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Thanks to the top antique dealers and private collectors who allow us to feature their collections in our online museum gallery, featuring the Art Nouveau, Art Deco, and Arts & Crafts design periods of the early 20th century. Among others, we feature the work of Louis Comfort Tiffany, Handel, Pairpoint, Galle, Loetz, Lalique, Demetre Chiparus, Bruno Zach, Frankart, Stickley, Roycroft, Rookwood, Newcomb, Grueby, and Turn Teplitz Amphora. These pieces are not for sale and are displayed here along with reference information to be fun and educational. Continue learning about finer antiques and collectibles on the Collectics Antiques Information & Education program pages, and find the best collector reference books and antique price guides in the Antique Collector Bookstore.

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Art Deco, Art Nouveau, and Arts & Crafts Design Museum 1890-1935: Gallery 1

Museum Pages: Gallery 1, Gallery 2, Gallery 3, Gallery 4, Gallery 5

Related Bookstore Pages: Tiffany Studios, Lamps & Lighting, Art Deco/ Nouveau/ Arts & Crafts, American Pottery, Pottery, Glass & Crystal, Porcelain & China, Silver & Metalware

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A 22" Tiffany Studios "drop head" Dragonfly lamp shade signed Tiffany Studios New York 1507 and produced c. 1905. This is a magnificent lamp, one of about 12 1507s known to exist in the world. The shade incorporates purple striated glass shading into green striated glass. The dragonfly bodies are rendered in a red-orange mottled glass with wings in a red and white striated glass with blue tints. Included in the body of the lamp are elongated oval, medium and small oval, and large/medium/small round jewels in colors of blue, green, amber, and light blue. This variety of Tiffany jewels in the 1507 shade includes the red pressed glass dragonfly eyes. The metalwork of the lamp shade has a lovely, original red-brown and green patina. The shade sits on a large adjustable Tiffany Studios bronze "Library" lamp base, signed Tiffany Studios New York 21465. A real Tiffany lamp looks old and the shade often rattles a bit, with obvious age to the leading and of course to the patina. When you look at the dragonfly's eyes direct on, you can see two small pins of light where the prism effect is perfect and it captures the light in that manner. Tiffany lamps were made to preset patterns in a repetitive assembly line process, albeit one completely hand done. Darker colors of blues, reds, and purples are the most desirable to Tiffany collectors. In the original 1906 Tiffany price list, the 1507 shade alone cost $175!  Reference Source: Lamps of Tiffany by Egon Neustadt cover
Lamps of Tiffany

Rare Loetz Leonida vase in mint condition, with polished pontil and with a seldom seen authentic Loetz Austria signature. This vase is highly iridescent with multicolored, unusual in both shape and color as was the best of Loetz production. Loetz patented a technique to produce the deep blue or gold metallic luster for which the company is best known, and it is still the most identifiable and most sought-after feature of Loetz glass. Reference Source: Loetz: Bohemian Glass 1880-1940 by Johann Lotz Witwe, Helmut Ricke, Jan Mergl

Loetz: Bohemian Glass 1880-1940

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This is a Tiffany Studios 18" Dogwood shade sitting atop a Tiffany Studios bronze base with green patina c. 1910. The entire lamp stands 23" high. This shade is rare due to the use of Tiffany "confetti" glass for background sky effect, offering different time of day perspectives as you move around the perimeter of the shade and striated glass forming the dogwood flowers. The base and shade are properly marked with authentic Tiffany Studios markings. The shade is marked Tiffany Studios New York 1505 and the bronze base is marked Tiffany Studios New York and 363. The base has the original and highly desirable green patina. Rippled glass forms a border area around the bottom of the shade and is unusual in that the ripples folds are inside the shade, making for a backlight effect when viewed from the exterior. Tiffany lamps look completely different when turned off; in fact, you can barely see the confetti effect in the glass when unlit. To this day, many glass making techniques originated by Louis Comfort Tiffany such as the confetti effect cannot be equally reproduced even with modern technology, making frauds detectable to those experienced in seeing the real thing. Reference Source: The Lamps of Louis Comfort Tiffany by Martin Eidelberg, Alice Cooney Frelinghuysen, Nancy McClelland, Lars Rachen
The Lamps of Louis Comfort Tiffany

