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.
An Antique 15 karat gold, diamond and gem-set acrostic sweetheart bracelet, composed of seven double hearts set with pear-shaped rose-cut diamonds, approximate total weight 1.42 carats, paired with diamond, emerald, amethyst, ruby, sapphire and topaz spelling "DEAREST," approximate total weight 2.76 carats, framed by old European and old mine-cut diamonds, approximate total weight 1.03 carats, within graduating heart-shaped links, mounted in silver-topped gold. With fitted box.Note: A form of sentimental jewelry inspired by the long-lasting romance between Queen Victoria and her husband Royal Consort Prince Albert, "Acrostic" jewelry remains beloved of collectors and gift-givers alike.
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.
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