Enamel is glass fused onto copper, silver, or gold metal. The glass is applied in powdered form, often in many layers, or within cells or incised designs. Fusing through high heat is required, sometimes many times for the many layers.
Tip
Glass enamels are fused to gold, silver or copper. When used on a base metal piece, such as cufflinks, the base metal will have been bonded to a thin layer of copper to accommodate the enamelling.
Value
There is no 'rule of thumb'. Quality of work, age of the piece, desirability of motif or underlying piece, value of carat metals, condition of the enamel, and even the colour or colour combinations will be factors in the value. Don't forget complexity ~ complex designs will have more value than simple, repeating ones in one colour.
Repair
Quality work in glass enamel is very difficult to find, and expensive as well. Many of the repairs seen will have been done with soft enamels, or epoxies. While this kind of repair lowers the value, if done well it seems preferable to a damaged piece, especially if the piece itself doesn't warrant a 'perfect restoration'.
Restoration
Quality restoration work in glass enamel is very difficult to find and can be expensive. Some fine jewellery or objects will be well worth the repair. Look into this thoroughly before you begin, you don't want to end up with a repair when what you really want is a restoration. In today's production, the trend is for 'enamel' that is flowed on with an electric pen and appears to be an epoxy
The following are definitions for various glass enamels.
Basse-Taille
Carving, engraving or stamping a pattern into the metal at varying levels, makes the design. When filled with transparent or translucent enamel and fused, the appearance varies by the depth, enhancing the tones of colour. A typical example is the enamelled sterling from Norway. Same as Guilloche.
Champleve’
Carving, engraving or stamping the pattern, lines or cells into the metal, makes the design. The design is then filled with enamel powder and fired. The design may be a simple design or cut away so extensively that it gives an appearance of cloisonné'. An advantage over cloisonné' is that the shapes can be much more fluid and undercutting can achieve additional fineness of detail.
Cloisonné’
In appearance it is distinctive in that a thin wall of metal separates each colour. The technique is to solder or glue wire or metal strips to a base plate, making small cells for each colour. The enamel, most often opaque, is then filled in each cell, which 'contains' the colours and keeps them distinct.
Grisaille
In appearance it looks like thin white or grey paint on a flat black surface. Black or dark enamel is first applied and then fired. The 'picture' is begun and built up in layers of grey, white or black until it achieves some relief. Colour grisaille exists; various shades 7 colours over a grey foundation.
Guilloche
In appearance it is usually a single transparent colour through which a repeating design is seen. The underlying metal is engraved with a lathe in an 'engine turned' pattern. Patterns vary but usually are circular from the centre out, as in engine turned or a sunburst. Layers of coloured and clear transparent enamel are applied; sometimes hand painting (usually simple floral) is added between layers, and then fired.
Niello
In appearance it is metallic, usually grey, and most often appears in combination with sterling. The design is engraved into the metal, a process similar to Champleve', however the design is filled with a metallic powder combination of silver cooper, lead & sulphur, then fired before polishing. Most commonly seen is that which is marked "Made in Siam". (Note: Some 'Made in Siam', in colours or black is glass enamel and there is not Niello.) Watch for fine examples of Niello, in floral patterns or scenes, on pocket watches produced during the early part of the 1900’s.
Painted Enamel
Often seen as a 'glass portrait' or scene. The base is covered with enamel, which is fired, and then other colours and layers are 'painted' on and re-fired at lowered temperatures to retain the 'picture'. Limoges is an example of painted enamel.
Plique a Jour
In appearance it is very delicate and similar to a stained glass window. When finished the transparent coloured glass remains suspended in the open spaces of a metal outline or cells. One technique is to use an openwork metal mount of fine filigree like cells to which a thin backing has been added. The cells are filled with the enamel, then it is fired and the thin backing is removed. Usually worked in gold, there are some examples in sterling. In the costume jewellery industry, there are some examples where enamel has been substituted with a thin film of plastic in base metal.
Taille d’Epargne
Similar to Champleve, the metal is engraved and opaque enamel is used to fill in the cuts. May look like black tracery or a foliate design.
Copyright
This article remains the copyright of Rarity4u and has been produced for educational purposes only and cannot be copied, reprinted or redistributed for commercial purposes or gain. No part of this work may be reproduced or used in any form or by any means - graphic, electronic or mechanical, including photocopying or information storage and retrieval systems - without written permission from Rarity4u.
