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French Art Nouveau Side Table by Edouard Colonna

A French Art Nouveau mahogany side table with carved decoration in an abstract curvilinear vegetal motif by Edouard Colonna (1862-1948). Along with Louis Comfort Tiffany, Edouard Colonna was one of the main designers who worked for Siegfried Bing and who, under Bing''s guidance, was responsible for the creation of what is known today as the Modern Style, or Art Nouveau. Colonna is remembered for his tasteful elegance and his use of abstract forms to create a graceful linear rhythm and dynamic intertwining lines. While he occasionally started with a floral motif, Colonna abstracted nature to create the impression of a flower bud or bloom held within a carefully constructed geometric scheme. This design scheme is evident in the delicate carvings ornamenting each leg of the table and in the overall rhythm of the piece. Colonna furniture, jewelry and designs for small objects like scarf and money holders would become the backbone of Bing''s business. By 1898 a number of his works were on display at Bing''s L''Art Nouveau. A similar table is pictured in: "The Paris Salons 1895-1915, Vol. III: Furniture," by Alastair Duncan, Woodbridge, Suffolk: Antique Collectors'' Club, 1996, p. 109.

French Art Nouveau Side Table by Edouard Colonna

French Art Nouveau Table by Majorelle

A French Art Nouveau mahogany salon table with fruitwood marquetry by Louis Majorelle. The table top is decorated with leaves and vines. The legs have carved flowers. Provenance Property from the Geyer Collection Louis C. Tiffany Garden Museum Collection, Matsue, Japan Sotheby''s Paris, Chefs-d''Ouevre Art Nouveau, Ancienne Collection du Garden Museum, Japon, February 16, 2013, lot 57 Acquired from the above by the present owner Literature Alastair Duncan, "Louis C. Tiffany: The Garden Museum Collection," Woodbridge, Suffolk, 2004, p. 619 (for related examples from the Garden Museum Collection)

French Art Nouveau Table by Majorelle

Antique Tiffany & Co. Diamond and Gold Cuff Links

A pair of Antique 18 karat gold cuff links with diamonds by Tiffany & Co. The heavy, lozenge-shaped cuff links have 4 old European-cut diamonds with an approximate total weight of 1.50 carat, H-I color, VS clarity. Double-sided. With later, signed, Tiffany & Co. box.

Antique Tiffany & Co. Diamond and Gold Cuff Links

Marcus & Co. Art Nouveau 18kt Gold Black Opal and Enamel Stick Pin

This miniature representation of Renaissance Revival within the Art Nouveau period is set with a square black opal cabochon whose indigo and brilliant green swathes of color are echoed in its glowing enamel surround, highlighted by fleur-de-lis and scrolls. It would make a superb addition to any gentleman''s stick pin collection, or a glamorous gift for a showjumping or hunting equestrian to use as a stock tie pin. The multi-generational New York firm of Marcus & Co was founded by an ambitious young German immigrant who had trained with a prominent court jeweler in Dresden. In 1892, after working with Charles Lewis Tiffany, Hermann Marcus and his sons William and George together set up a business that soon became a glittering New York society institution renowned not only for its superb diamonds, colored stones and pearls, but also its instantly recognizable, original design style. The firm produced great jewels in the Art Nouveau and Arts & Crafts sensibility, with George, the artist/designer, drawing inspiration from sources as diverse as the contemporary French masters, the Moghuls and Maharajahs, the garland style of the Ancien Regime, and the genius of Renaissance goldsmiths. George''s distinctive, confident hand was always discernible in Marcus creations. Working as a team with George, William was a gem and pearl connoisseur who travelled the world hunting for exceptiona ... l gem material, including purchasing the entire production of never-before-seen black opal from Lightning Ridge Australia in 1908. Marcus exhibited at the 1900 Exposition Universelle in Paris, and their work won prizes from the prestigious Society of Arts & Crafts of Boston. Plique-à-jour enamel was an art in which the firm excelled. Displaying a mastery equal to that of the French artists, they created jewels with unprecedented three-dimensional depth in this medium. The firm and family were well-known for their charitable activities and promotion of young jewelers such as Raymond Yard. The firm''s jewelry is a focus of the collection of the American Wing at the Metropolitan Museum of Art.

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Marcus & Co. Art Nouveau 18kt Gold Black Opal and Enamel Stick Pin

Marcus & Co. Art Nouveau 18kt Gold, Peridot, Diamond, Enamel Ring

This distinctive ring epitomizes Marcus & Co.''s liberal interpretation of Renaissance jewelry forms, fluidly merged with the Art Nouveau aesthetic of which the firm, along with Tiffany, was a leading American proponent. The flowing gold form, masterfully textured with Marcus''s unmistakable style of chasing and engraving, is enhanced with vibrant green enamel over a prepared ground that offers subtle shading and depth of color. Twinstone rings were first popularized in the late 18th century, when a young Napoleon presented Josephine with a so-called "toi et moi" engagement ring, the first of many historic jewelry gifts from the future emperor to the stylish widow he passionately loved. The ring is enhanced by two round-cut peridots totaling approximately 1.60 carats, and 30 round-cut diamonds that weigh approximately 1.20 carats. The green basse-taille enamel continues around the shank, which is enhanced at the reverse by a diamond. The multi-generational New York firm of Marcus & Co was founded by an ambitious young German immigrant who had trained with a prominent court jeweler in Dresden. In 1892, after working with Charles Lewis Tiffany, Hermann Marcus and his sons William and George together set up a business that soon became a glittering New York society institution renowned not only for its superb diamonds, colored stones and pearls, but also its instantly recognizabl ... e, original design style. The firm produced great jewels in the Art Nouveau and Arts & Crafts sensibility, with George, the artist/designer, drawing inspiration from sources as diverse as the contemporary French masters, the Moghuls and Maharajahs, the garland style of the Ancien Regime, and the genius of Renaissance goldsmiths. George''s distinctive, confident hand was always discernible in Marcus creations. Working as a team with George, William was a gem and pearl connoisseur who travelled the world hunting for exceptional gem material, including purchasing the entire production of never-before-seen black opal from Lightning Ridge Australia in 1908. Marcus exhibited at the 1900 Exposition Universelle in Paris, and their work won prizes from the prestigious Society of Arts & Crafts of Boston. Plique-à-jour enamel was an art in which the firm excelled. Displaying a mastery equal to that of the French artists, they created jewels with unprecedented three-dimensional depth in this medium. The firm and family were well-known for their charitable activities and promotion of young jewelers such as Raymond Yard. The firm''s jewelry is a focus of the collection of the American Wing at the Metropolitan Museum of Art.

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Marcus & Co. Art Nouveau 18kt Gold, Peridot, Diamond, Enamel Ring

Tiffany & Co. Art Nouveau Gold Cuff Links

A pair of American Art Nouveau 18 karat gold cuff links by Tiffany & Co. The double sided cuff links are made in a curved rectangular shape with a dimensional concentric motif.

Tiffany & Co. Art Nouveau Gold Cuff Links

Marcus & Co. Art Nouveau Pearl, Diamond and Emerald Brooch

In this lavish brooch, Marcus & Co. offers a Mughal-style jewel interpreted through the lens of American masters of the Art Nouveau. Open to inspiration from great global art, Marcus created this intriguing ornament expressing Mughal sensibility and form, over-spilling with lustrous natural pearls and an emerald drop, gems the empire had eagerly imported from the Arabian Gulf and Colombia. The distinctive, highly-textured Marcus gold work, with its miniature scrolls, incised circles and tiny graduated beads, serves to enhance the fluid lines and organic presence. Wearable on a simple black ribbon or cord, the jewel is a statement of global vision and artistic virtuosity. The pendant-brooch is set with 10 semi-spherical pearls, 15 Old European-cut diamonds with an approximate total weight of 1.25 carats , suspending an emerald bead. Gemological Institute of America certificate #2171449596 states the pearls are natural saltwater button pearls. The multi-generational New York firm of Marcus & Co was founded by an ambitious young German immigrant who had trained with a prominent court jeweler in Dresden. In 1892, after working with Charles Lewis Tiffany, Hermann Marcus and his sons William and George together set up a business that soon became a glittering New York society institution renowned not only for its superb diamonds, colored stones and pearls, but also its instantly r ... ecognizable, original design style. The firm produced great jewels in the Art Nouveau and Arts & Crafts sensibility, with George, the artist/designer, drawing inspiration from sources as diverse as the contemporary French masters, the Moghuls and Maharajahs, the garland style of the Ancien Regime, and the genius of Renaissance goldsmiths. George''s distinctive, confident hand was always discernible in Marcus creations. Working as a team with George, William was a gem and pearl connoisseur who travelled the world hunting for exceptional gem material, including purchasing the entire production of never-before-seen black opal from Lightning Ridge Australia in 1908. Marcus exhibited at the 1900 Exposition Universelle in Paris, and their work won prizes from the prestigious Society of Arts & Crafts of Boston. Plique-à-jour enamel was an art in which the firm excelled. Displaying a mastery equal to that of the French artists, they created jewels with unprecedented three-dimensional depth in this medium. The firm and family were well-known for their charitable activities and promotion of young jewelers such as Raymond Yard. The firm''s jewelry is a focus of the collection of the American Wing at the Metropolitan Museum of Art.

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Marcus & Co. Art Nouveau Pearl, Diamond and Emerald Brooch

Marcus & Co. Art Nouveau White Opal and Chrysoprase, Plique-à-Jour Enamel and Gold Pendant Brooch

This Art Nouveau pendant-brooch by Marcus & Co. presents a flowing form abstracted from the delicate shapes of flowers and leafy vines. Its subtle coloration comes from the use of unusual materials, such as rare chrysoprase and translucent plique-à-jour enamel, whose organic greens are set off by pools of spectral hues provided by the shimmering opals. Signature Marcus gold work, characterized by the miniature scrolls, incised circles, stippling, and graduated beads, adds to the organic feeling of the flowing form. Wearable on a simple black ribbon or cord, it is a statement of inspired naturalism. The pendant brooch is set with 6 cabochon white opals, 63 cabochon chrysoprase stones, and is highlighted by plique-à-jour enamel. Suspended from the brooch is an opal and chrysoprase pendant drop. Detachable brooch finding and flip-down bail. Shown in the Poster House (New York) exhibition "Alphonse Mucha: Art Nouveau./Nouvelle Femme," June 20-October 6, 2019.  The multi-generational New York firm of Marcus & Co was founded by an ambitious young German immigrant who had trained with a prominent court jeweler in Dresden. In 1892, after working with Charles Lewis Tiffany, Hermann Marcus and his sons William and George together set up a business that soon became a glittering New York society institution renowned not only for its superb diamonds, colored stones and pearls, but also ... its instantly recognizable, original design style. The firm produced great jewels in the Art Nouveau and Arts & Crafts sensibility, with George, the artist/designer, drawing inspiration from sources as diverse as the contemporary French masters, the Moghuls and Maharajahs, the garland style of the Ancien Regime, and the genius of Renaissance goldsmiths. George''s distinctive, confident hand was always discernible in Marcus creations. Working as a team with George, William was a gem and pearl connoisseur who travelled the world hunting for exceptional gem material, including purchasing the entire production of never-before-seen black opal from Lightning Ridge Australia in 1908. Marcus exhibited at the 1900 Exposition Universelle in Paris, and their work won prizes from the prestigious Society of Arts & Crafts of Boston. Plique-à-jour enamel was an art in which the firm excelled. Displaying a mastery equal to that of the French artists, they created jewels with unprecedented three-dimensional depth in this medium. The firm and family were well-known for their charitable activities and promotion of young jewelers such as Raymond Yard. The firm''s jewelry is a focus of the collection of the American Wing at the Metropolitan Museum of Art.

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Marcus & Co. Art Nouveau White Opal and Chrysoprase, Plique-à-Jour Enamel and Gold Pendant Brooch

French Art Nouveau Mother-of-Pearl, Diamond and Gold Pendant Locket, Attributed to Edouard Colonna

A French Art Nouveau 18 karat gold pendant locket with mother-of-pearl and diamond. The oval pendant locket designed with baroque mother-of-pearl plaques among swirling seaweed with subtle chased detail, two old mine-cut diamond highlights, approximate total weight 0.16 carats, swiveling open to a locket compartment, suspended from a conforming 14 karat gold chain of oval and circular trace links highlighted by seed pearls (28 inch chain of later manufacture). Note: This work strongly resembles that of Edouard Colonna, a restless, influential, still mysterious Art Nouveau designer, master of a variety of artistic media. His rich and interesting early career was spent in the United States, where he quickly found a position with Louis Comfort Tiffany''s "Associated Artists" interior design firm. While in the U.S. and Canada, Colonna created design books, later viewed as anticipating the decorative language of the Art Nouveau movement. The design volumes drew influences from sources as diverse as broom-corn and other botanical subjects to funerary sculpture from Ravenna. The acme of his career, from 1898-1902, was spent in Paris at L''Art Nouveau Gallery of Siegfried Bing, for whom Colonna designed a salon at the 1900 World Exposition. In a burst of creative energy, Colonna also produced elegant, quietly sensuous jewels integrating highly stylized botanical motifs, which won critical acclaim. Many of the jewels were executed at Bing''s Paris workshop.

