An Art Nouveau gilt bronze and glass "Grapevine" picture frame by Tiffany Studios New York with an oval aperture. A similar frame is pictured in: "Tiffany Desk Sets," by William R. Holland, Atglen, PA: Schiffer, 2008, p. 95, figure 3-39.
An Art Nouveau gilt bronze "Pine Needle" picture frame by Tiffany Studios New York. The frame is rectangular with an oval center display and decorated in gilt bronze over mottled amber glass. A similar frame is pictured in: "Tiffany Desk Sets," by William R. Holland, Atglen, PA: Schiffer, 2008, p. 63, fig. 2-44.
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 picture frame in the "Pine Needle" pattern with an square center and beaded trim, mottled amber and opaque colored glass. A similar picture frame is pictured in: "Tiffany Desk Sets," by William R. Holland, Atglen, PA: Schiffer, 2008, p. 62, figure 2-42.
A French Art Nouveau pâte de verre "Masques" vase by Gabriel Argy-Rousseau. The vase is decorated with two red masks that are framed in purple and green leaves. Provenance: Christie''s, New York, Important 20th Century Decorative Arts Including Works by Tiffany Studios, 13 June 2002, lot 39. A similar vase is pictured in J. Bloch-Dermont, Les Pâtes de Verre G. Argy-Rousseau Catalogue Raisonné, Paris, 1990, p. 178, no. 14.06.
An early and unusual Tiffany Favrile glass Cypriote vase. The rounded body of the vase is decorated near the tapered neck and near the foot with an iridescent swirling motif in richly saturated tones of gold and ochre, framing a series of central pointed oval "window" panels of textured "Cypriote" glass, resting on a small circular foot, signed on the underside. Cypriote is a textured glass achieved at Tiffany Glass and Decorating Company by rolling glass over a marble or iron surface covered with pulverized bits of the same glass. Its iridescence and bubbles resembled the decomposed surface of Roman glass discovered during archeological explorations on the island of Cyprus, hence its name. Lava glass evolved from Cypriote glass by using thicker, brighter glass and dripping golden glass irregularly over the surface. Tiffany created a unique numbering system for his artistic glass. Beginning in 1892, glassware was progressively signed 1-9999. The next series deployed an "A" as a prefix, making it easy to date this "E" prefix vase to 1896. Vases with prefixes of J, N and V have dates confirmed by international exhibitions, as do vases with suffixes of J and M. Vases from 1928, the last year of production were signed with a suffix "W". It appears that starting in 1906 each new year ushered in a new letter. While the diligence of the Tiffany Studios records cannot be veri
fied due to a catastrophic fire that closed the factory in 1928, if one follows the logic of the numbering system it is possible that as many as 490,000 artistic vases were produced at the Tiffany Studios New York from 1892-1928. A similar vase is pictured in:" The Tiffany Collection of the Chrysler Museum at Norfolk," by Paul E. Doros, Richmond, VA: W. M. Brown & son, Inc., 1978, p. 59, cat. no. 57; and in: "Timeless Beauty: The Art of Louis Comfort Tiffany," Atglen, PA: Schiffer Publishing, 2016, p. 79.
A Tiffany Studios New York gilt bronze and Favrile glass picture frame in the "Pine Needle" pattern with a square center and beaded trim, mottled amber and opaque colored glass. A similar picture frame is pictured in: "Tiffany Desk Sets," by William R. Holland, Atglen, PA: Schiffer, 2008, p. 62, figure 2-42.
A pair of Tiffany Studios New York patinated bronze and Favrile glass two-armed sconces with opalescent multi-hued shields. Each shield is comprised of three leaded glass oval panels, which are each composed of five pieces of glass. The central glass of each panel is diamond shaped; the four surrounding glass pieces are elongated ovals. The middle panel of each shade is larger than the two that flank it. Each oval panel is framed by patinated metal in a braided rope motif. The two smaller panels are joined to the larger central piece by patinated metal with a coiled rope pattern. A similar sconce is pictured in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models", by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988, p. 339, plate 1376.
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