Here are a few simple tests to help you determine the authenticity of an object.
The finish test
Hagenauer corkscrews produced in the 1920s and 1930s were almost always nickel plated. A very few were chromium plated, and the very odd one is polished brass. We are aware of only one nickel plated corkscrew being produced by Hagenauer after WWII, and only one example of it is known to exist. A finish other than one of the three finishes described is a sure sign of a fake. Many copied figures were produced with a wide variety of marks and finishes. The most common finish found on [wHw] fakes is a heavy brown patina.
Auböck also used nickel plating during the 1920s and 1930s, but not after WWII, with the exception of a key in the 1970s.
Bosse, Baller and Rohac produced corkscrews after WWII and they were never nickel plated.
The material test
Fake Austrian corkscrews which appear to be nickel plated are almost always, in reality, cast in a tin-based white metal which tarnishes over time, probably German silver, or alpacca (the usual formulation is 60% copper, 20% nickel and 20% zinc), or a version of it. Austrian figural corkscrews were cast in brass (other than a few iron and pewter corkscrews made by Auböck). Any corkscrews cast in gold- or silver-coloured metals are not authentic.
The worm test
A British worm or an obviously modern worm found on something ostensibly made fifty years ago should raise alarm bells.
The usability test
The corkscrew should be practical to use. Sharp bits cutting into your palm or the worm at a weird angle relative to your palm should be suspect.
The weight test
Weight is a simple test for authenticity. Most fakes are simply copies or modified copies cast from authentic pieces, with various marks added. Due to the shrinkage as molten brass cools, copies weigh around 16% less than the original. For a comprehensive catalogue of weights against which to compare, see the reference book Austrian Figural Corkscrew Design.
The marks test
There is no legitimate reason for one designer’s mark to be found on another designer’s corkscrew. We work on the assumption that any mark found on the same corkscrew as a known-to-be-bad mark is also a bad mark.
The finish test
Hagenauer corkscrews produced in the 1920s and 1930s were almost always nickel plated. A very few were chromium plated, and the very odd one is polished brass. We are aware of only one nickel plated corkscrew being produced by Hagenauer after WWII, and only one example of it is known to exist. A finish other than one of the three finishes described is a sure sign of a fake. Many copied figures were produced with a wide variety of marks and finishes. The most common finish found on [wHw] fakes is a heavy brown patina.
Auböck also used nickel plating during the 1920s and 1930s, but not after WWII, with the exception of a key in the 1970s.
Bosse, Baller and Rohac produced corkscrews after WWII and they were never nickel plated.
The material test
Fake Austrian corkscrews which appear to be nickel plated are almost always, in reality, cast in a tin-based white metal which tarnishes over time, probably German silver, or alpacca (the usual formulation is 60% copper, 20% nickel and 20% zinc), or a version of it. Austrian figural corkscrews were cast in brass (other than a few iron and pewter corkscrews made by Auböck). Any corkscrews cast in gold- or silver-coloured metals are not authentic.
The worm test
A British worm or an obviously modern worm found on something ostensibly made fifty years ago should raise alarm bells.
The usability test
The corkscrew should be practical to use. Sharp bits cutting into your palm or the worm at a weird angle relative to your palm should be suspect.
The weight test
Weight is a simple test for authenticity. Most fakes are simply copies or modified copies cast from authentic pieces, with various marks added. Due to the shrinkage as molten brass cools, copies weigh around 16% less than the original. For a comprehensive catalogue of weights against which to compare, see the reference book Austrian Figural Corkscrew Design.
The marks test
There is no legitimate reason for one designer’s mark to be found on another designer’s corkscrew. We work on the assumption that any mark found on the same corkscrew as a known-to-be-bad mark is also a bad mark.