French Art Nouveau Mother-of-Pearl, Diamond and Gold Pendant Locket, Attributed to Edouard Colonna

Art Nouveau Gold Ring with Sapphire and Demantoid Garnet by Tiffany & Co.

A Louis Comfort Tiffany Art Nouveau 18 and 14 karat gold ring with sapphire and demantoid garnet by Tiffany & Co. Set with a natural-form black opal measuring 14.1 x 12.2 x 4.0 mm, encircled by leafy grape vines, shoulders and shank with conforming leaf and vine motifs, highlighted by 10 circular-cut demantoid garnets and 7 sapphires. Note: The leafy grapevine set with opals was a favored motif in Louis Tiffany''s earliest artistic jewelry, including the prize-winning work he designed in secret for the 1904 St. Louis Exposition. Here, the black opal''s vivid ultramarine and iridescent green flashes are accentuated by the brilliantly colored stones nestling among the leaves. Made most likely in the 1910-1914 period, the ring is the product of Louis''s collaboration with one of two women artisans to whom he entrusted the day-to-day work of the studio, either Julian Munson or Meta Overbeck. The jewels that resulted represent the fruit of one of Louis'' most beloved projects, and he referred to them affectionately as "my little missionaries of art."

Art Nouveau Gold Ring with Sapphire and Demantoid Garnet by Tiffany & Co.

18kt Gold, Black Opal, Diamond and Enamel Ring by Marcus & Co.

This exuberant ring, with its rich colors and materials, represents Marcus & Co.''s characteristic fusion of historic and global jewelry styles within the Art Nouveau sensibility. Along with the graduating lines of diamond melee framing the central stone, fields of glowing enamel among tiny hand-formed beads and textured gold scrolls help direct the eye toward the vividly colored opal, a specimen which is remarkable in its broad flash of reddish orange and its blue-green depths. The firm was an early and dominant importer of fabled Australian black opal into the U.S., thanks to the expertise and tireless gem-seeking expeditions of William Marcus, the founder''s son. Centering a black opal cabochon framed by 27 old mine-cut diamonds, approximate total weight of 0.65 carat, further enhanced by a blue and green basse-taille enamel surround and shoulders with chased high-relief gold scroll and bead motifs throughout. The multi-generational New York firm of Marcus & Co was founded by an ambitious young German immigrant who had trained with a prominent court jeweler in Dresden. In 1892, after working with Charles Lewis Tiffany, Hermann Marcus and his sons William and George together set up a business that soon became a glittering New York society institution renowned not only for its superb diamonds, colored stones and pearls, but also its instantly recognizable, original design s ... tyle. The firm produced great jewels in the Art Nouveau and Arts & Crafts sensibility, with George, the artist/designer, drawing inspiration from sources as diverse as the contemporary French masters, the Moghuls and Maharajahs, the garland style of the Ancien Regime, and the genius of Renaissance goldsmiths. George''s distinctive, confident hand was always discernible in Marcus creations. Working as a team with George, William was a gem and pearl connoisseur who travelled the world hunting for exceptional gem material, including purchasing the entire production of never-before-seen black opal from Lightning Ridge Australia in 1908. Marcus exhibited at the 1900 Exposition Universelle in Paris, and their work won prizes from the prestigious Society of Arts & Crafts of Boston. Plique-à-jour enamel was an art in which the firm excelled. Displaying a mastery equal to that of the French artists, they created jewels with unprecedented three-dimensional depth in this medium. The firm and family were well-known for their charitable activities and promotion of young jewelers such as Raymond Yard. The firm''s jewelry is a focus of the collection of the American Wing at the Metropolitan Museum of Art.

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18kt Gold, Black Opal, Diamond and Enamel Ring by Marcus & Co.

Louis Tiffany Black Opal and Enamel Necklace and Bracelet Set

Louis Tiffany played with the unusual light and color effects of black opals, green garnets, and sapphires to create an impressionistic artwork in this visually intriguing necklace. The opals, with their painterly brushstrokes, are set among cool sapphires and fiery green garnets, providing glowing pools of color. Multi-hued enamels, applied with an artistic hand, unify with the gems to enhance the delicate grapevine motif, one of the artist''s eternal favorites. The form of the ripe enamel grapes is echoed in the hand-crafted, ultralight gold beads and conforming clasp that complete the composition. A paired bracelet, highly unusual in Tiffany''s work, completes this extraordinary set. Sold exclusively as a matching set. CURATOR''S NOTES: For the role of head designer of his new Art Jewelry Department, established in secret in 1902, Louis Tiffany tapped Julia Munson, a trusted partner and expert in enamel work. Together, they created jewels in the same vibrantly colored palettes that were the hallmark of his celebrated glassware.

Louis Tiffany Black Opal and Enamel Necklace and Bracelet Set

Louis Tiffany Peridot and Plique-à-jour Enamel Brooch

This exquisite American Art Nouveau 18 karat gold brooch is one of a limited series of jewels where Louis Comfort Tiffany and Julia Munson explored the spectrum''s green range in peridot, here weighing 7.95 carats, and enamel, all delicately framed in twisted, hand-drawn wire. Each work was an artist''s color study. Here, unusually, Tiffany added slim panels and little darts of blue enamel to off-set the bright yellowish-greens. Light and delicate to the touch, handmade with patience and genius, this unique jewel is a tiny treasure.

Louis Tiffany Peridot and Plique-à-jour Enamel Brooch

Tiffany & Co. Art Deco Diamond, Ruby, Emerald and Platinum Watch/Brooch

An American Art Deco platinum and enamel watch/brooch with diamonds, rubies and emeralds by Tiffany & Co. The watch/brooch has 215 round-cut diamonds with an approximate total weight of 4.65 carats, and 14 baguette diamonds with an approximate total weight of 1.00 carat, 20 square-cut diamonds with an approximate total weight of .90 carat, 6 cabochon rubies and 1 carved bead ruby with an approximate total weight of .52 carat and 11 cabochon and calibre-cut emeralds with an approximate total weight of .33 carat. "The style for decorative arts of the 1920''s was streamlined; form was reduced to basic geometry and the color palette was made strong and bold as opposed to the delicate pastels that were fashionable in the decades before the war. This trend became solidly established at the 1925 Paris Exposition des Arts Décoratifs, Industriels et Modernes, where visitors were electrified by the explosion of contrasting primary colors, geometric pattern and stylized natural subjects that burst on the scene," Falino and Markowitz. Similar pictured and discussed in American Luxury Jewels from the House of Tiffany, by Falino and Markowitz, editors, Antique Collectors'' Club, 2009, page 144, Plate 91. Exhibited at "Anything Goes: The Jazz Age" at the Nassau County Museum of Art, 24 March 2018 - 8 July 2018.

Tiffany & Co. Art Deco Diamond, Ruby, Emerald and Platinum Watch/Brooch

Tiffany & Co. Art Deco ''No Heat'' Ruby, Diamond and Platinum Ring

This Art Deco jewel by Tiffany & Co. features a rare, untreated ruby from Burma, the origin most prized by global connoisseurs for hundreds of years. Burma rubies'' exceptional red fluorescence comes from their formation under very particular geologic conditions, in beautiful white limestone that is ultra low in iron content. In the 1920s, Tiffany mounted this vivid stone among colorless diamonds and lines of calibré-cut rubies. In skillfully minimizing the platinum mount, Tiffany jewelers made the pure geometry of the gems and the design cohere into a brilliant statement of the Deco aesthetic. A platinum Art Deco ring with rubies and diamonds by Tiffany & Co. The ring centers on an emerald-cut ruby with an approximate weight of 1.10 carats, and 10 old European-cut diamonds with an approximate total weight of 0.74 carat. The ring is designed in a highly graphic Art Deco motif. AGL report no. CS 72168, origin: Burma (Myanmar) origin, no indications of heat. Circa 1925. AGL report no. CS 72168, origin: Burma (Myanmar) origin, no indications of heat.

Tiffany & Co. Art Deco ''No Heat'' Ruby, Diamond and Platinum Ring

Tiffany & Co. Mid-20th Century Ruby, Diamond and Gold Brooch

A Mid-20th Century 18 karat gold brooch with rubies and diamonds by Boucher for Tiffany & Co. The brooch has 27 round-cut rubies with an approximate total weight of 1.45 carats, and 9 round-cut diamonds with an approximate total weight of .85 carats. The brooch is designed in a modified shell form.

Tiffany & Co. Mid-20th Century Ruby, Diamond and Gold Brooch

Tiffany & Co. Art Deco Sapphire and Platinum Dress Set

A Tiffany & Co. platinum Art Deco 5-piece cuff link set with 39 blue sapphires weighing approximately 2.05 carats. The dress set is designed with diagonal stripes of square-cut sapphires bisecting the square cuff link tops. The cuff links are double-sided with bar connections.

Tiffany & Co. Art Deco Sapphire and Platinum Dress Set

Platinum Ring with Diamonds by Tiffany & Co.

A platinum ring with diamonds by Tiffany & Co. This band has 32 Asscher cut diamonds with an approximate total weight of 3.20 carats. They have a G/H color and VS clarity grade.

Platinum Ring with Diamonds by Tiffany & Co.

Art Deco Style Emerald Ring by Macklowe Gallery

A contemporary Art Deco-style ring by Macklowe Gallery. Inspired by a 1920''s Tiffany & Company ring from our archives, this beauty centers on a 4.75 carat emerald-cut Colombian emerald, flanked by trapezoid (2=.69 carat) and step cut bullet ((2=.25 carat) diamonds to the platinum shank. The emerald has a gemological certificate from AGL (certificate number 1094852) stating its origin is Colombia, with insignificant to minor oil type treatment and measurements of 10.43 x 9.82 x 6.26 mm.

Art Deco Style Emerald Ring by Macklowe Gallery

Tiffany & Co. Gold Hand Cuffs Key Ring

An 18 karat gold double key ring by Tiffany & Co. The novelty key ring designed as a pair of hand cuffs, joined by oval trace link chain, signed Tiffany & Co. Italy

Tiffany & Co. Gold Hand Cuffs Key Ring

Marcus & Co. Early-20th Century Diamond, Natural Pearl, Platinum and Gold Ring

An American Early 20th Century platinum and 18 karat gold ring with diamonds and natural pearl by Marcus & Co. The ring has 3 old mine-cut diamonds with an approximate weight of 1.25, 1.35 and 1.05 carats, L/M color, SI clarity respectively, and 10 old European-cut diamonds with an approximate total weight of .10 carat. The center of this ring is a natural pearl measuring 7.91 x 7.86 mm. Gemological Institute of America Certificate stating natural saltwater pearl #2155277139. The multi-generational New York firm of Marcus & Co was founded by an ambitious young German immigrant who had trained at a prominent Dresden court jeweler. In 1892, after working with Charles Lewis Tiffany, Hermann Marcus and his sons William and George together set up a business that soon became a glittering New York society institution renowned not only for its superb diamonds, colored stones and pearls, but also its instantly recognizable, original design style. The firm produced great jewels in the Art Nouveau and Arts & Crafts sensibility, with George, the artist/designer, drawing inspiration from sources as diverse and exotic as the contemporary French masters, the Moghuls and Maharajahs, the garland style of the Ancien Regime, and the genius of Renaissance goldsmiths. George''s distinctive, confident hand was always discernible in Marcus creations. Working as a team with George, his brother Wil ... liam was a gem and pearl connoisseur who travelled the world hunting fine gem material, including purchasing the entire production of never-before-seen black opal in Lightning Ridge Australia in 1908. Marcus exhibited at the 1900 Exposition Universelle in Paris, and their work won prizes at the prestigious Society of Arts & Crafts of Boston. Plique-a-jour enamel was an art in which Marcus & Co. excelled, creating jewels with unprecedented three-dimensional depth in this medium. The firm and family were well-known for their charitable activities and promotion of young jewelers such as Raymond Yard.

