A Tiffany Studios New York Favrile glass and patinated bronze mosaic candle lamp. The mosaic candlestick base has inlaid panels of glass shading from green to blue running vertically along the side of the candlestick. The bronze candlestick is further decorated with blue glass tiles in a mosaic brick pattern surrounding the top of the stick. The Favrile shade adorns a green pulled feather design and is accented and outlined in gold iridescence set against a slightly iridescent tan background. A similar candlestick is pictured in the book Tiffany Lamps and Metalware by Alastair Duncan, page 385, illustration 1561. PROVENANCE: From the Unreserved Estate of Lynda Cunningham.
A jeweled bronze candlestick by Tiffany Studios New York featuring a decorated foot and a slender stem. The stem branches out in three arms with candle cups adorned with iridescent glass jewels. The candle stick includes a snuffer and bronze bobeche inserts for each candle cup. PROVENANCE: From the Unreserved Estate of Lynda Cunningham. A similar candlestick is pictured in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models," by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988, p. 384, plate 1566.
A polychrome bronze Art Nouveau figural candelabrum by Gustav Gurschner. A young woman with brown hair, dressed in a long flowing green skirt, with her breasts exposed, holds a seed capsule in each arm, into which a candle can be inserted. Gurschner displayed his work through the Viennese Secession Group gaining him much acclaim. His depiction of bare breasted women largely survives any stricture in that they have a quiet dignity and poetic charm that never stoops to vulgarization. The woman holds in each arm a lotus flower seed capsule. The size of the capsules relative to her body makes her seem a flower fairy or spirit. A candle would be placed on each capsule, illuminating the dinner table with spectacular charm. In the lead up to World War I, Germany was swept by a wave of artistic nationalism. After spending most of the 19th century dominated by French influence, German artists desired a return to tradition. Integral to German tradition was the vibrant color of Late Medieval wooden sculpture. Since the 14th century, much of antique polychromy had deteriorated considerably, leaving large portions of the wood base exposed. The rich burnt sienna of this woman''s skin may refer to this exposed wood finish. Alternatively it might refer to the skin color of the dancers from the Java Pavillion (1889). After their blockbuster appearance in the World''s Fair, depictions of the d
ancers abounded in salons. Brown-skinned and black-haired women became appreciated in this context as harbingers of exotic delights. A similar candlestick is pictured in: "The Paris Salons 1895-1915, Vol. V: Objects d''Art and Metalware," by Alastair Duncan, Woodbridge, Suffolk: Antique Collectors'' Club, 1999, p. 305ProvenanceRudi Schmutz, ViennaAcquired from the above by the present owner, circa 1980sLiteratureAlastair Duncan, Art Nouveau Sculpture, New York, 1978, p. 49 Wolf Uecker, Art Nouveau and Art Deco Lamps and Candlesticks, New York, 1986, p. 15Yvonne Brunhammer and Suzanne Tise, French Decorative Art, the Société des Artistes Décorateurs 1900-1942, Paris, 1990, p. 8 (for the model depicted in the Manuel Orazi poster)
A pair of French Art Nouveau three light gilt bronze candlesticks by Georges de Feure. George de Feure, working in bronze, formed arabesques based on sems of palnts, with stylised deliberation. The three arms of each candelabrum grow out of a flower bud on an upright vine. Each arm terminates in an open flower, into which a candle can be inserted. The candelabra base features stems emerging from a crosscut bulb.A similar candelabrum was exhibited at La Société Nationale des Beaux-Arts in 1904 (see "The Paris Salons 1895-1915, Vol. V: Objects d''Art and Metalware," by Alastair Duncan, Woodbridge, Suffolk: Antique Collectors'' Club, 1999, p. 213).ProvenanceVictor Arwas, LondonAcquired from the above by the present owner LiteratureIan Millman, "Georges de Feure Maître du Symbolisme et de l''Art Nouveau," Paris, 1992, p. 172 (for a related model)
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