

You will see variation in the size, shape, tilt, fluting and thickness of the mushroom cap but it always has sommerso frit (spots). The stem also shows variation but it is always tapered.

These 2 figurines share so many of the Chalet mushroom characteristics:

This lovely piece especially with the shape and styling of both cap and stem and the frit:

However, the Chalet artists confirmed that Chalet did not produce blue mushrooms. Maker remains unknown. From the collection of Kevin Hall.

And, to restate, Chalet did not produce mushrooms of just one solid colour.

The maker of this mushroom figurine is Viking.

And there are a few that are especially confusing that, at present, we have not been able to verify the maker/glasshouse although we think we may have narrowed their identification down to a reasonable “placeholder assumption”:

Chalet swan *bonboniere* at left. Larger figurines at right are believed at this point in time to be most likely Murano made. However, we have never found a stickered example to move this tentative identification over to the positive side of the page. If you can help – love to hear from you! Leave a comment below or contact me.

And a fitting note on which to wrap things up – a reoccurring confuser:

Atypical Chalet Colours