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Marcus & Co. Early-20th Century Diamond, Natural Pearl, Platinum and Gold Ring

Tiffany & Co. Earrings with Aquamarine and Diamond

A pair of earrings with aquamarines and diamonds by Tiffany & Co. The earrings have 6 pear-shaped aquamarines with an approximate total weight of 10.00 carats, and 82 round and rose-cut diamonds with an approximate total weight of 4.00 carats with an F-G color and VVS-VS clarity grade.

Tiffany & Co. Earrings with Aquamarine and Diamond

Tiffany & Co. Mid-20th Century Ruby, Diamond, Platinum and Gold Bracelet

An American Mid-20th Century 18 karat gold and platinum bracelet with rubies and diamonds by Tiffany & Co. The flexible bracelet has 32 rubies with an approximate total weight of 8.30 carats, and 286 diamonds with an approximate total weight of 12.70 carats. The rubies are thought to be of Burmese origin with no heat treatment.

Tiffany & Co. Mid-20th Century Ruby, Diamond, Platinum and Gold Bracelet

Tiffany & Co. Mid-20th Century Gold Cuff Links

A pair of American Mid-20th Century 14 karat gold cuff links by Tiffany & Co. The cuff links are designed in a rectangular, dimensional ridged motif. Double sided.

Tiffany & Co. Mid-20th Century Gold Cuff Links

Schlumberger for Tiffany & Co. French Mid-20th Century Lapis Lazuli and Turquoise Cuff Links

A pair of French Mid-20th Century 18 karat gold cuff links with lapis lazuli and turquoise by Jean Schlumberger for Tiffany & Co. The cuff links have a total of 22 cabochon turquoise stones set into the 4 lapis lazuli balls. Made in the Schlumberger Paris workroom. Similar pictured in The Jewels of Jean Schlumberger, by Chantal Bizot, Marie-Noel de Gary, Evelyne Posseme, Preface by Helene David-Weil, Harry N. Abrama, Inc. Publishers, 1995, page 64.

Schlumberger for Tiffany & Co. French Mid-20th Century Lapis Lazuli and Turquoise Cuff Links

Gold and Platinum Brooch with Diamonds by Tiffany & Co.

A Mid-20th Century 18 karat gold and platinum brooch with diamonds by Tiffany & Co. The flower brooch has six unique, blooming petals studded with diamonds and framed with textured gold. The piece has 73 round-cut diamonds with an approximate total weight of 5.00 carats with a F/G color and VS clarity grade.

Gold and Platinum Brooch with Diamonds by Tiffany & Co.

Gold Necklace with Tiger''s Eye by Tiffany & Co.

An 18 karat gold necklace with tiger''s eye by Tiffany & Co. The necklace is composed of 11 rectangular-cut tiger''s eye links edged in gold, joined by stylized figure-eight links.

Gold Necklace with Tiger''s Eye by Tiffany & Co.

"Sombrero" Brooch by Schlumberger

A Mid-20th Century 18 karat gold and platinum "Sombrero" brooch with diamonds and sapphires by Schlumberger for Tiffany and Co. The brooch has round brilliant-cut diamonds with an approximate total weight of 2.95 carats, and round- and oval-cut sapphires with an approximate total weight of 12.00 carats. Made in France, with French assay and maker''s marks

'Sombrero' Brooch by Schlumberger

American Gold Brooch with Enamel, Diamonds and Coral, attributed to Donald Claflin for Tiffany & Co.

An American mid-20th Century 18 karat yellow gold brooch with enamel, diamonds and coral, attributed to Donald Claflin for Tiffany & Co. The brooch has a cabochon coral face with black enamel eyes, turquoise enamel dress, and 16 round brilliant-cut diamonds, with total approximate weight of 0.55 carats, sprinkled through the figure''s hair. The brooch measures approximately 2.75" in length and 1" in width.

American Gold Brooch with Enamel, Diamonds and Coral, attributed to Donald Claflin for Tiffany & Co.

George Verger French Retro Diamond, Ruby, Rose Quartz, Platinum and Gold Bracelet Cuff

An important French Retro, 18-karat rose gold bangle bracelet with diamonds, rubies, and rose quartz, by Verger Frères. The hinged bangle bracelet is designed with terminals of rose quartz sphere clusters, each set with circular-cut rubies, approximate total weight 1.65 carats, flanked by old mine-cut diamonds with an approximate total weight of 1.30 carats, further highlighted by calibré-cut rubies with an approximate total weight of 1 carat. The Verger workshop was a successful, behind-the-scenes force creating jewels for Boucheron, Cartier, Tiffany, and Van Cleef & Arpels. Unlike those of many manufacturing jewelers, who merely produced work to order, Verger''s own original designs were particularly valued and sought after by these great Parisian Maison. Verger are known for their magnificent clocks featuring strongly defined shapes, stylized lines and global inspiration. For the Haute Joaillerie he created elaborate fancies of form and color contrast, as we see here in this important rose gold bracelet.

George Verger French Retro Diamond, Ruby, Rose Quartz, Platinum and Gold Bracelet Cuff

An American Art Nouveau 18 karat gold, enamel, sapphire and diamond ring by Marcus & Co.

This alluring ring presents a large, richly colored sapphire within an organic setting, enhancing the gemstone with the distinctive Art Nouveau spirit particular to Marcus & Co. The cushion-shaped stone lightly nestles within a bed of stylized leaves, subtly held in place by integral scrolling tendrils and tight little buds. The gold is chased and engraved throughout to impart a visually complex surface and vital feel. Embedded diamonds bring brilliance and sparkle to the living structure, while touches of blue enamel help unify the overall composition. The jewel merges the beauty of the mineral and the organic worlds into a compelling work of art. The ring is set with a cushion-cut blue sapphire with an approximate weight of 8.65 carats, and 27 old European-cut diamonds with an approximate total weight of .32 carat. The blue sapphire is most likely of Ceylon origin with no heat treatment evident. The multi-generational New York firm of Marcus & Co was founded by an ambitious young German immigrant who had trained with a prominent court jeweler in Dresden. In 1892, after working with Charles Lewis Tiffany, Hermann Marcus and his sons William and George together set up a business that soon became a glittering New York society institution renowned not only for its superb diamonds, colored stones and pearls, but also its instantly recognizable, original design style. The firm ... produced great jewels in the Art Nouveau and Arts & Crafts sensibility, with George, the artist/designer, drawing inspiration from sources as diverse as the contemporary French masters, the Moghuls and Maharajahs, the garland style of the Ancien Regime, and the genius of Renaissance goldsmiths. George''s distinctive, confident hand was always discernible in Marcus creations. Working as a team with George, William was a gem and pearl connoisseur who travelled the world hunting for exceptional gem material, including purchasing the entire production of never-before-seen black opal from Lightning Ridge Australia in 1908. Marcus exhibited at the 1900 Exposition Universelle in Paris, and their work won prizes from the prestigious Society of Arts & Crafts of Boston. Plique-à-jour enamel was an art in which the firm excelled. Displaying a mastery equal to that of the French artists, they created jewels with unprecedented three-dimensional depth in this medium. The firm and family were well-known for their charitable activities and promotion of young jewelers such as Raymond Yard. The firm''s jewelry is a focus of the collection of the American Wing at the Metropolitan Museum of Art.

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An American Art Nouveau 18 karat gold, enamel, sapphire and diamond ring by Marcus & Co.

Art Nouveau Covered Box by Alfred Daguet

The "Fish" Box by Alfred Daguet. This rare and stunning French Art Nouveau box is decorated with red enamel surrounding the fish swimming upon the top of the box. The fish''s fins are fully open displaying this creature''s innate beauty. Alfred-Louis-Achille Daguet (Paris, 1875-1942) is famed for his exquisite desk boxes which transform bronze, copper and glass into flowing, organic examples of the Art Nouveau style. Among colleagues as diverse Odilon Redon, the proto-surrealist, and Thomas Eakins, a father of American realism, Daguet studied painting under Jean-Léon Gérôme, the towering academician and outspoken adversary of everything Impressionist. Influenced by Gerôme''s compositions of dynamic tension and his scrupulous attention to life-like detail, by his early 20s Daguet had transferred his talents to Sigfried Bing''s famed gallery "L''Art Nouveau". There, in Bing''s studio above the shop on the rue de Provence, Daguet began creating his extraordinary bronze metalwork, often inlaid with copper panels as well as hardstone and glass cabochons, which Bing would then offer on the gallery floor alongside the objets d''art of Louis Tiffany, William Morris and Eugène Gaillard. This box is one in a series of square forms featuring profoundly integrated compositions portraying unusual predators, with their skins, spines and fins employed as unifying design elements. Created b ... y a masterly combination of repoussé and chasing, the fish''s high relief body rests upon a red ground. When the lid and front side are opened, a beautiful red leather interior is revealed. In 1905, when Bing closed his gallery, clients like Sandra Bernhardt and the Barrymore family simply followed Daguet to his new studio down by the Observatory in the 10th arrondissement. It was World War One that brought about a 12-year hiatus and transformation in Daguet''s career. Like Jean Després, he was recruited as an aviation designer and illustrator, earning the title of "true apostle of aerial art", while his work continued to evolve. Intriguing descriptions exist of a series of steel and bronze DESKS exhibited at the Galiera in 1926, suggesting Daguet embraced an Art Moderne aesthetic. Where are they now, and who will rediscover them? Until then, we are proud to share this rare and powerful artwork with our collectors. The "Fish" box is Daguet at his best, exhibiting masterful control of his materials of invention and articulating a clear and unyielding aesthetic vision. Similar boxes by Daguet are pictured in: The Paris Salons 1895-1915, Vol. V: Objects d''Art and Metalware, by Alastair Duncan, Woodbridge, Suffolk: Antique Collectors'' Club, 1999, pp. 202-203.

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Art Nouveau Covered Box by Alfred Daguet

"Three-Light Lily" Tiffany Lamp

A Tiffany Studios New York Favrile glass and patinated bronze Three-Light-Lily desk lamp. The lamp features three yellow pulled feather Favrile glass lily blossom shades suspended above a cushion base. Provenance: Private collection, Barbados A similar lamp is pictured in: Tiffany Lamps and Metalware: An illustrated reference to over 2000 models, by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988, p. 59, plate 211.

'Three-Light Lily' Tiffany Lamp

"Three-Light Piano Lily" Tiffany Lamp

A Tiffany Studios New York "Three-Light-Lily" glass and bronze piano lamp. The lamp features three golden Favrile glass shades suspended above a patinated bronze decorated "Artichoke" base. PROVENANCE: From a Los Angeles, CA Collection. A similar lamp is pictured in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models," by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988, p. 59, plate 212.

'Three-Light Piano Lily' Tiffany Lamp

Tiffany Studios New York Favrile Glass and Bronze Table Lamp

A Tiffany Studios New York glass and bronze table lamp featuring a green "Damascene" shade that sits atop a patinated bronze three-arm base. A similar shade is pictured in: Tiffany Lamps and Metalware: An illustrated reference to over 2000 models, by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988. Shade: p. 211, plate 827. A similar base is pictured on p. 63, plate 234.

Tiffany Studios New York Favrile Glass and Bronze Table Lamp

"Linenfold Counter Balance" Tiffany Lamp

A Tiffany Studios New York glass and bronze "Linenfold" table lamp, featuring a gold-colored leaded glass shade that resembles fabric, suspended from a gilt bronze "Counter-Balance" base. The leading on the shade is gold-colored to match the gilding on the base. A similar base and shade are pictured separately in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models," by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988. Shade: p. 112, plate 461; base: p. 89, plat 352.