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Circa 1920 bronze and ivory figure "Starfish"  mounted on a hand assembled, multicolored marble base, by D. H. Chiparus. The bronze figure itself measures 21.25" high from the top of the marble base and has the original green patina. The marble base rises 7.5" high, making the total work stand almost 29" high, the largest of the 3 sizes of Starfish produced. This is an original period Chiparus bronze and ivory figure with the D.H. Chiparus signature properly etched into the top of the marble base and the foundry mark "Etling Paris" etched into the rear of the marble base. Etling was a retail shop in Paris during the 1920's and 30's which commissioned fine bronzes and the best in opalescent pressed glass. Reproductions of Chiparus bronzes are rampant and frequently misrepresented as original to the period. Etched signatures on marble (rather than in the bronze) and foundry marks are a good start, but the most important thing is to look at the detail in the craftsmanship. On a true period Chiparus, you can typically barely see the etched signature versus signatures that are quite crude and evident in fakes- take a look at the last photograph and try to make out the subtle signature. Chiparus is frequently referred to as the master sculptor of the Art Deco period, but others such as Preiss and Poertzal are also widely collected today. Buy only from reputable and knowledgeable dealers. Reference Source: Chiparus: Master of Art Deco by Alberto Shayo
Chiparus: Master of Art Deco

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Turn-Teplitz amphora Art Nouveau period female bust by the Reissner Stellmacher & Kessler (R St. K) Amphora Works in the Turn-Teplitz area of Bohemia c. 1900. Generally recognized as the first and arguably the best of the Amphora manufacturers, Reissner, Stellmacher & Kessel was established in the Turn-Teplitz region of Bohemia in 1892. Partners Hans and Carl Reissner, Edward Stellmacher, and Rudolf Kessel after Kessel took over the remaining factories of Alfred Stellmacher. This area of central Europe was close to Dresden, Germany and benefited from the long tradition of ceramics manufacturing among the peoples of eastern Germany. The ceramics Reissner and his 2 partners produced was known for its unique styles and the interesting glazes they used to create what became known as "Amphora" pottery or simply "Teplitz." Reissner, Stellmacher & Kessel (R. St. K.) displayed their work in America for the first time at the 1893 Chicago World's Fair where they were awarded a best in show prize and first attracted the attention of the American buying public. The base is properly marked with the red R. St. K factory mark as well as 1637K and the number 1192 impressed. The bust  stands 11.5" high to the top of the bonnet. Stellmacher was one of the finest producers from the Turn-Teplitz area at the turn of the century, where many fine artists worked. Take a look at the magnificent detail in the bonnet and face; there's a companion piece elsewhere in the gallery. Reference Source: Art Nouveau, 1890-1914 by Paul Greenhalgh

Art Nouveau, 1890-1914

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Period (within the time of Emile Galle's life) Galle four color Dragon vase c. 1905, a great example of acid etched cameo glass in four colors. There is outstanding detail in the dragon and the serpent. The vase measures 9.5" high and is properly signed Galle on the base. The base has a polished pontil and rounded lower edge. Galle cut back multicolored cameo glass by using a carving wheel or acid to progressively reveal different colors and thereby create unique designs. The Dragon vase is very rare and has amazing detail and a great theme; not the companion serpent on the rear which is equally detailed. Very few dragon vases were produced, and most Galle production was floral or scenic. There are many Galle reproductions on the market. Reference Source: The Corning Museum of Glass: A Decade of Glass Collecting by David Whitehouse, Corning Museum of Glass
The Corning Museum of Glass: A Decade of Glass Collecting
Turn-Teplitz Amphora "lava" vase with extensive floral decorations is 9" high and c. 1895. Many flower buds cling to the sides of the vase,  properly marked on the bottom with EDDA in a raised area, the numbers 3622 58 K, Amphora in an elongated circle, and the crown mark for the Imperial Amphora Works.  Note the flowing lava effect, the soft and pleasing colors, and the detailing in the numerous flowers. There's a subtle iridescence in the glaze as well, making the piece desirable for both design and execution.  

