Page 1 of 2 NEXT >>         View All
Search Results for

"egyptian"

Tiffany Studios New York "Tel el Amarna" Vase

A Tiffany Studios New York "Tel el Amarna" Favrile glass vase with an iridescent blue body and a brilliant cobalt blue foot and rim featuring an Egyptian-inspired grey and white "Tel el Amarna" motif. Similary decorated vases are pictured in: "The Art of Louis Comfort Tiffany," by Tessa Paul, New York: Exeter Books, 1987, p. 75.

Tiffany Studios New York 'Tel el Amarna' Vase

Tiffany Studios New York "Tel el Amarna" Glass Pedestal Vase

A Tiffany Studios New York Art Nouveau Favrile glass pedestal vase. Iridescent sepia body with iridescent gold shoulders featuring a sage-green and beige Egyptian-inspired ''Tel el Armana" motif. A similar vase is pictured in: "Louis Comfort Tiffany at Tiffany & Co.," by John Loring, New York: Harry N. Abrams, Inc., 2002, p. 160.

Tiffany Studios New York 'Tel el Amarna' Glass Pedestal Vase

Tiffany Studios New York "Tel el Amarna" Vase

A Tiffany Studios New York glass vase. A wide-shouldered, unique translucent gold body with a band of green colored Egyptian-inspired "Tel-El-Amarna" design around the neck. A vase with similar decoration is pictured in: "Tiffany at Auction," by Alastair Duncan, New York: Rizzoli, 1981, p. 17, cat. no. 18.

Tiffany Studios New York 'Tel el Amarna' Vase

Tiffany Studios New York "Tel el Amarna" Vase

A Tiffany Studios New York "Tel el Amarna" vase featuring iridescent brown, coffee and gold Favrile glass with an Egyptian-inspired motif. A vase with similar colors and decoration is pictured in: "Tiffany at Auction" by Alastair Duncan, New York: Rizzoli, 1981, p. 17, #19.

Tiffany Studios New York 'Tel el Amarna' Vase

Tiffany Studios New York Glass "Gooseneck" Sprinkler Vase

A Tiffany Studios New York Favrile glass rose water sprinkler vase. The graceful vase is made of iridescent gold glass. The "gooseneck" design is considered one of Tiffany''s most original and delicate forms, inspired by Persian rosewater sprinklers. Tiffany first became familiar with the rosewater sprinkler through his early mentorship by Edward C. Moore of Tiffany and Company. Moore was a dedicated collector of Oriental art and a significant influence on Tiffany''s aesthetic. Moore''s 16th-century Persian rosewater sprinkler is now on view at the Metrpolitan Museum of Art. According to folklore, Persian rosewater sprinklers were used as "containers for tears." The vessel, named ashkdan, was meant to collect the sorrows of wives separated from their husbands. The story goes that a husband who had to go away for a prolonged period on business, war, or pilgrimage to Mecca gave an ashkdan to his wife so that she could weep into it during his absence and consequently prove how unhappy she had been without him. Tiffany promoted his rosewater sprinklers by using them as props in his infamous Egyptian Fete. An Egyptian slave girl, played by Tiffany''s friend Ethel Whitman, sprinkled rosewater to herald the entrance of Cleopatra. A similar sprinkler is pictured in: "Tiffany Favrile Art Glass," by Moise S. Steeg, Jr., Atglen, PA: Schiffer Publishing, Ltd., 1997, p. 33; and in: "Tiffany at Auction," by Alastair Duncan, New York: Rizzoli, 1981, p. 19, cat. no. 27.

Tiffany Studios New York Glass 'Gooseneck' Sprinkler Vase

Tiffany Studios Scarab and Mosaic Box

A Tiffany Studios New York "Scarab" mosaic and gilt bronze covered box. 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 near 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 decades to come. Invitatio ... ns 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 astrict guidelines of authenticity overseen 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 sons-in-law 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 one of the Maharajas 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 similar mosaic box is pictured in: Tiffany Lamps and Metalware: An illustrated reference to over 2000 models, by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988 p. 433, plate 1716; and in: Louis C. Tiffany: The Garden Museum Collection, by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 2004, p. 370.

< View More >
Tiffany Studios Scarab and Mosaic Box

Tiffany Studios New York Favrile Sprinkler Vase

A Tiffany Studios New York decorated Favrile glass rose water sprinkler vase. The vase is iridescent gold, with undertones of pink and blue. This "gooseneck" design is considered one of Tiffany''s most original and delicate forms, with a molded peacock feather decoration that circles the bulbous portion of the vase and continues along the mouth until fading in the neck. The "gooseneck" design is considered one of Tiffany''s most original and delicate forms, inspired by Persian rosewater sprinklers. Tiffany first became familiar with the rosewater sprinkler through his early mentorship by Edward C. Moore of Tiffany and Company. Moore was a dedicated collector of Oriental art and a significant influence on Tiffany''s aesthetic. Moore''s 16th-century Persian rosewater sprinkler is now on view at the Metrpolitan Museum of Art. According to folklore, Persian rosewater sprinklers were used as "containers for tears." The vessel, named ashkdan, was meant to collect the sorrows of wives separated from their husbands. The story goes that a husband who had to go away for a prolonged period on business, war, or pilgrimage to Mecca gave an ashkdan to his wife so that she could weep into it during his absence and consequently prove how unhappy she had been without him. Tiffany promoted his rosewater sprinklers by using them as props in his infamous Egyptian Fete. An Egyptian slave girl, ... played by Tiffany''s friend Ethel Whitman, sprinkled rosewater to herald the entrance of Cleopatra. A similar sprinkler is pictured in: "Tiffany Favrile Art Glass", by Moise S. Steeg, Jr., Atglen, PA: Schiffer Publishing, Ltd., 1997, p. 33.

< View More >
Tiffany Studios New York Favrile Sprinkler Vase

"Belted Turtleback" Tiffany Lamp

A Tiffany Studios New York glass and bronze "Belted Turtleback" table lamp, featuring a large band of iridescent green "Turtleback" tiles against a mottled brick pattern ground, atop a rare Tiffany Studios New York green and red patinated bronze lamp base with pierced Onion Bulb design. "Turtleback" tiles were an early invention of Tiffany''s, consisting of amber or blue glass and coated with an iridescence. His experiments predated the founding of Tiffany Studios and distinguished him as a luminary of glass innovation. For the texture of his turtleback shells, Tiffany was inspired by the Neolithic Egyptian turtle carapace scale rings and bracelets excavated in Cyprus. For his Egyptian fete (party) in 1913, Tiffany served turtle along with suckling pig and frog legs. Shade pictured in Tiffany Lamps and Metalware, An Illustrated Reference to Over 2000 Models, by Alastair Duncan, p.131, plate #1434. A similar base is pictured in: Tiffany Lamps and Metalware: An illustrated reference to over 2000 models, by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988, p. 85, plate 330.

'Belted Turtleback' Tiffany Lamp