'Linenfold Counter Balance' Tiffany Lamp

"Favrile" Tiffany Lamp

A Tiffany Studios New York "Damascene" Favrile glass and patinated bronze base. This "Damascene" table lamp is composed of transparent green, "Dychroide" glass and iridized glass combed decoration. Of particular note is the complexity of the iridization on the lamp that uses two distinct metallic oxides applied in two different techniques. Initially, a shell of transparent green glass was blown onto a core of opaque white glass core, forming the lamp''s white interior and thin transparent green exterior. Subsequently, "Dychroide" glass was carefully trailed twenty-nine times around the form. This particular variety of "Dychroide" glass, an innovation by Arthur J. Nash, production manager at the Tiffany Furnaces, has the unique quality of appearing green in reflected light and amber in transmitted light. This innovation gives a dynamic quality to Tiffany''s lamps that proved to be a true unification of form and function. When lit, the amber of the "Dychroide" glass causes the green to perceptually vibrate, further amplifying the effect of radiation in the lamp. The network of threads was subsequently marvered into the glass and evenly iridized with gold metallic oxides in the top half of the lamp and platinum metallic oxides in the bottom half of the lamp. Gold metal oxides that transition into strokes of platinum metallic oxides were then painted obliquely around the form. ... The piece was then blown and tooled into a dome shape. Evidence that the glass was first iridized then blown can be found in the subtle craquelure of the iridescence towards the base of the lamp. The double iridization creates a high luster and an added depth to the piece. A comb with twenty-nine teeth (equivalent to the number of "Dychroide" glass trails) was evenly raked through the semi-molten glass. The combing was purposefully offset from the trails so that they could still be seen in the final wave pattern. The green trails without "Dychroide" threads transmit the most light, creating a vivid amber starburst pattern when lit. The shade sits on a patinated bronze urn-shaped base with three arms supporting the shade. Provenance: Property from the Geyer Collection A similar base and shade are pictured separately in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models," by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988. Shade: p. 59, plate 209; base: p. 32, plate 89.

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'Favrile' Tiffany Lamp

Tiffany "Turtleback" Bronze "Zodiac" Desk Lamp

A Tiffany Studios "Zodiac" turtleback desk lamp in dark patinated bronze with two dichroic blue/green turtleback tiles. The head swivels revealing one turtleback tile in the front and one in the back. The lamp base and the bronze frames for the two turtleback tiles are decorated with the twelve signs of the zodiac. The undulation and asymmetry of the bronze casing echoes the form of the turtleback tile. In his early 20s, before eventually transitioning to the Tiffany Studios in Corona, Tiffany set about finding his signature style. Among his earliest innovations was the "Turtleback" tile, that dated back to his collaborations with Louis Heidt in 1881. The turtleback tile and iridescence, among other inventions, distinguished him as a luminary of glass innovation. The interlaced strapwork design that repeats itself throughout the lamps zodiac design was inspired by Celtic and Norwegian Viking prototypes. To Tiffany, the Celtic interlace motif evoked the richly encrusted cover of an early medieval book. This allusion closely relates to the desk lamp''s place in an office-- a light in a place of unfettered learning. A similar lamp is pictured in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models", by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988, p. 106, plate 424.

Tiffany 'Turtleback' Bronze 'Zodiac' Desk Lamp

"Eighteen-Light Lily" Tiffany Table Lamp

A Tiffany Studios New York glass and bronze eighteen light "Lily" table lamp, featuring 18 golden iridescent Favrile glass "Lily" shades on individual bronze stems extending upwards from an intricately sculpted and detailed gilt bronze "Lily Pad" base. This exquisite eighteen light lily lamp marks the combination of two of Tiffany''s favorite floral motifs, the pond lily, and the morning glory. Ths shades take the form of morning glories. Inspired by Japanese woodblock prints, Tiffany made many water-color paintings of morning glories, entranced by their polychromatic brilliance and trumpet-like shape. The morning glory or asagao was beloved by the Japanese as the commoner''s flower. Day laborers, artisans and many other persons who could not indulge in the aristocratic pleasure of raising dwarf trees or chrysanthemums, eagerly became asagao cultivators. The asagao blooms at dawn before the sun rises, and consequently, asagao lovers have to rise early in order to appreciate the blossoms. Like the morning glory rises to the sun, so does this lamp come alive with the addition of light. The gilt bronze "pond lily" base is modeled after the lilies at Laurelton Hall, Tiffany''s Long Island garden estate. Tiffany cultivated the Latour-Marliac Lily, the world''s first colored water-lilies. It was these very same lilies that inspired the likes of Monet in his famous water-lily seri ... es. A similar lamp is pictured in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models," by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988, p. 80, plate 313. Provenance Minna Rosenblatt, Ltd., New York

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'Eighteen-Light Lily' Tiffany Table Lamp

"Three-Light Piano Lily" Tiffany Lamp

A Tiffany Studios New York glass and bronze piano table lamp featuring a "Three-Light-Lily" with golden Favrile glass shades suspended above a patinated bronze decorated "Artichoke" base. A similar lamp is pictured in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models," by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988, p. 59, plate 212.

'Three-Light Piano Lily' Tiffany Lamp

"Counter Balance" Tiffany Lamp

A Tiffany Studios New York "Counter Balance" glass and bronze table lamp, featuring a green Favrile glass "Damascene" shade on a patinated turtleback counter balance base. A similar shade and base are pictured separately in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models," by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988. Shade: p. 87, plate 342; base: p. 87, plate 341.

'Counter Balance' Tiffany Lamp

Tiffany Studios New York "Five-Light Lily" Wall Sconces

A pair of Tiffany Studios New York patinated bronze and favrile glass "Five-Light Lily" sconces. The five curved stems are spaced around the wall fixture. They terminate in gold lily-shaped shades. Similar sconces are pictured in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models," by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988, p. 351, plate 1454.

Tiffany Studios New York 'Five-Light Lily' Wall Sconces

"Geometric Brick" Tiffany Chandelier

A Tiffany Studios New York "Geometric" leaded glass and bronze chandelier. The green- and sunset-hued mottled glass shade features a geometric "brick" pattern. The shade hangs from a patinated bronze suspension. A similar hanging shade is pictured in: Alastair Duncan, "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models," Woodbridge, Suffolk: Antique Collectors'' Club Ltd., 2007, p. 310, plate 1244.

'Geometric Brick' Tiffany Chandelier

Tiffany Glass and Bronze "Dragonfly" Chandelier

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.

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Tiffany Glass and Bronze 'Dragonfly' Chandelier

Tiffany Studios ''Wire Mesh Poppy'' Lamp

A Tiffany Studios New York "Wire Mesh Poppy" leaded glass and patinated bronze table lamp. The shade features crimson red poppy blossoms in various stages of bloom and a band of green leaves against a mottled blue-green and brown hued ground, evocative of radiance. Wire mesh centers delineate the pistils and stamens of the blossoms in full bloom and wire mesh is also applied as the veining for the leaves. The shade is further decorated with a lower multicolored blue and deep blue brick border and sits atop a patinated bronze "Twisted Vine" base. Similar shades are pictured in: "The Lamps of Tiffany," by Dr. Egon Neustadt, New York: The Fairfield Press, 1970, pp. 108-109; and in "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models," by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988, p. 162, plate 667. 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. 98, plate 392.

Tiffany Studios ''Wire Mesh Poppy'' Lamp

"Nasturtium" Tiffany Lamp

A Tiffany Studios New York "Nasturtium" leaded glass and bronze table lamp, featuring a leaded glass shade depicting red, orange and yellow blossoms on a striking translucent green and blue ground. The shade sits on a patinated bronze base carved with flowers and curling tendrils reminiscent of fern fronds. A similar shade and base are pictured in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models," by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988. Shade: p. 155, plate 642; base: p. 107, plate 434. A similar shade, in a different color palate, is also pictured in: "The Lamps of Tiffany," by Dr. Egon Neustadt, New York: The Fairfield Press, 1970, p.155, plate 218 ; and in: "The Lamps of Tiffany Studios," by William Feldstein, Jr. and Alastair Duncan, New York: Harry N. Abrams, Inc., 1983, p. 119.

'Nasturtium' Tiffany Lamp

"Peony" Border Tiffany Floor Lamp

Tiffany Studios border "Peony" floor lamp with peony blossoms ranging in color from pink to pink/red to pink/purple, surrounded by leaves in various shades of green. The background culminates at the top of the shade with rows of multihued red/blue/cyan glass. The shade is further accented by two rectangular bottom border rows. The upper one is of mottled amber/green glass, and the bottom one is of rippled green glass. The shade sits atop a patinated bronze decorated senior floor base. A similar shade is pictured in: "The Lamps of Tiffany," by Dr. Egon Neustadt, New York: The Fairfield Press, 1970, p. 29, cat. no. 111; and in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models," by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988, p. 204, plate 786. 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. 200, plate 777.

'Peony' Border Tiffany Floor Lamp

"DogWood" Tiffany Lamp

A Tiffany Studios New York "Dogwood" leaded glass and patinated bronze table lamp. The shade features a bouquet of pink, white and lavender dogwood blossoms against an blue and green mottled glass ground and is textured with Tiffany''s subtle use of rippled glass. The shade sits atop a patinated bronze decorated cushion base where the vines entwine themselves around the shaft of the base, almost to replicate the feeling of tendril like roots which evokes flower bulbs with overlaid scrolling bronze vines that wrap around the stem. The Dogwood was a well recorded favorite of Tiffany, who believed that the white flowers "reliably brighten things." The symbolic tradition of these bright, white flowers is quite rich; in Victorian times Dogwood flowers were given to young women by doting young men as a symbol of his affection. If the dogwood flower was kept it was a widely understood sign of mutual interest, however, if it was returned, it was the surest symbol of unrequited love. A similar base is pictured in: Alastair Duncan, "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models", Woodbridge, Suffolk: Antique Collectors'' Club Ltd., 2007: p.75, plate 229.

'DogWood' Tiffany Lamp

"Peony" Tiffany Lamp

Tiffany Studios New York "Peony" leaded glass and patinated bronze table lamp. The shade features red, pink and purple peonies with mottled green leaves against a striated blue and lavender ground. The shade sits atop a decorated patinated bronze library base. A similar shade is pictured in: "The Lamps of Tiffany," by Dr. Egon Neustadt, New York: The Fairfield Press, 1970, p. 140, plate 199. 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. 74, plate 286.

'Peony' Tiffany Lamp

Tiffany Studios New York Favrile Glass and Bronze "Harp" Floor Lamp

A Tiffany Studios New York "Harp" floor lamp with patinated bronze base and green blown-glass "Damascene" shade. This "Damascene" floor lamp is composed of a transparent green, "Dychroide" glass and iridized glass decoration. Of particular note is the complexity of the iridization on the lamp that uses two distinct metallic oxides applied in two different techniques. Initially, a shell of transparent green glass was blown onto a core of opaque white glass core, forming the lamp''s white interior and thin transparent green exterior. Subsequently, "Dychroide" glass was carefully trailed twenty-nine times around the form. This particular variety of "Dychroide" glass, an innovation by Arthur J. Nash, production manager at Tiffany Furnaces, has the unique quality of appearing green in reflected light and amber in transmitted light. This innovation gives a dynamic quality to Tiffany''s lamps that proved to be a true unification of form and function. When lit, the amber of the "Dychroide" glass causes the green to perceptually vibrate, further amplifying the effect of radiation in the lamp. The network of threads was subsequently marvered into the glass and evenly iridized with gold metallic oxides in the top half of the lamp and platinum metallic oxides in the bottom half of the lamp. Gold metal oxides that transition into strokes of platinum metallic oxides were then painted o ... bliquely around the form. The piece was then blown and tooled into a dome shape. Evidence that the glass was first iridized then blown can be found in the subtle craquelure of the iridescence towards the base of the lamp. The double iridization creates a high luster and an added depth to the piece. A comb with twenty-nine teeth (equivalent to the number of "Dychroide" glass trails) was evenly raked through the semi-molten glass. The combing was purposefully offset from the trails so that they could still be seen in the final wave pattern. The green trails without "Dychroide" threads transmit the most light, creating a vivid amber starburst pattern when lit. The lamp shade is surmounted by a cast bronze aperture ring with three ball screws and a liliform heat cap, terminating in a ball-shaped finial. The ventilation holes in the heat cap are subtly concealed by the five petals of the flower. The heat cap holds a light bulb and pull chain that terminates in an acorn pendant. The heat cap is supported on both sides by a harp with two component parts, a double ogee shoulder, and a single ogee base. The two parts of the harp are held together with a pin that allow the user to change the position of the light if they so wish. This mechanism is fitted with rosette motif side knobs that beautifully complement the liliform socket holder. The base of the harp splays into petals, connecting to the globular molding of a five-foot stem which swells, tapers, reswells, straightens, then reswells at the base. The stem is supported by five dartform feet. The cast bronze stem, harp, and base all have acid etched finishes giving them a red-speckled green patina. A similar base and shade are pictured separately in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models," by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988. Shade: p. 211, plate 827; base: p. 210, plate 821.

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Tiffany Studios New York Favrile Glass and Bronze 'Harp' Floor Lamp

"Bamboo" Tiffany Lamp

A Tiffany Studios New York "Bamboo" leaded glass and bronze table lamp, featuring a leaded glass shade depicting bamboo leaves and stems in mottled green and brown glass against an opaque white ground The shade sits atop a "Bamboo" base and is adorned by a "Bamboo" finial. The base is decorated with fronds and is segmented like a bamboo stem. Provenance: Private Collection, North Carolina, circa 1970 Thence by descent to the present owner, 2004 Pictured in: "Tiffany Lamps and Metalware," by Alastair Duncan, Antique Collectors'' Club, 2007, page 99.