If you would like to reprint, or quote all or part of this article, please send your request by e-mail to This e-mail address is being protected from spambots. You need JavaScript enabled to view it
Tip
Glass enamels are fused to gold, silver or copper. When used on a base metal piece, such as cufflinks, the base metal will have been bonded to a thin layer of copper to accommodate the enamelling.
Value
There is no 'rule of thumb'. Quality of work, age of the piece, desirability of motif or underlying piece, value of carat metals, condition of the enamel, and even the colour or colour combinations will be factors in the value. Don't forget complexity ~ complex designs will have more value than simple, repeating ones in one colour.
Repair
Quality work in glass enamel is very difficult to find, and expensive as well. Many of the repairs seen will have been done with soft enamels, or epoxies. While this kind of repair lowers the value, if done well it seems preferable to a damaged piece, especially if the piece itself doesn't warrant a 'perfect restoration'.
Restoration
Quality restoration work in glass enamel is very difficult to find and can be expensive. Some fine jewellery or objects will be well worth the repair. Look into this thoroughly before you begin, you don't want to end up with a repair when what you really want is a restoration. In today's production, the trend is for 'enamel' that is flowed on with an electric pen and appears to be an epoxy
The following are definitions for various glass enamels.
Basse-Taille
Carving, engraving or stamping a pattern into the metal at varying levels, makes the design. When filled with transparent or translucent enamel and fused, the appearance varies by the depth, enhancing the tones of colour. A typical example is the enamelled sterling from Norway. Same as Guilloche.
Champleve’
Carving, engraving or stamping the pattern, lines or cells into the metal, makes the design. The design is then filled with enamel powder and fired. The design may be a simple design or cut away so extensively that it gives an appearance of cloisonné'. An advantage over cloisonné' is that the shapes can be much more fluid and undercutting can achieve additional fineness of detail.
Cloisonné’
In appearance it is distinctive in that a thin wall of metal separates each colour. The technique is to solder or glue wire or metal strips to a base plate, making small cells for each colour. The enamel, most often opaque, is then filled in each cell, which 'contains' the colours and keeps them distinct.
Grisaille
In appearance it looks like thin white or grey paint on a flat black surface. Black or dark enamel is first applied and then fired. The 'picture' is begun and built up in layers of grey, white or black until it achieves some relief. Colour grisaille exists; various shades 7 colours over a grey foundation.
Guilloche
In appearance it is usually a single transparent colour through which a repeating design is seen. The underlying metal is engraved with a lathe in an 'engine turned' pattern. Patterns vary but usually are circular from the centre out, as in engine turned or a sunburst. Layers of coloured and clear transparent enamel are applied; sometimes hand painting (usually simple floral) is added between layers, and then fired.
Niello
In appearance it is metallic, usually grey, and most often appears in combination with sterling. The design is engraved into the metal, a process similar to Champleve', however the design is filled with a metallic powder combination of silver cooper, lead & sulphur, then fired before polishing. Most commonly seen is that which is marked "Made in Siam". (Note: Some 'Made in Siam', in colours or black is glass enamel and there is not Niello.) Watch for fine examples of Niello, in floral patterns or scenes, on pocket watches produced during the early part of the 1900’s.
Painted Enamel
Often seen as a 'glass portrait' or scene. The base is covered with enamel, which is fired, and then other colours and layers are 'painted' on and re-fired at lowered temperatures to retain the 'picture'. Limoges is an example of painted enamel.
Plique a Jour
In appearance it is very delicate and similar to a stained glass window. When finished the transparent coloured glass remains suspended in the open spaces of a metal outline or cells. One technique is to use an openwork metal mount of fine filigree like cells to which a thin backing has been added. The cells are filled with the enamel, then it is fired and the thin backing is removed. Usually worked in gold, there are some examples in sterling. In the costume jewellery industry, there are some examples where enamel has been substituted with a thin film of plastic in base metal.
Taille d’Epargne
Similar to Champleve, the metal is engraved and opaque enamel is used to fill in the cuts. May look like black tracery or a foliate design.
Copyright
This article remains the copyright of Rarity4u and has been produced for educational purposes only and cannot be copied, reprinted or redistributed for commercial purposes or gain. No part of this work may be reproduced or used in any form or by any means - graphic, electronic or mechanical, including photocopying or information storage and retrieval systems - without written permission from Rarity4u.
If you would like to reprint, or quote all or part of this article, please send your request by e-mail to This e-mail address is being protected from spambots. You need JavaScript enabled to view it
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