A French Art Nouveau glass and wood footed bowl by Emile Gallé, featuring a multicolored pinched-sided glass bowl in yellow, purple, and green. The bowl sits atop a carved walnut foot with openwork floral design and scrolled base. Pictured in "Meubles et Ensembles Style 1900" by Edith Mannoni, page 54. Provenance: Private collection of Mr. Robert S. Walker.
A Tiffany Studios New York "Flower-Form" vase, featuring a green pulled-feather decoration on a cream ground. The vase has a goblet top and applied foot. Favrile glass vases in the shapes of stylized flowers were among the earliest creations of the Tiffany Glass and Decorating Company, forerunner of Tiffany Studios. Initial examples of this technique date from approximately 1894, although later pieces show greater refinement. Flower forms have great variety in stem length and rim shape. A similar vase is pictured in: "Louis C. Tiffany: Rebel in Glass", by Robert Koch (in Louis C. Tiffany: The Collected Works of Robert Koch, Atglen, PA: Schiffer Publishing Ltd., 2001, p. 94).
A Tiffany Studios New York favrile "paperweight" glass vase decorated with a band of white daisies with long green stems and enhanced with red accents. The paperweight technique involved fusing thin rods of transparent glass in a variety of colors. The resulting thicker rod was cut into thin pieces and were then worked into clear glass. A vase with similar decoration is pictured in: Louis C. Tiffany: The Collected Works of Robert Koch, Atglen, PA: Schiffer Publishing Ltd., 2001, p. 106.
A Tiffany Studios New York "Scarab" mosaic and gilt bronze covered box by Louis Comfort Tiffany. This round box is decorated with vivid mosaics of red, yellow, orange, green, turquoise blue and black. The cover has three applied favrile glass scarab beetles. The scarabs confirm Tiffany''s fascination for Egyptian archeological discoveries and are a fine expression of his inspiration. Louis Comfort Tiffany first traveled to Egypt in 1872, two years after the opening of the Suez Canal and nearing the height of the ensuing American "Eyptomania." Tiffany was immediately taken with the ancient cultural legacies and starkly exotic landscape of 19th Century Egypt, and upon his return to New York he devoted himself to the rendering of several large scale oil paintings depicting the landscape, ancient wonders and then modern architecture of Cairo and the surrounding area. From that point onward the aesthetic language of ancient Egypt was never far from Tiffany''s mind, and it would appear in various motif forms in various works, for the rest of his artistic career. Those works that demonstrate Tiffany''s great passion and careful study of ancient Egypt are now considered among the rarest and most collectible of his oeuvre. After a second Nile River Cruise in 1908 Tiffany resolved to celebrate his long enchantment with all things Egyptian with a Fete that would be written about for d
ecades to come. Invitations to the strictly Egyptian themed evening were on aged parchment in both hieroglyphs and English, and hand delivered to each of the bash''s 400 guests. Each of the attendees had to submit their costumes to a strict guidelines of authenticity by a committee comprised of Egyptologists and authorities on costume art. Egyptian inspired music, composed by Theodore Steinway was performed by the New York Philharmonic Orchestra as Pedro de Cordoba playing Marc Antony brought gifts of Favrile glass to a posing Cleopatra. Tiffany''s son-in-laws were dressed as Roman lictors, while his daughters were adorned with rare scarab objects from Tiffany''s personal collection fashioned as jewelry. Robert De Forest, the famed president of the Metropolitan Museum of American Art, arrived as the Maharaj of Punjab, John D. Rockefeller attended dressed as a pharaoh and Egyptian beauty queens wearing gigantic scarab wings served them North African fare. Tiffany spared no detail and no expense to recreate the opulence of ancient Egyptian courts, and created many decorative arts especially for the occasion. Tiffany was particularly interested in the importance of the scarab beetle in Egyptian mythology, and sparingly employed decorative depictions of the insect in his works, most probably due to his understanding of the supreme and sacred nature of the motif. However, those works that did include scarabs executed in the ancient Egyptian style are considered of special personal importance to Tiffany, and are especially important to find in Tiffany collections. The Egyptian name for the beetle is derived from the verb "to be created" or "to come into the world." The Egyptians considered the beetle to be the incarnation of the creator god, who had regenerated himself cyclically. The beetle was thus understood as a potent symbol of rebirth, and was tied to understandings of the daily rising sun.
A Tiffany Studios bronze "Marsh Marigold" planter, featuring a repeating pattern of marsh marigold leaves and vines around the gilt bronze base. The planter has faint reddish enameling in the design to give the illusion of a fierce sunset peaking through a dense underbrush. The truly organic shape of the leaves featured is highlighted by the undulating modeling of their forms.Identical model planter pictured in "Louis C. Tiffany''s Glass - Bronzes - Lamps: A complete collector''s guide", by Robert Koch, page 224.
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