'Bamboo' Tiffany Lamp

Tiffany Studios "Bouquet" Chandelier

A Tiffany Studios New York "Bouquet" leaded glass and patinated bronze chandelier. This particular shade has a remarkable range of multi-colored red hued peony blossoms on swirled blue and purple background with a beaded top and bottom rim. Tiffany Studios manufactured a number of 28" hanging cone chandeliers. Each depicted an artist''s vision of a "dream garden," rather than reproducing natural forms and colors. These shades are among the most vibrant and colorful produced by Tiffany. Although the variety of colors employed gives the impression that all these shades are unique in fact they use a single design. A similar shade is pictured in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models," by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988, p. 216, plate 851. 

Tiffany Studios 'Bouquet' Chandelier

"Windswept Tulip" Tiffany Lamp

A Tiffany Studios New York "Windswept Tulip" glass and bronze table lamp. The shade is comprised of tulips in bloom in colors of pink, red, orange/yellow and yellow, all on a blue ground with green leaves. The shade sits atop a patinated bronze library base. Circa 1903. A similar shade is pictured in: "The Lamps of Tiffany," by Dr. Egon Neustadt, New York: The Fairfield Press, 1970, p. 135, plate 192. 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. 75, plate 289..

'Windswept Tulip' Tiffany Lamp

Tiffany Studios New York "Three-Light Lily" Wall Sconces

A pair of Tiffany Studios New York "Three-Light Lily" patinated bronze sconces with gold favrile shades. The fetching sconces are made visually interesting by the unusual decision to fashion a downward-facing bloom, giving off warm halos of light to the scenes in the room they occupy, rather than to the ceiling. Similar sconces are pictured in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models", by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988, p. 350, plate 1451.

Tiffany Studios New York 'Three-Light Lily' Wall Sconces

Tiffany "Maple Leaf" Floor Lamp

A Tiffany Studios New York "Maple Leaf" leaded glass and bronze floor lamp. The shade sits atop a Tiffany Studios New York patinated bronze "Decorated Junior" floor lamp base with Onion Bulb design. The glass selector at Tiffany Studios chose "mottled" glass in hues of green, blue and orange to depict the leaves of a Sugar Maple tree in dappled sunlight. The shade has a powder blue background meant to evoke the sky. Maples must be about 30 years old before they start seeding, so Tiffany chose to represent a mature tree in autumn, with three rows of green and orange samaras dropping through the sky to the ground, ensuring the species''s survival to the next generation. This rare and unusual "Maple Leaf" design was one of the last created at the Tiffany Studios, debuting in the 1915 Price Catalog. A similar shade and base are pictured separately in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models," by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988. Shade: p. 196, plates 768-769. Base: p. 206, plates 801-802.

Tiffany 'Maple Leaf' Floor Lamp

Tiffany Studios "Geometric" Table Lamp

This exquisite "Geometric" Table lamp is an example of Tiffany''s little known ability for understatement. It possesses a quiet dignity with its radiating geometric brick design supported by an elegant lion''s paw base. Lion''s paws decorated the feet of Grecian tables, usually used for serving wine. When paired with a sumptuous gold shade, viewer''s can''t help but be transported to the classical past. Tiffany''s craftsmen chose a mottled green, yellow and gold glass for the shade. The Lion''s Paw base is fully adjustable. A similar shade and base are pictured separately in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models," by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988. Shade: p. 145, plate 608; base: p. 82, plate 316.

Tiffany Studios 'Geometric' Table Lamp

Tiffany Studios New York "Stalactite" Chandelier

A Tiffany Studios New York golden stalactite chandelier with iridescent gold pulled feather decoration. A similar fixture is pictured in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models" by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988, p. 294, plate 1161.

Tiffany Studios New York 'Stalactite' Chandelier

"Gentian" Tiffany Lamp

A Tiffany Studios New York "Gentian" table lamp. The shade is composed of leaded green, blue and white glass featuring floral stalks enclosed in Gothic arches. The middle row of the flaring apron is comprised of a row of uncut green gems. The patinated bronze base features openwork floral stalk decoration. This unique combination is rarely seen in Tiffany lamps. Pictured in: "The Lamps of Tiffany" by Egon Neustadt, p. 64, no. 90

'Gentian' Tiffany Lamp

"Tulip" Tiffany Lamp

This exquisite Tiffany Studios "Tulip" table lamp features s brilliant red tulips with green leaves against a blue ground and sits atop a gilt bronze "Mock Turtle" base. Louis Comfort Tiffany first fell in love with the red tulip as a young man during his trips to the near east. While journeying through Persia and the Ottoman empire, Tiffany learned from his guide the lore and history of the Near East. Among his favorite stories was that of Farhad and Shirin, considered by many to be Persia''s Romeo and Juliet. The flowers are recreated with stunning realism. In some cases, all six petals of some of the blossoms can be seen. The tulips are ingeniously overlapped to create the illusion of depth. Because of the sky blue ground on the upper portion of the shade and the earthy tones present throughout the lower apron, one has the impression of gazing at a tulip bed on a sunny afternoon. The lamp base and shade are pictured separately in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models", by Alastair Duncan, Woodbridge, Suffolk: Antiques Collectors'' Club Ltd.: base, p. 110, cat. 454, base # 587; shade, p. 179, cat. 682, shade # 1546. A similar shade is also pictured in: "The Lamps of Tiffany", by Dr. Egon Neustadt, New York: The Fairfield Press, 1970, p. 150, plate 212.

'Tulip' Tiffany Lamp

"Crocus" Tiffany Lamp

A Tiffany Studios New York "Crocus/Tulip" leaded glass and patinated bronze table lamp. A bouquet of deep amber, red, gold and yellow hued crocus blossoms with hints of red in various stages of bloom decorates this shade with a sunset ground. The shade sits atop a four footed "Pineapple" base decorated with green glass cabochons. A similar base and shade are pictured in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models," by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988. Shade: p. 137, plate 575; base: p. 64, plate 247.

'Crocus' Tiffany Lamp

"Jonquil-Daffodil" Tiffany Lamp

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.

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'Jonquil-Daffodil' Tiffany Lamp

Tiffany Studios "Prism" Chandelier

A Tiffany Studios New York glass and bronze "Prism" chandelier, featuring a decorated Favrile glass shade hanging in a circular row of iridescent gold glass "Prisms," all of which are suspended from a gilt bronze crown with hanging beaded detail. The shade is encircled by six green Favrile tulip shades with pulled feather decoration. A similar fixture is pictured in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models," by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988, p. 318, plate 1271.

Tiffany Studios 'Prism' Chandelier

Tiffany Studios Golden Stalactite Chandelier

A Tiffany Studios New York golden stalactite chandelier with stalactite shades in pulled feather motif suspended from a patinated bronze and brass chain and pole system. This chandelier features a larger central stalactite surrounded by 6 smaller stalactites. The stalactite shades are decorated in gold and brown on a yellow background. In 1897 Mark Twain embarked on a lengthy tour of North Africa and the Holy Land. Two years later he published "Innocents Abroad," a widely read and celebrated account of these travels. Inspired by Twain''s work, Louis Comfort Tiffany traveled to Northern Africa the same year "Innocents Abroad" was published. What he found in Northern Africa and Southern Spain was a seemingly an endless trove of artistic inspiration. Upon he returned he immediately created an oil painting titled "Market Day at Tangiers," depicting exactly that and particularly highlighting the Islamic architecture surrounding the market square in the city. Tiffany would later model the fountain court of his home at Laurelton Hall after the Court of the Lions at the Moorish palace La Alhambra in Granada. The Laurelton Hall fountain court, which was later described as "the soul of the house," by Tiffany scholars, was filled with arabesque texturing in the walls that created domed, stylized shelves called "muqarnas," a traditionally Moorish architectural feature. Tiffany so loved t ... he muqarnas walls that he designed Favrile glass forms to fit in the indentations, and, later still, Favrile glass shades, like those in this chandelier, to mimic and compliment their shape. A similar chandelier is pictured in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models," by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988, p. 299, plate 1186.

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Tiffany Studios Golden Stalactite Chandelier

Tiffany Studios "Balance Weight" Floor Tiffany Lamp

A Tiffany Studios New York glass and bronze floor lamp, featuring a blue damascene shade suspended from a patinated bronze "Counter Balance" base. Pictured in "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models," by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988, p.211, plate #468. Shade signed "L.C.T. Favrile".

Tiffany Studios 'Balance Weight' Floor Tiffany Lamp

"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

"Mandarin" Tiffany Lamp

A Tiffany Studios New York "Mandarin" table lamp. The leaded glass shade, graduates from green to white, on a patinated bronze base designed to accompany the shade. The lamp''s design demonstrates Tiffany''s love of both Oriental curiosity and the natural world. Accordingly, the structure of the shade is meant to resemble both a Japanese parasol and conical straw hat. Like many curiosity collectors of the Aesthetic movement, Tiffany incorporated the items in his collection into his daily life. Tiffany''s family regularly brought oversized Japanese parasols to the beach in his Oyster Bay home. Both the parasol and conical hat protect their wearers from rain, a quality shared with the lotus leaf. The lamp is considered among the most architecturally complex of Tiffany lamps. The Green Lotus leaf shade, probably designed between 1902 and 1914 by a Tiffany Studio designer and approved by Louis Comfort Tiffany himself, is often considered a transition between the decidedly more geometric designs and predominantly floral shades. A similar lamp was used to decorate the living room at Falling Water, the famous Frank Lloyd Wright-designed home in rural Pennsylvania. Its seamless incorporation into a home as modern as Wright''s is a testament to the timeless of Tiffany. The lamp is featured in the permanent collection of the Metropolitan Museum of Art, MOMA, Cornell University, and ... the Minneapolis Institute of Art Pictured in, The "Lost" Treasures of Louis Comfort Tiffany, by Hugh F. McKean, figure 197.

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'Mandarin' Tiffany Lamp

"Peacock" Tiffany Lamp

A Tiffany Studios New York "Peacock" leaded glass and bronze table lamp. The peacock was one of Tiffany''s favorite motifs. Here, brilliantly vari-colored peacock feathers against a rich green/purple/blue/mauve/yellow-orange ground create the pattern of the shade, with the quills of the feathers prominently visible and the twenty peacock eyes arranged in two staggered rows. Brick borders of mauve, orange-yellow and cream/green glass and a scalloped apron further decorate the shade, which sits atop a patinated bronze "Peacock" base specially designed for it, with "Peacock" leaded mosaic glass in "eyes" at the foot of the base. The play of light through the mottled glass, with its regal color palate, imbues the shade with the beguiling mystery of real peacock feathers. A similar lamp is pictured in: "The Lamps of Tiffany", by Dr. Egon Neustadt, New York: The Fairfield Press, 1970, p. 139, plate 197. The shade is also pictured in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models", by Alastair Duncan, Woodbridge, Suffolk: Antiques Collectors'' Club Ltd., p. 142, cat. 592. Also pictured in: "The Lamps of Tiffany Studios", by William Feldstein, Jr. & Alastair Duncan. p. 130-131. Provenance: A prominent New York City surgeon 2019. With Macklowe Gallery New York 2015.

'Peacock' Tiffany Lamp

"Abalone Linenfold" Desk Lamp by Tiffany Studios New York

A Tiffany Studios "Abalone Linenfold" lamp on a gilt-bronze base, with mother-of-pearl decorative insets in the base and the top of the shade. The shade consists of yellow glass panels textured to resemble folded cloth. The leading is gilt to match the lamp base. A similar lamp is pictured in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models," by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988, p. 192, plate 747.

