A pair of Late-20th Century 18 karat gold earrings. The chandelier-style earrings are composed of polished and textured scalloped gold overlapping rings. The pendant elements of the earrings are articulated.
A Tiffany Studios New York "Dragonfly" glass and bronze chandelier. This elegant chandelier is composed of a choice selection of glass, which makes this an exceptional example of Tiffany''s iconic dragonfly lamp. The dragonflies are composed of dark green glass bodies, variegated blue glass wings and red glass eyes. The cabochon glass jewels that surround this chandelier depict emeralds, sapphires and topaz. The two top and three bottom borders are made up of various colors of rippled glass. This exciting glass composition rests upon a ground of green, green/blue and brown glass. While Tiffany was largely credited for his company''s glass innovations during his lifetime, recent archival research has shed light on the unsung heroes behind his genius. Two such figures were responsible for the astounding effects of this dragonfly lamp: Tiffany had gone through four chemists before he landed on Arthur J Nash, a chemist previously employed at the White House Glass Works in Stourbridge. England. It was Nash''s formulas, developed from before his employment at Tiffany, that became the core of Tiffany''s palette. Nash was no stranger to experimentation, adding unconventional materials such as birch bark and burnt oats to create his amber glass. Clara Driscoll, head of the Tiffany Studios Women''s Glass Cutting Department, designed the dragonfly lamp, earning much acclaim for h
er artistic prowess in her time. (For more information on her work see "A New Light on Tiffany: Clara Driscoll and the Tiffany Girls," by Martine Eidelberg, Nina Gray, and Margaret K. Hofer, 2007.) Louis Comfort Tiffany''s "Dragonfly" lamps have become so iconic and loved because the artisans who made them were not limited in color as they were when making floral and geometric shades. We can imagine that the dragonflies that adorn the lower edge of the shade are flying low across a verdant field. Similar chandeliers are pictured in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models," by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988, p. 230, plate 891-893.
A Tiffany Studios New York "Geometric" leaded glass and bronze chandelier. The green- and sunset-hued mottled glass shade features a geometric "brick" pattern. The shade hangs from a patinated bronze suspension. A similar hanging shade is pictured in: Alastair Duncan, "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models," Woodbridge, Suffolk: Antique Collectors'' Club Ltd., 2007, p. 310, plate 1244.
A Tiffany Studios New York golden stalactite chandelier with iridescent gold pulled feather decoration. A similar fixture is pictured in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models" by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988, p. 294, plate 1161.
A Tiffany Studios New York leaded glass and bronze "Geometric" chandelier. The glass shade features a geometric "brick" pattern and is decorated in hues of green, flame orange and amber mottled glass. The shade hangs from a patinated bronze suspension. A similar hanging shade is pictured in: Alastair Duncan, "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models," Woodbridge, Suffolk: Antique Collectors'' Club Ltd., 2007, p. 310, plate 1244.
A pair of American Mid-20th Century platinum chandelier earrings with 52 diamonds by David Webb. The articulated earrings have 22 pear-shape, 10 marquise-cut and 20 round-cut diamonds with an approximate total weight of 24.75 carats, G/H color, VS/SI clarity.
A Tiffany Studios New York "Bouquet" leaded glass and patinated bronze chandelier. This particular shade has a remarkable range of multi-colored red hued peony blossoms on swirled blue and purple background with a beaded top and bottom rim. Tiffany Studios manufactured a number of 28" hanging cone chandeliers. Each depicted an artist''s vision of a "dream garden," rather than reproducing natural forms and colors. These shades are among the most vibrant and colorful produced by the Studios. Although the variety of colors employed gives the impression that all these shades are unique in fact they use a single design. A similar shade is pictured in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models," by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988, p. 216, plate 851.
A Tiffany Studios New York golden stalactite chandelier with stalactite shades in pulled feather motif suspended from a patinated bronze and brass chain and pole system. This chandelier features a larger central stalactite surrounded by 6 smaller stalactites. The stalactite shades are decorated in gold and brown on a yellow background. In 1897 Mark Twain embarked on a lengthy tour of North Africa and the Holy Land. Two years later he published "Innocents Abroad," a widely read and celebrated account of these travels. Inspired by Twain''s work, Louis Comfort Tiffany traveled to Northern Africa the same year "Innocents Abroad" was published. What he found in Northern Africa and Southern Spain was a seemingly an endless trove of artistic inspiration. Upon he returned he immediately created an oil painting titled "Market Day at Tangiers," depicting exactly that and particularly highlighting the Islamic architecture surrounding the market square in the city. Tiffany would later model the fountain court of his home at Laurelton Hall after the Court of the Lions at the Moorish palace La Alhambra in Granada. The Laurelton Hall fountain court, which was later described as "the soul of the house," by Tiffany scholars, was filled with arabesque texturing in the walls that created domed, stylized shelves called "muqarnas," a traditionally Moorish architectural feature. Tiffany so loved t
he muqarnas walls that he designed Favrile glass forms to fit in the indentations, and, later still, Favrile glass shades, like those in this chandelier, to mimic and compliment their shape. A similar chandelier is pictured in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models," by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988, p. 299, plate 1186.
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