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Period Art Deco marble ashtray with bronze Art Deco woman dancer cold painted with red, blue, and gray highlights by Bruno Zach c. 1920. The piece is signed in the marble B Zach and measures 10.0" in diameter, and the bronze dancer herself stands 7" high. Bruno Zach liked to socialize with prostitutes and liked nothing better than to incorporate them into his work. Bruno Zach was especially known for his erotic work, some similar but many much more daring than the Bergman factory in Austria which also produced "naughty" bronzes during this period. Zach is recognized along with Chiparus as being at the forefront of challenging cultural norms during the Art Deco movement of the 1920s and 1930s. Reference Source: Art Nouveau and the Erotic by Ghislaine Wood

Art Nouveau and the Erotic

Large Loetz fan vase from the Annagelb mit dunkelblau line c. 1925 stands 8.0" high in green iridescent glass with purple and rose highlights. The vase has the traditional polished pontil and rounded bottom edge. The glass is subtly rippled for added style, a swirling effect which captures additional light and brings out the iridescent colors. Unmarked as is most Loetz; even experts have trouble authenticating some Loetz work. Loetz glass was made in many varieties since its founding in 1840. Johann Loetz died in 1848, but the factory was operated by his widow until 1879, when his grandson took over. It was his work during the Art Nouveau period of the early 20th century for which Loetz is best known today. Loetz was one of the few rivals of Tiffany at the turn of the century in the iridescent glass techniques now so priced by collectors. Reference Source: Loetz: Bohemian Glass 1880-1940 (Lotz) by Johann Lotz Witwe, Helmut Ricke, Jan Mergl

Loetz: Bohemian Glass 1880-1940 (Lotz)
Exceptional and rare Roycroft hammered copper table lamp with three sockets, riveted baluster base, two angular drop handles, and conical shade designed by Dard Hunter of lavender and green leaded glass. In 1895 Elbert Hubbard founded the Roycroft Campus in East Aurora, New York, carving the motto "Head, Heart, Hand" into the front door of the Inn. Roycroft would become a cornerstone of the American Arts & Crafts movement, employing 500 artisans at its peak and supplying hand crafted products to over 300 retail outlets around the country until 1938. Roycroft produced many copper bookends, vases, and other household items in small quantities, so their work is quite rare. When founder Elbert Hubbard died in 1915 on the Lusitania, the American Arts & Crafts movement began a slow decline. Modernism and Art Deco was on the rise, maintaining the streamlined design aesthetic but returning to the use of luxury materials and design extravagance. The lamp measures 22.5" high and 18.5" in diameter. Reference Source: In the Arts & Crafts Style by Barbara Mayer, Rob Gray (Photographer), Elaine Hirschl Ellis
In the Arts & Crafts Style

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Bronze and ivory figural "Cleopatra" mounted on a marble base, with bronze lions on the corners c. 1920. The Egyptian day bed is properly marked with the  DH Chiparus signature, and the piece retains its original gilded bronze finish. Notice that ivory ages, and you can see the age lines on the body as you could in the Starfish face. This is a good piece to see the precision detail in the casting of the best Art Deco bronzes, and note the fine carving of the ivory to create the hands with long, sinewy fingers, the toes and ankle bracelet, and of course the facial details. The base measures 18.0" long by 6.0" wide, and total height of the work is 12.0." The bronze and ivory figure itself is 12.75" long. Note that the sphinxes are female....that's Art Deco style! Reference Source: Art Deco: 1910-1939 by Tim Benton, Charlotte Benton, Ghislaine Wood
Art Deco: 1910-1939

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Period ceramic French Art Deco porcelain boudoir lamp. Beautiful Deco nude woman kneels over the flame against a blue backdrop. This piece is 15.5" long and 5.0" deep, and it's properly marked on the base by the manufacturer "D'Argyl" and underneath "France." Note the intentional crazing in the skin, which is very pronounced in this work and really adds a nice effect. Unusual and pure Deco style. Reference Source: Popular Art Deco Lighting: Shades of the Past by Herb Millman, John Dwyer