'Abalone Linenfold' Desk Lamp by Tiffany Studios New York

Leaded "Nautilus" Tiffany Lamp With Base by Gudebrod

A Tiffany Studios New York Nautilus glass and bronze table lamp. The lamp features a mottled glass "Nautilus" shell made up of individual glass tiles that graduate in color from green to pale yellow. The shell sits atop a patinated bronze "Mermaid" base that was designed by the American sculptor Louis A. Gudebrod for Tiffany. The shape of the exotic nautilus, found in the western Pacific, has long been the muse of architects, artists, and designers. One only has to look to Grecian columns, to spiral staircases, or to the nautilus cups of the sixteenth century for examples. Louis Comfort Tiffany (1848–1933) made his own contribution to this tradition when he patented his design for the Nautilus lampshade on May 2, 1899, as one of his earliest ideas for leaded-glass lampshades. That same year, his Nautilus lamp was included in Siegfried Bing''s comprehensive exhibition of Tiffany objects at Grafton Galleries in London. The Nautilus reading lamp is both an elegant creation and a strategic one. In the time of Queen Victoria (1837–1901), shells were highly collectible by a public whose decorative tastes ran to the frilly and ornate. Tiffany had great interest in historical sources, and in the waning days of Victoria''s reign, he no doubt also wanted to tap into the onetime rage for the nautilus shell as a home decoration. But as Tiffany always did, he made it something new. "Th ... e adjustable shade and the simple down to earth look of the lamp are typical of his personal work," Hugh F. McKean (1908–95) observed in The ''Lost'' Treasures of Louis Comfort Tiffany, "So is the way its design was adapted to the electric light bulb (an open flame would have destroyed it)." Tiffany''s glass interpretation of the Nautilus shell design was first displayed at the Paris Exposition Universelle 1900, where he was displaying the best lamps that he had to offer. By bringing this intricate and difficult to make model to the World''s Fair, Tiffany was showing the international design world just how well made and beautiful a Tiffany lamp could be. A similar lamp is pictured in: "Tiffany Lamps and Metalware: An Illustrated Reference to Over 2000 Models", by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988, p. 86, plate 335.

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Leaded 'Nautilus' Tiffany Lamp With Base by Gudebrod

Art Nouveau Bronze and Favrile Glass Table Candelabrum by Tiffany.

An American Art Nouveau patinated bronze and favrile glass mounted table candelabrum by Tiffany Studios New York. The candelabrum has six arms. Each candle holder is decorated with green favrile jewels. A similar candelabrum is pictured in: Alastair Duncan, "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models", Woodbridge, Suffolk: Antique Collectors'' Club Ltd., 2007, p. 385, plate 1571.

Art Nouveau Bronze and Favrile Glass Table Candelabrum by Tiffany.

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

Glass "Paperweight" Tiffany Vase

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.

Glass 'Paperweight' Tiffany Vase

Tiffany Studios "Grapevine" Picture Frame

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.

Tiffany Studios 'Grapevine' Picture Frame

Tiffany Studios New York Art "Peacock Eye" Glass Vase

A Tiffany Studios New York Art Nouveau "Peacock Eye" glass vase by Louis Comfort Tiffany. Decorated with blue peacock eye feathers on an iridescent blue and green ground.

Tiffany Studios New York Art 'Peacock Eye' Glass Vase

Tiffany Studios New York Centerpiece

A Tiffany Studios New York Art Nouveau centerpiece, featuring deep-blue green iridescent Favrile glass decorated with a iridescent green leaf and vine decoration. The centerpiece has a removable "frog" to hold cut flowers. A similar centerpiece is pictured in: "Tiffany Favrile Art Glass," by Moise S. Steeg, Jr., Atglen, PA: Schiffer, 1997, p. 149.

Tiffany Studios New York Centerpiece

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.

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Tiffany Studios Scarab and Mosaic Box

Tiffany Studios Covered Box

An Art Nouveau enamel covered box by Louis Comfort Tiffany. The intricate design features vines with tendrils culminating in paisleys, almost replicating a Henna pattern. It is an example of Indian patterns that influenced Tiffany''s work. In the late 1870''s Tiffany''s partnership with Lockwood de Forest resulted in an introduction of East Indian craft motifs that contributed to their revival within the context of Gilded Age America. This covered box is an example of such influence, with its gold background and highlights of blue enamel paisleys. Several pieces of Tiffany''s enamelware are marked with a four-digit number preceded by an "S." Since there are only a handful of such objects available, it may be that Tiffany designed them for himself, or to fulfill special commissions. The Tiffany & Co. archives contains many drawings marked "S.O." for items sold as commissioned. Perhaps "S" was Louis Tiffany''s way of identifying those earmarked for an exhibition, a special client, or himself. A similar jar is featured in: "The Jewelry and Enamels of Louis Comfort Tiffany," by Janet Zapata, p. 69.

Tiffany Studios Covered 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.

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Tiffany Studios New York Favrile Sprinkler Vase

Tiffany Studios New York Enamel Box

A Tiffany Studios New York "Olive" covered box by, executed by the Enamelware Department of Stonebridge Glass Company, New York. This fabulous masterpiece is composed of enameled copper. The cover is decorated with olives, purple-brown copper branches and deep green leaves. From Paul Doros: "This enameled covered box clearly reveals the quality and innovative artistry that led to the company winning a gold medal at that world''s fair. It is of a familiar form but features an unusual motif and palette. Both the cover and slightly ribbed body have a repoussé design of ripening olives and pendant leaves on sinuous branches, one of them forming an irregular sculptural handle. The gold background is particularly noteworthy. Most Tiffany enamels of this type have a ground in shades of either red or blue. The background used in this object is perfectly suited, as it suggests olives ripening under a warm, golden sun. Hints of gold glimmer and sparkle through the slightly iridescent aubergine and purple olives, as well as the green leaves, adding to the illusion. It was pieces such as this one that caused contemporary critics to proclaim Tiffany''s enamels as "rare works of art" as well as "visions of delight." Paul Doros is former curator of glass at the Chrysler Museum of Art (Norfolk, Virginia) and author of The Art Glass of Louis Comfort Tiffany (New York: Vendome Press) ... , 2013. PROVENANCE Parke-Bernet Galleries Inc., New York Private Collection, New York, circa 1965 Thence by descent to the present owners LITERATURE Martin Eidelberg and Nancy McClelland, "Behind the Scenes of Tiffany Glassmaking: The Nash Notebooks," New York, 2001, pp. 21 and 178 (for the model executed in pottery) Alastair Duncan, "Louis C. Tiffany: The Garden Museum Collection," Woodbridge, Suffolk, 2004, pp. 466 (for the model executed in pottery) and 471 (for the model executed in bronze pottery)

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Tiffany Studios New York Enamel Box

Tiffany Studios "Jack-in-the-Pulpit" Vase

A Tiffany Studios New York Art Nouveau "Jack in the Pulpit" Favrile glass vase by Louis Comfort Tiffany of multicolored purple, green, gold with blue iridescence. Unlike other Tiffany Studio flower form vases, jack in the pulpits were made from a single piece of blown glass and thus do not have applied bases. A similar vase is pictured in: "Timeless Beauty: The Art of Louis Comfort Tiffany", Atglen, PA: Schiffer Publishing, 2016, p. 179; and in: "The Tiffany Collection of the Chrysler Museum at Norfolk", by Paul E. Doros, Richmond, VA: W. M. Brown & son, Inc., 1978, p. 76, fig. 31.

Tiffany Studios 'Jack-in-the-Pulpit' Vase

Tiffany Studios New York Art "Magnolia" Enamel Vase.

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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Tiffany Studios New York Art 'Magnolia' Enamel Vase.

Tiffany Studios New York "Tel el Amarna" Vase

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.

Tiffany Studios New York 'Tel el Amarna' Vase

"Gooseneck" Vase by Louis Comfort Tiffany

A Tiffany Studios New York Art Nouveau Favrile glass "gooseneck" vase of peacock glass by Louis Comfort Tiffany. This vase, with its graceful neck, has blue, green, and violet throughout its body, with a small splash of yellow near the top. Peacock glass was achieved by combining five different types of glass, two of which were aventurine (glass with suspended gold particles). 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 vase is pictured in: "Robert Koch, Louis C. Tiffany: Rebel in Glass," New York, 1964, pl. vii

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'Gooseneck' Vase by Louis Comfort Tiffany

Tiffany Studios New York "Calyx" Floriform Glass Vase

A Favrile flowerform vase by Tiffany Studios New York. The flower form vase is meant to suggest the forms, open or closed, of crocus or tulip flowers. This vase is tall and slender and colored with exquisite green and white effects. Here the flower is waiting to blossom. Favrile glass vases in the shapes of stylized flowers were among the earliest creations of the Tiffany Glass and Decorating Company, forerunner of Tiffany Studios. Initial examples of this technique date from approximately 1894, although later pieces show greater refinement. Flower forms have great variety in stem length and rim shape. 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. 38, cat. no. 41; and in: "The Art Glass of Louis Comfort Tiffany," by Paul E. Doros, New York: The Vendome Press, 2013, p. 70. fig. 18.

Tiffany Studios New York 'Calyx' Floriform Glass Vase

Tiffany Favrile Paperweight "Daffodil" Vase

A Tiffany Studios New York Favrile paperweight glass "Daffodil" vase, featuring yellow flowers with dark centers extending above green leaves. The paperweight technique involved fusing thin rods of transparent glass in a variety of colors. The resulting thicker rod was but 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, page 158.

Tiffany Favrile Paperweight 'Daffodil' 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 Favrile Vase

A Favrile glass vase by Tiffany Studios New York. The vase has a background of iridescent medium and turquoise blue swirls that is overlaid with thick opaque pink geometric decoration.

Tiffany Studios New York Favrile 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

Cypriote vase by Tiffany Studios New York

A silver colored Cypriote vase by Tiffany Studios New York. The body of the vase is subtly ribbed. The ribs extend into the vase''s neck, where they are more pronounced. 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. A vase with similar decoration is pictured in:" Timeless Beauty: The Art of Louis Comfort Tiffany," Atglen, PA: Schiffer Publishing, 2016, p. 66.

Cypriote vase by Tiffany Studios New York

Floral Vase by Tiffany Studios New York

A Favrile flower form vase by Louis Comfort Tiffany. The vase is iridescent yellow, with hints of orange, and has a ruffled rim. Favrile glass vases in the shapes of stylized flowers were among the earliest creations of the Tiffany Glass and Decorating Company, forerunner of Tiffany Studios. Initial examples of this technique date from approximately 1894, although later pieces show greater refinement. Flower forms have great variety in stem length and rim shape. A similar vase is pictured in: "Tiffany at Auction," by Alastair Duncan, New York: Rizzoli, 1981, p. 24, cat. no. 44; "The Tiffany Collection of the Chrysler Museum at Norfolk," by Paul E. Doros, Richmond, VA: W. M. Brown & son, Inc., 1978, p. 32, cat. no. 26; "Louis Comfort Tiffany," by Jacob Baal-Teshuva, New York: Taschen, 2001, p. 260; "The Art Glass of Louis Comfort Tiffany," by Paul E. Doros, New York: The Vendome Press, 2013, p. 74, fig. 27.

Floral Vase by Tiffany Studios New York

Tiffany Studios New York Favrile Glass Vase

A Louis Comfort Tiffany favrile glass "Red Hooked Feather" vase, featuring a rich red color enhanced by an iridescent multicolored pulled feather motif that encircles the vase. Favrile is the trade name Tiffany gave to his blown art glass. The name derives from the Latin word fabrilis, meaning "made by hand." The technique was developed at the Tiffany Glass and Decorating Company in the mid-1890s using filaments from batches of differently colored glass and working the material while the glass was still molten. Ornamentation was added before the piece had its final shape, so that the decoration became fully integrated into the vessel. The technique was used in both decorative vases and functional pieces such as tableware (bowls, goblets, carafes) and lamp shades. Tiffany intended the favrile designation as a guarantee to current customers and future collectors of the fine quality of these objects.

Tiffany Studios New York Favrile Glass Vase

Tiffany Studios New York Bluish Green Favrile Glass Vase

A bluish green Favrile glass vase by Louis Comfort Tiffany featuring a pulled silver iridescent border. Favrile is the trade name Tiffany gave to his blown art glass. The name derives from the Latin word fabrilis, meaning "made by hand." The technique was developed at the Tiffany Glass and Decorating Company in the mid-1890s using filaments from batches of differently colored glass and working the material while the glass was still molten. Ornamentation was added before the piece had its final shape, so that the decoration became fully integrated into the vessel. The technique was used in both decorative vases and functional pieces such as tableware (bowls, goblets, carafes) and lamp shades. Tiffany intended the favrile designation as a guarantee to current customers and future collectors of the fine quality of these objects.

Tiffany Studios New York Bluish Green Favrile Glass Vase

Decorated Glass Vase by Louis Comfort Tiffany

A decorated glass vase by Louis Comfort Tiffany. This vase has a vivid iridescent blue pulled feather design on an iridescent charcoal background. A vase with similar decoration is pictured in: "The Art Glass of Louis Comfort Tiffany," by Paul E. Doros, New York: The Vendome Press, 2013, p. 212, fig. 169.

