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.
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.
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.
A Tiffany Studios New York Art Nouveau ''paperweight'' glass vase. White blossoms with pink millefiori florets sprinkled throughout a green pulled-leaf motif, all featured on a clear background. The paperweight technique involved fusing thin rods of transparent glass in a variety of colors. The resulting thicker rod was cut into thin pieces and were then worked into clear glass. A vase with similar decoration is pictured in: "Louis Comfort Tiffany at Tiffany & Co.," by John Loring, New York: Harry N. Abrams, Inc., 2002, p. 158.
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.
A Tiffany Studios New York Art Nouveau "Magnolia", gold, white, pink, red, and green enamel on copper vase, by Louis Comfort Tiffany. This bespoke "Magnolia" enamel vase was designed from watercolor renderings and photographs from the enamel department''s lead designer, Agnes Northrop. Northrop depicted the saucer magnolia (Magnolia soulangiana) on this enamel vase, an Asian variety that was hybridized in France and then introduced in this country in the early nineteenth century. Magnolias were among Tiffany''s favorite flowers, so much so that three "Magnolia" window panels decorated his first 72nd Street home and his garden estate, Laurelton Hall. In an interview for Town and Country Magazine, Tiffany compared his enameled vases against sapphires, topaz, opal, aquamarine, and other stones, and concluded that the enamels "showed much more depth and perspective than were found in the stones", an insight sensitively demonstrated in this monumental and masterful vase.Tiffany took a painterly, impressionist approach to his enamel work, in intentional contrast to renowned Japonesque and Renaissance Revival masters like Eugene Richet (enamel master for the house of Fontenay), Antoine Tard (enamel master for the house of Falize), and Paul Briançon (House of René Lalique). Much in the way that Tiffany used gemstones in his early jewels as mere means to achieve color effects and mome
ntary impressions of nature, here, his use of opulent, varicolored enamel conveys the essence of the flowers on the verge of full bloom, already overspilling the form.There was some minor touch up to the enamel at the top, otherwise it''s in lovely original condition. This Magnolia vase was exhibited in the Japanese leg of the Tiffany Masterworks exhibition that originated at the Metropolitan Museum of Art several years ago.
A rare and monumental Tiffany Studios New York "Tel el Amarna" Favrile glass vase with an iridescent cobalt blue body and a brilliant turquoise blue foot and rim. Vases with zigzag decoration such as this have been commonly called "Tel el Amarna," after the decorative motifs of ancient Egypt. However, recent research has shown that Tiffany actually intended these vases to be referred to as "Byzantine," with the exception of vases featuring the brilliant blue color associated with the blue faience of the Eighteenth Dynasty of Amarna, Egypt, circa 1346 BC.This is the largest and most brilliantly colored vase of this genre that Macklowe Gallery has had the privilege of owning in our 50 years specializing in the artistic glass of Louis Comfort Tiffany.Similary decorated vases are pictured in: "The Art of Louis Comfort Tiffany", by Tessa Paul, New York: Exeter Books, 1987, p. 75.
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