Popular Art Deco Lighting: Shades of the Past
Rene Lalique mint condition parakeet vase c. 1930, standing approximately 9.5" high and 5.5" in diameter at the top opening. Made of beautiful French opalescent glass, the vase is decorated around the perimeter with 4 pairs of parakeets. Lalique glass is lead based, either mold blown or pressed, and characteristically the glass is crystal in combination with acid-etched relief. Later some items were made in as many as 10 colors (red, amber, and green among them) and were occasionally accented with enameling. These colored pieces, especially those in, black, are highly prized by advanced collectors. This vase is properly signed on the bottom in acid R. Lalique. The R. Lalique signature was only used until 1945 with the death of Rene. Reference Source: Warman's Lalique: Identification and Price Guide by Mark F. Moran cover
Warman's Lalique: Identification and Price Guide

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Royal Dux Bohemia figural ceramic c. 1905. A woman sits atop a scalloped shell base holding a jug. This piece has the small pink Royal Dux triangle mark with an E in the center indicating pre-1918 production, the words "Royal Dux Bohemia," and the number 1119 and the number 28 raised. This piece stands 9.0" high and is signed on the rear by the artist "Hampel," a rarity in most Royal Dux production.  
Grueby Pottery 7.5" high Arts & Crafts vase in the classic Grueby matte green glaze. Grueby was known for their deep emerald green matte glazes and "razor clam" incising which you see on this vase, so perfectly evocative of the Arts & Crafts emphasis on hand craftsmanship. William H. Grueby (1867-1925) founded the Grueby Faience Company in 1897 in Boston, MA. Grueby was a ceramic artist who had been experimenting with more traditional styles when he traveled to Chicago to attend the World's Columbian Exposition of 1893. There, Grueby was exposed for the first time to the new matte glazes being introduced by French artisans around that time. Upon his return to his Boston home, Grueby founded the company and began a period of about five years during which he experimented and perfected his own matte pottery glazes. Focusing mostly on art pottery vases, he introduced his first line of matte glaze wares in 1898. This vase has the Grueby Pottery company marks incised on the bottom. Reference Source: The Ceramics of William H. Grueby by Susan J. Montgomery cover
The Ceramics of William H. Grueby

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Evoking the forms of nature was one of the signature elements of the Art Nouveau movement, and Louis Comfort Tiffany introduced his 18 light pond  lily lamp to the world at the famous Paris Art Nouveau Exhibition. The bronze base is intricately shaped in the form of a pond lily, and one of the lily leaves is the on/off switch. With all original green patina, the base is signed Tiffany Studios, New York 383, and all the shades are gold Favrile iridescent glass and signed L.C. Tiffany. The fact that this lamp stands slightly higher than other Tiffany lilies and that all 18 shades are signed L. C. Tiffany and not simply LCT are suggestions that this was early production c 1900. Fabrication of Tiffany lamps began in 1885 on commission, with the majority of them being made between 1895 and 1920. It was not until 1899 that Tiffany publicly introduced the lamps for sale. Reference Source: Lamps of Tiffany by Egon Neustadt

Lamps of Tiffany

Two Moorcroft Pottery Anemone vases from the early 20th century. The first is a rare Moorcroft bird vase with two birds on each side in shades of rose on a cluster of orange fruit with leaves and berries. This vase stands 11.0" high and is 2.75" wide at the top opening. The bottom is marked with the WM initials for William Moorcroft along with "Moorcroft" and "Made in England." The owl vase stands a full 12.0" high and is 4.25" wide at the top opening. The large owl is done in shades of orange and maroon and has two large yellow eyes. He stands on a branch full of leaves and berries, and the rear of the vase has a half moon.. The bottom is marked with the WM initials for William Moorcroft plus "Moorcroft", "Made in England", the artist's initials, and the production 333/500. Moorcroft pottery was first made in Burslem, England in 1913; previously, William Moorcroft had managed the art pottery department for James MacIntyre & Co. from 1898 to 1913. While Moorcroft continues in operation today, William Moorcroft died in 1945. Reference Source: British Art Deco Ceramics by Colin Mawston cover
British Art Deco Ceramics
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