Decorated Glass Vase by Louis Comfort Tiffany

Intaglio Vase by Tiffany Studios New York

A Tiffany Studios New York intaglio carved cameo glass vase, featuring white flowers with blue and purple accents, dark blue scarabs adorning the white petals and green vines with leaves against an iridescent blue/green ground.

Intaglio Vase by Tiffany Studios New York

Tiffany Studios "Agate" Vase

An Agate Favrile glass vase by Tiffany Studios New York. This vase has dark vertical lines on a beige ground. The vertical theme is further emphasized by several ribs in the body of the vase, Louis Comfort Tiffany''s love of nature extended to the pebbles and small stones that washed up on the shores of Long Island and New England. This inspired him a create a glass that imitated cut agate. Illustrated by this vase, the intent was to suggest the striations found in veined stones, which were usually very opaque.

Tiffany Studios 'Agate' Vase

Tiffany Studios New York Favrile Paperweight Vase

A Favrile "paperweight" vase by Tiffany Studios New York. The earliest examples of "paperweight" objects appeared around 1900, Louis Comfort Tiffany loved this technique of encasing a design within a dome of transparent glass because it was a great vehicle for expressing his love of nature, particularly flowers. This vase is internally decorated with gladiolus flowers with yellow, green and purple threads. A vase with similar decoration is pictured in: "The Art Glass of Louis Comfort Tiffany," by Paul E. Doros, New York: The Vendome Press, 2013, p. 136, fig.82. Also pictured in "Louis Comfort Tiffany," by Jacob Baal-Teshuva, New York: Taschen, 2001, page 291.

Tiffany Studios New York Favrile Paperweight Vase

Tiffany Morning Glory Paperweight Vase

A Tiffany Studios New York "Paperweight" vase by Louis Comfort Tiffany. A major innovation in Tiffany''s work around 1900 involved the encasement of hot glass with an additional transparent layer--a technique associated with paperweights. The added layer of clear glass produced a three-dimensional effect, as though the plants existed in a lower level, beneath the surface. Most of Tiffany''s early "Paperweight" vases had a clear body with a gold iridescent core, adding to the poetic effect. This particular vase displays purple and white cream morning glories with green veined leaves and stems against an iridescent translucent light green hued ground. The difficulty of creating naturalistic imagery in hot glass should not be underestimated. The detailed representation of the morning glory blossoms with their star-like markings makes this vase highly desirable. A vase with similar decoration is pictured in: "Louis C. Tiffany: Artist for the Ages," by Marilynn A. Johnson, London: Scala Publishers, Ltd., 2005, p. 150, ca. not. 56; "The Art Glass of Louis Comfort Tiffany", by Paul E. Doros, New York: The Vendome Press, 2013, p. 140, fig. 89; and in: "Louis Comfort Tiffany at Tiffany & Co.," by John Loring, New York: Harry N. Abrams, Inc., 2002, page 163.

Tiffany Morning Glory Paperweight Vase

Jeweled Bronze Candlestick by Tiffany Studios New YorK

A jeweled bronze candlestick by Tiffany Studios New York featuring a decorated foot and a slender stem. The stem branches out in three arms with candle cups adorned with iridescent glass jewels. The candle stick includes a snuffer and bronze bobeche inserts for each candle cup. PROVENANCE: From the Unreserved Estate of Lynda Cunningham. A similar candlestick is pictured in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models," by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988, p. 384, plate 1566.

Jeweled Bronze Candlestick by Tiffany Studios New YorK

Bronze Bud Vase by Tiffany Studios New York

A patinated bronze bud vase by Tiffany Studios New York. The piece has seven small vases, six of which surround a raise seventh vase. Its six curving supports rest on a base in the shape of a water lily. PROVENANCE: From the Unreserved Estate of Lynda Cunningham. A similar bud vase is pictured in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models," by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988, p. 370, plate 1517.

Bronze Bud Vase by Tiffany Studios New York

"Pine-Needle" Covered Jewelry Box by Tiffany Studios New York.

A green glass and bronze "Pine-Needle" covered jewelry box by Tiffany Studios New York. PROVENANCE: From the Unreserved Estate of a Lady Various pieces from this pattern are pictured in: "Tiffany Desk Sets," by William R. Holland, Atglen, PA: Schiffer, 2008, pp. 47-74.

'Pine-Needle' Covered Jewelry Box by Tiffany Studios New York.

Tiffany Studios New York Mosaic Candle Lamp

A Tiffany Studios New York Favrile glass and patinated bronze mosaic candle lamp. The mosaic candlestick base has inlaid panels of glass shading from green to blue running vertically along the side of the candlestick. The bronze candlestick is further decorated with blue glass tiles in a mosaic brick pattern surrounding the top of the stick. The Favrile shade adorns a green pulled feather design and is accented and outlined in gold iridescence set against a slightly iridescent tan background. A similar candlestick is pictured in the book Tiffany Lamps and Metalware by Alastair Duncan, page 385, illustration 1561. PROVENANCE: From the Unreserved Estate of Lynda Cunningham.

Tiffany Studios New York Mosaic Candle Lamp

Decorated Vase by Louis Comfort Tiffany

A Tiffany Studios New York Favrile glass decorated vase by Louis Comfort Tiffany. This vase, with a green background, is decorated with red and white swirling forms. Provenance: Important Tiffany & Glass from the Minna Rosenblatt Gallery, Christie''s, New York, 10 December, 2003 A similar vase is featured in Exhibition catalogue, "Louis C. Tiffany: Meisterwerke des Amerikanischen Jugendstil", Museum für Kunst und Gewerbe Hamburg, 1999, p. 159 model variant illustrated.

Decorated Vase by Louis Comfort Tiffany

Bronze Humidor by Tiffany Studios New York

A patinated bronze humidor by Tiffany Studios New York with cedar lining and interior cover with bronze knob. The top edge of the humidor is decorated with stylized flowers. The body has textured bumps all around. The top of the humidor has a sculpted design reminiscent of a volcanic crater. Volcanos were a central leitmotif throughout Tiffany''s oeuvre. In 1870, a 22-year-old Tiffany and the eminent Hudson River School painter Robert Swain Gifford visited Pompeii. While excavations had begun well over a century earlier, they were still mostly incomplete. The city''s dramatic history and the looming reminder of Vesuvius''s destructive potential stirred the romantic passions of 19th-century painters. The volcano reprised itself in Tiffany Studios'' largest mosaic commission, the crystal curtain at Palacio de Bellas Artes in Mexico City. The mosaic depicted the everlasting snows of Popocatepetl and Ixtaccihuatl, the extinct volcanoes that look down upon the valley of that city. Flowers blanket the volcanoes. Similarly, in the "Volcano humidor," the top edge of the humidor is decorated with stylized flowers, perhaps evoking the renewal of life after a volcanic eruption. An identical humidor belongs to the collection of Edgar Kauffman, Jr. at Frank Lloyd Wright''s Fallingwater. Fallingwater was home to an exclusively Japanese and Japonisme collection. Kauffman chose the ... humidor for its Japanese- inspired metalwork and design. A similar humidor is pictured in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models," by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988, p. 450, plate 1793; and in: "Louis Comfort Tiffany at Tiffany & Co.," by John Loring, New York: Harry N. Abrams, Inc., 2002, p. 238, "Louis Comfort Tiffany: Treasures from the Driehaus Collection," by David A. Hanks, Richard H. Driehaus, Richard H. Driehaus Museum, The Monacelli Press, LLC, 2013, p. 164 fig. 55

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Bronze Humidor by Tiffany Studios New York

Tiffany Studios New York "Reactive Paperweight" Vase

An extremely rare and collectible Tiffany Studios New York "Leaf and Vine" Reactive Paperweight glass vase.The "leaf and vine" design was based upon the leaves of the bindweed vine. While closely related to the Tiffany''s beloved morning glory paperweights, Tiffany chose not to let the flowers of the bindweed distract from the intricate venation of the leaves. Employing the considerable technical acumen of his chemist Parker McIlhiney and the extraordinary technical skills of his main gaffer (or glass decorator), Leslie Nash, Tiffany experimented with every glass technique imaginable. In this vase, heat-sensitive ("reactive") glass was built up from a purple interior to an orange and green decorative motif of autumnal leaves and vines, finally encased in a transparent clear layer of glass, hence the "Paperweight" title. The remarkable thing about this vase is how the glass changes color in transmitted versus reflected light. Tiffany produced very few of these vases, none with such a brilliant color as in the present example, and all are distinguished by an "X" in the signature to reflect their "Experimental" nature.

Tiffany Studios New York 'Reactive Paperweight' Vase

Tiffany Studios "Millefiori" Vase

A Tiffany Studios New York monumental glass "Aquamarine" vase, featuring iridescent yellow, blue and brown marsh marigolds against an iridescent aquamarine ground. The vase''s featured flower, the marsh marigold (Caltha palustris), was a common spring wildflower that was often seen in the marshy areas on the grounds of Tiffany''s garden estate, Laurelton Hall. While the marsh marigold motif was previously used in Tiffany''s Metalwork and Enameling Department, what distinguished Tiffany''s aquamarine vases was the decision to view an above-ground flower through a lens of water. Like many of his fellow fin-de-siècle aesthetes, Tiffany frequently vacationed in the Bahamas, at Nassau, on New Providence Island. Inspired by the island''s lush marine and aquatic life, Tiffany sent Arthur Sanders, one of his gaffers, to tour the island in a glass-bottomed boat. Invented in 1878, the glass-bottomed boat consisted of two or three decks and almost no bottom, in place of which were great panes of glass or windows. No longer impeded by the water''s optically erratic surface, tourists could view the ocean''s bottom through the boat''s floor, similar to the view through a scuba diver''s mask. The glass-bottomed boat thereafter became a popular tourist attraction in many island locales. Tiffany encased his designs in thick layers of green glass to emulate the intimate view of the glass-botto ... med boat. The complex process of internal decoration meant few vases survived the vase''s cooling stage. The artistic value and technical difficulty of the Aquamarine vases were reflected in their high price of $300.

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Tiffany Studios 'Millefiori' Vase

Tiffany Studios "Agate" Vase

Louis Comfort Tiffany''s passion for nature is reflected in this Agate Favrile glass vase by Tiffany Studios New York; the pebbles and stones that washed up on the shores of Long Island and New England serve as inspiration for glass that imitates cut agate. The intent was to suggest the striations found in veined stones, which were usually quite opaque. The ochre vertical lines on a blue-green background further suggest his close connection with the outdoors, and bring a breath of the outdoors into your indoor space.

Tiffany Studios 'Agate' Vase

Tiffany Studios New York American "Lava" Vase

A Tiffany Studios New York American Art Nouveau "Lava" vase A visit to Mount Etna in Sicily during one of its eruptions is said to have inspired Tiffany to capture in glass the force and beauty of the molten volcanic flows and basaltic rock formations that he observed there. The free-form abstract drippings of gold molten glass and the speckled blue and gold ground recreate the naturalistic effects of flowing lava and make this vase an exceptional example of the form. Provenance: The Garden Museum Collection, Matsue, Japan and Important Art Nouveau from the Private Collection of Lloyd & Barbara Macklowe at Sotheby''s 1995 This vase is pictured in: "A Selection of 300 Works From Louis C. Tiffany Garden Museum," by Takeo Horiuchi, Japan: Greco Corporation Fine Art Department, 2001, p. 250. A similar piece is also in the collection of the Chrysler Museum in Norfolk, VA: "The Tiffany Collection of the Chrysler Museum at Norfolk," by Paul E. Doros, Richmond, VA: W. M. Brown & son, Inc., 1978, p. 70, plate 69. Also pictured in "Tiffany Favrile Glass and the Quest of Beauty," by Martin Eidelberg, page 29, plate 28.

Tiffany Studios New York American 'Lava' Vase

Bronze "Lily Pad" Mirror by Tiffany Studios

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.

