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.
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.
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.
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.
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..
A pair of Tiffany Studios New York patinated bronze and Favrile glass two-armed sconces with opalescent multi-hued shields. Each shield is comprised of three leaded glass oval panels, which are each composed of five pieces of glass. The central glass of each panel is diamond shaped; the four surrounding glass pieces are elongated ovals. The middle panel of each shade is larger than the two that flank it. Each oval panel is framed by patinated metal in a braided rope motif. The two smaller panels are joined to the larger central piece by patinated metal with a coiled rope pattern. A similar sconce is pictured in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models", by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988, p. 339, plate 1376.
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.
A Tiffany Studios New York "Geometric" leaded glass and patinated bronze table lamp. The mottled green, yellow and gold glass geometric shade is enhanced by a band of gold iridescent "Geometric" tiles and rests upon an adjustable, patinated bronze, Cat''s Paw 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. 145, plate 608; base: p. 82, plate 316.
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