A Tiffany Studios New York patinated bronze "Lily Pad" dressing mirror with a lily pad base and twisted vine frame. Pictured in "Tiffany Lamps and Metalware: an illustrated reference to over 2000 models" by Alastair Duncan, page 402, plate 1633, #899.
A Tiffany Studios New York gilt bronze and Favrile glass "Jonquil-Daffodil" lamp featuring a dome-shaped shade divided into an upper section comprising sixteen downturned trumpet narcissi blossoms in mottled yellow and creamy white colored glass surrounded by mottled blue and green colored stems against a mottled blue, green and blue geometric band.The lower section is decorated with three undulating rows comprising forty-eight daffodil blossoms, with opalescent and creamy white colored petals and yellow orange centers, continuing to a mottled green and blue geometric border. The shade rests upon a gilt bronze "Twisted Vine" base. Daffodils and narcissi were the most abundant flower on Louis Comfort Tiffany''s 600-acre estate. They were notably the only flowers that Tiffany''s children and grandchildren could freely pick, as Tiffany had thousands growing wild on the grounds. Comfort Tiffany Gilder, one of Tiffany''s twin daughters, revealed in her 1962 poem Daffodils that, "in the spring the children (her brother and sisters) would run to the daffodils. Stop first to gaze with rapture, then darting here and there ... slowly picking daffodils one by one." This stunning Tiffany Studios "Daffodil and Narcissus" lamp features an upper section of sixteen downturned daffodils and a lower section of forty-eight narcissi. The bright yellow daffodils that encircle the top were of t
he King Alfred variety, a new cultivar in Tiffany''s time. The bottom section consisted of narcissus poeticus, the narcissi of ancient greek mythology. The pairing of the two flower varieties mirrors the type of artistry Tiffany brought to America, a marriage of beauty old and new. Pictured in "The Lamps of Tiffany" by Egon Neustadt, page 143. 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. base: p. 94, plates 373-374.
A French Art Nouveau dining suite featuring a dining table with two custom leaves, a set of six mahogany dining chairs with tooled leather and brass tacks and a sideboard featuring a mirror, bronze accents and a marble top by Camille Gauthier & Paul Poinsignon. The sideboard is carved with berries and leaves. It has bronze inlays and a bronze drawer-pull in a sinuous leaf and twisted vine motif. The berries and leaves are also carved into the legs and base of the table. Each tooled leather chair back is affixed with bronze studs and decorated with a different floral image. Dimensions: Dining Table: 29-1/2'''' high x 45'''' wide x 50-1/2'''' long, extends with three leaves to 122-1/2".Dining Chairs: 38¾'''' high x 17'''' wide x 17'''' deep.Sideboard: : 62¾'''' high x 51'''' wide x 21'''' deep.
A French mid-20th century 18 karat gold necklace by Frederic Boucheron. The necklace, which elegantly and seamlessly breaks apart into two wearable bracelets, is comprised of highly polished rounded triangular section links, with two mirroring section lying smoothly and luxuriously on the neck, and another section of the link vertically aligned, so as to create fabulous visual interest in the piece''s repetitive design.
An American black walnut wood "Heron III" console by Michael Coffey. This remarkable wall-mounted console is hand-carved from black walnut and features an almond shaped, inset mirror. Coffey, a master craftsman based in western Massachusetts, took his inspiration from the heron, endowing his work with the bird''s characteristic elegance. This foyer table with mirror was designed as a sequel to the Heron I Foyer Table. The table rests on one leg which takes the weight but is balanced by two lag bolts in the rear of the drawer compartment that fasten the unit to the wall. Behind the single drawer there is also a secret drawer. The mirror is mounted both to the wall and to the table top.Coffey has consistently broken the boundaries of style and functionality in the decorative arts. Born and raised in New York City, Coffey initially made a career as a social worker before pursuing art seriously in 1972. Teaching himself theory and practice, he was influenced enormously by the examples made by the likes of Wendell Castle, Walker Reed, George Nakashima, Sam Maloof, and others. In 1978, Coffey first presented his Aphrodite rocking chair, a monumental oblong curved piece of wood which excited the market and solidified Coffey''s reputation for creativity and skill.Coffey''s work stresses the relationship shared by people with their furniture. Coffey considers himself an artist, but
draws a distinction between impersonal visual arts and furnishings. It is important to the artist that his creations can be used.For Coffey, defying expectations is an important aspect of producing his works. Abandoning symmetry in his designs, the artist prefers to create hollows and rounded shapes which people can fill. To Coffey''s eye, a piece which is perfectly symmetrical is also "quiet," and does nothing to arouse questions or feelings in the mind of the viewer.Coffey continues to work in his home studio, making little distinction between his design work and his life. His bold designs are still a fixture on the secondary market, indicating the lasting value of an artist like Coffey''s style of audacious design which tosses tradition aside.
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