Bronze 'Lily Pad' Mirror by Tiffany Studios

Tiffany Studios New York "Leaf and Vine" Glass Vase

A Tiffany Studios New York carved cameo "Leaf and Vine" paperweight vase. The "leaf and vine" design was based upon the leaves of the bindweed vine. While closely related to the Tiffany''s beloved morning glory paperweights, Tiffany chose not to let the flowers of the bindweed distract from the intricate venation of the bindweed leaves. The leaf and vine decoration was achieved with intarsia, or applying small purple glass forms while the bubble remained on the gaffer''s blowpipe. A major innovation in Tiffany''s work around 1900 involved the encasement of hot glass with an additional transparent layer, a technique associated with paperweights. The added layer of clear glass produced a three-dimensional effect, as though the plants existed in a lower level, beneath the surface. Most of Tiffany''s early "Paperweight" vases had a clear body with a gold iridescent core, adding to the poetic effect. This particular vase displays purple heart-shaped leaves with swirling vines against an iridescent translucent gold ground. The vines were then cameo cut in deep relief, giving the vase a spectacular three-dimensional effect. The difficulty of creating naturalistic imagery in hot glass should not be underestimated. The detailed representation of the leaves and stems makes this vase highly desirable. A similar vase is pictured in: Alastair Duncan, "Louis C. Tiffany: The Garden Museum Collection," Woodbridge, Suffolk, 2004, p. 245

Tiffany Studios New York 'Leaf and Vine'  Glass Vase

Tiffany Studios "Cypriote" Miniature Vase

A Tiffany Studios New York glass "Cypriote" vase, featuring a mottled and multi-textured lava-like finish, with an uneven border. The vase has a dark background with iridescent green, blue, purple and metallic swirls. 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. A similar vase is pictured in: "The Art of Glass: Art Nouveau to Art Deco" by Victor Arwas, London: Andreas Papadakis, 1996, p. 40, plate 50.

Tiffany Studios 'Cypriote' Miniature Vase

Tiffany Studios New York Glass and Bronze "Peacock" Mirror

A Tiffany Studios New York glass and bronze "Peacock" mirror, featuring a finely sculpted patinated bronze base decorated with stylized peacock feathers, accented with multi-colored Favrile glass mosaic tiles. The peacock feather was a favorite motif of Louis Comfort Tiffany. Pictured in: "Tiffany at Auction," by Alastair Duncan, p. 47, cat. no. 127, and in: "Tiffany Lamps and Metalware," by Alastair Duncan, page 402, plate # 1626.

Tiffany Studios New York Glass and Bronze 'Peacock' Mirror

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 Favrile Glass Floriform Vase

A Tiffany Studios New York Favrile glass floriform vase with a bulbous bowl and elongated internal spiral twisted stem. The vase features a white pulled leaf motif outlined in deep orange/red with a white feathered swirl decoration which is also duplicated on the foot. Favrile glass vases in the shapes of stylized flowers were among the earliest creations of the Tiffany Glass and Decorating Company, forerunner of Tiffany Studios. Initial examples of this technique date from approximately 1894, although later pieces show greater refinement. Flower forms have great variety in stem length and rim shape. A vase with a similar motif is pictured in: "Tiffany Favrile Glass and the Quest of Beauty" by Martin Eidelberg, New York: Lillian Nassau LLC, 2007, p. 43.

Tiffany Studios New York Favrile Glass Floriform Vase

Tiffany Wheel Carved Favrile Glass Vase

A Tiffany Studios New York wheel carved Favrile glass vase. The vase is globe shaped and features a band of red nasturtiums and green lily pads against an opalescent glass ground. A vase with similar motif is pictured in: "Louis Comfort Tiffany" by Jacob Baal-Teshuva, New York: Taschen, 2001, p. 287; and in: Alastair Duncan, "Louis C. Tiffany: The Garden Museum Collection", Woodbridge, Suffolk: Antique Collectors'' Club, 2004, p. 245 (top left).

Tiffany Wheel Carved Favrile Glass Vase

Tiffany Studios New York Favrile Vase

A Tiffany Studios New York Favrile decorated vase. This vase features pulled copper decoration with iridescent gold trim against a golden ivory ground. A vase with similar decoration is pictured in: "Louis C. Tiffany: Artist for the Ages" by Marilynn A. Johnson, London: Scala Publishers, Ltd., 2005, p. 229, cat. no. 131. Favrile is the trade name Tiffany gave to his blown art glass. The name derives from the Latin word fabrilis, meaning "made by hand." The technique was developed at Tiffany Furnaces in the mid-1890s using filaments from batches of differently colored glass and working the material while the glass was still molten. Ornamentation was added before the piece had its final shape, so that the decoration became fully integrated into the vessel. The technique was used in both decorative vases and functional pieces such as tableware (bowls, goblets, carafes) and lamp shades. Tiffany intended the favrile designation as a guarantee to current customers and future collectors of the fine quality of these objects.

Tiffany Studios New York  Favrile Vase

Tiffany Studios New York Vase

A Tiffany Studios New York favrile vase with pulled decoration. The vase has an iridescent background graduating from opalescent through yellow and pink to orange, with dark red swirls. Favrile is the trade name Tiffany gave to his blown art glass. The name derives from the Latin word fabrilis, meaning "made by hand." The technique was developed at Tiffany Furnaces in the mid-1890s using filaments from batches of differently colored glass and working the material while the glass was still molten. Ornamentation was added before the piece had its final shape, so that the decoration became fully integrated into the vessel. The technique was used in both decorative vases and functional pieces such as tableware (bowls, goblets, carafes) and lamp shades. Tiffany intended the favrile designation as a guarantee to current customers and future collectors of the fine quality of these objects.

Tiffany Studios New York Vase

Tiffany Studios New York Glass Vase

An early Tiffany Studios New York favrile glass vase with pulled decoration. The vase features iridescent swirls in pinks and blues on a translucent pale brown background. Favrile is the trade name Tiffany gave to his blown art glass. The name derives from the Latin word fabrilis, meaning "made by hand." The technique was developed at the Tiffany Glass and Decorating Company in the mid-1890s using filaments from batches of differently colored glass and working the material while the glass was still molten. Ornamentation was added before the piece had its final shape, so that the decoration became fully integrated into the vessel. The technique was used in both decorative vases and functional pieces such as tableware (bowls, goblets, carafes) and lamp shades. Tiffany intended the favrile designation as a guarantee to current customers and future collectors of the fine quality of these objects. A vase with similar decoration is pictured in: "Louis C. Tiffany: Artist for the Ages" by Marilynn A. Johnson, London: Scala Publishers, Ltd., 2005, p. 228, cat. 130. Also in the collection of the Victorian Albert Museum, documented in "Louis C. Tiffany: The Collected Works of Robert Koch," Atglen, PA: Schiffer, 2001, page 316.

Tiffany Studios New York Glass Vase

"Flower Form" Glass Vase by Tiffany

An American Art Nouveau Favrile glass "Flower Form" vase by Tiffany Studios New York. The upper portion of the vase is ornamented with green pulled feather decoration, imitative of leaves, against a graduated iridescent gold and rose colored ground and sits atop a translucent green stem that extends upwards from an iridescent gold foot. Favrile is the trade name Tiffany gave to his blown art glass. The name derives from the Latin word fabrilis, meaning "made by hand." The technique was developed at Tiffany Furnaces in the mid-1890s using filaments from batches of differently colored glass and working the material while the glass was still molten. Ornamentation was added before the piece had its final shape, so that the decoration became fully integrated into the vessel. Favrile glass vases in the shapes of stylized flowers were among the earliest creations of the Tiffany Glass and Decorating Company, forerunner of Tiffany Studios. Initial examples of this technique date from approximately 1894, although later pieces show greater refinement. Flower forms have great variety in stem length and rim shape.

'Flower Form' Glass Vase by Tiffany

Tiffany Studios "Flower-Form" Vase

A Tiffany Studios New York "Flower-Form" vase, featuring a green pulled-feather decoration on a cream ground. The vase has a goblet top and applied foot. Favrile glass vases in the shapes of stylized flowers were among the earliest creations of the Tiffany Glass and Decorating Company, forerunner of Tiffany Studios. Initial examples of this technique date from approximately 1894, although later pieces show greater refinement. Flower forms have great variety in stem length and rim shape. A similar vase is pictured in: "Louis C. Tiffany: Rebel in Glass", by Robert Koch (in "Louis C. Tiffany: The Collected Works of Robert Koch," Atglen, PA: Schiffer Publishing Ltd., 2001, p. 94).

Tiffany Studios 'Flower-Form' Vase

Favrile "Paperweight" Tiffany Glass Vase

A Tiffany Studios New York favrile "paperweight" glass vase decorated with a band of white daisies with long green stems and enhanced with red accents. 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 C. Tiffany: The Collected Works of Robert Koch," Atglen, PA: Schiffer Publishing Ltd., 2001, p. 106.

Favrile 'Paperweight' Tiffany Glass Vase

Glass "Paperweight" Tiffany Vase

A Tiffany Studios New York favrile glass "paperweight" vase, depicting a band of white daisies with green leaves. 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 similar vase is pictured in: "Louis Comfort Tiffany at Tiffany & Co.," by John Loring, New York: Harry N. Abrams, Inc., 2002, page 158.

Glass 'Paperweight' Tiffany Vase

Tiffany Studios New York "Nasturtium" Paperweight Vase

A Tiffany Studios New York "Nasturtium" Paperweight vase featuring purple nasturtium blossoms with green leaves set within a golden, translucent ground. Provenance: The Garden Museum Collection, Matsue, Japan. The paperweight technique involved fusing thin rods of transparent glass in a variety of colors. The resulting thicker rod was but into thin pieces and were then worked into clear glass. This vase is pictured in: "Louis C. Tiffany: The Garden Museum Collection," by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 2004, p. 260.

Tiffany Studios New York 'Nasturtium' Paperweight Vase

Tiffany Studios New York Glass "Peacock" Vase

A Tiffany Studios New York Favrile glass "Peacock" vase with iridescent pulled decoration stylized to look like peacock feathers by Louis Comfort Tiffany. The peacock feather was a favorite motif of Louis Comfort Tiffany. Shown in Strut: The Peacock and Beauty in Art at the Hudson River Museum, October 11, 2014 to January 18, 2015. A vase with similar decoration is pictured in: "Tiffany Favrile Glass and the Quest of Beauty," by Martin Eidelberg, New York: Lillian Nassau LLC, 2007, p. 46.

Tiffany Studios New York Glass 'Peacock' Vase

Tiffany Studios "Pine Needle" Picture Frame

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.

Tiffany Studios 'Pine Needle' Picture Frame

Tiffany Studios "Pine Needle" Picture Frame

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.

Tiffany Studios 'Pine Needle' Picture Frame

Tiffany Studios "Cypriote" Miniature Vase

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.

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Tiffany Studios 'Cypriote' Miniature Vase

Tiffany Studios New York "Lava" Vase

An abstract figural "Lava" Favrile vase by Louis Comfort Tiffany. The cone shaped cylindrical vase features an upward spiral in gold metallic glass in high relief against a purplish-blue lava ground. Tiffany''s "Lava" glass was inspired by a trip to the Eastern Mediterranean, during which Tiffany visited Mount Etna in Sicily. The transformation of glass into volcanic "Lava" was achieved in the following manner: lustered glass was gathered on a blow pipe, rolled with chemical particles, and then worked in flame. The heat from the fire generated a reaction in which miniature basaltic-type craters and pitting formed on the surface of the glass, which was then coated with metallic lustered glass to create the purplish-blue ground imitative of lava. Next, free-form trails of glass were applied, each piece worked in a reduction flame (one starved of oxygen), and finally sprayed with metallic oxide. When a silvered finish fully developed it was sprayed with tin oxide and, depending on the artists, finished in blue, mauve, or gold tones. The production of Lava glass was the most risky of any Tiffany technique because it incorporated metallic oxides with different coefficients of expansion. When these were blended together during numerous high-temperature firings they created hazards for the annealing process that often flawed the pieces in their final moment of creation. The powerf ... ul form of the vase and the clean articulation of the different metallic finishes make this piece incredibly rare. 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. 53, cat. no. 64.

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Tiffany Studios New York 'Lava' Vase

Tiffany Studios "Cypriote" Vase

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 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 verified 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

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Tiffany Studios 'Cypriote'  Vase

Tiffany Studios "Marsh Marigold" Planter

A Tiffany Studios bronze "Marsh Marigold" planter, featuring a repeating pattern of marsh marigold leaves and vines around the gilt bronze base. The marsh marigold was included in one of the first four "Dragonfly" lamps made in April, 1899, entitled "Dragonfly and Water Flowers." The lamp was a collaboration between the female designers Clara Driscoll and Alice Carmen Gouvy. Gouvy, who would later design for the Metalwork and Enameling Department created this breathtaking naturalistic design. The planter has faint reddish enameling in the design to give the illusion of a fierce sunset peeking through a dense underbrush. The truly organic shape of the leaves featured is highlighted by the undulating modeling of their forms. Identical model planter pictured in "Louis C. Tiffany''s Glass - Bronzes - Lamps: A complete collector''s guide", by Robert Koch, page 224.

Tiffany Studios 'Marsh Marigold' Planter