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Thanks
to the 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. These pieces are not
for sale and are displayed here along with reference
information to be fun and educational. Continue
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Art
Deco, Art Nouveau, and Arts & Crafts Museum 1890-1935:
Gallery
4
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Museum
Pages: Gallery
1, Gallery
2, Gallery
3, Gallery 4
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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Beautiful
Tiffany
Studios peony lamp, an 18.5" diameter shade on a Tiffany turtle
tile bronze base c. 1900. This lamp was extremely early in Tiffany
Studios production, most certainly before 1905. You can tell in
two ways. First, the base has not only the Tiffany Studios New
York marks but it also has the Tiffany Glass & Decorating
Company impressed logo which was only used in the early years.
Second, this lamp has not only beautiful colors of striated, mottled,
and rippled glass but it also has large folded glass sections
that give the lamp surface a true three dimensional effect. At
times, the folded glass used in the peony petals can rise well
over 1" above the surface of the shade. Since you can probably
imagine how difficult this was for the frame leading of the shade,
this type of effect was not typically produced in the later years
of Tiffany Studios production. Every piece of glass is unique
in a period L. C. Tiffany shade, and this is seldom the case with
reproductions. The shade is properly marked on the bottom edge
of the shade TIffany Studios New York 1475 and has a lovely green
patina. The turtle tile base is fairly rare and also has the original
brown and green patina. High craftsmanship! Reference
Source: Louis
C. Tiffany: Garden Museum Collection by
Alastair Duncan |
Louis
C. Tiffany: Garden Museum Collection
 |
 
photo
3 |
In an effort
to reach the interiors of a greater population, Tiffany began
to design lamps to allow more people to enjoy art and beauty in
their own home. Colored glass, Tiffany’s lasting love and challenge,
found fresh scope and inspiration. While the windows served to
transmit the light of day, the lamps represent a new source of
illumination independent of daylight. Fabrication of the lamps
began in 1885, with the majority of them being made between 1895
and 1920. Louis Guderbrod was a well known American Art Nouveau
sculptor whom Louis Comfort Tiffany retained to create a limited
production lamp base of a lovely mermaid holding above her head
a lighted nautilus shell. The resulting Mermaid Desk Lamps were
some of the earliest electrified fixtures produced by Tiffany
Studios. Sitting atop the marked Guderbrod mermaid base, this
lamp was produced with both natural nautilus shell as well as
a stained glass version. Both types were extremely difficult to
manufacture for different reasons. Natural nautilus shell is inherently
very fragile, making it very difficult to polish and drill for
the lamp fixture holders. The stained glass nautilus shell was
even more challenging, requiring the leaded glass shade to wrap
back upon itself and curl underneath to almost disappear within.
As such, the mermaid desk lamps were produced for only a few years
and in very limited numbers, and few of these beautiful lamps
still exist today with most in permanent collections. The lamp
measures 16.0" high and 10.0" long. The based is inscribed
"Gudebrod" and marked Tiffany Studios New York. 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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This is one
of the most unusual and lovely examples of early 20th century
Amphora you will find, a stylized rooster which combines vibrant
accent colors of blue/green with high glaze against matte finish
brown ceramic with decorations which resembles the look and texture
of ancient Roman amphora. It's also interesting that this is such
a large and substantial piece, rising to 12.0" high and a full
10.5" in diameter at the widest point. While amphora was also
produced in Czechoslovakia, in general the austrian ampohra commands
higher prices and is more detailed and complex in design. This
is Imperial Austrian amphora from the Turn-Teplitz region, and
its various markings include the crown mark, style numbers, the
Imperial mark of Turn, and Austria. |
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Leaded Duffner
& Kimberly Company table lamp with 20.0" diameter shade, measuring
24.0 high. This is an outstanding example of early 20th century
leaded glass artistry, which begins with three bands of blue &
green striated glass punctuated with yellow/orange striated dots
and "x’s". The main design incorporates exotic bird heads with
plummage executed in striated purple glass. Further designs such
as swirls and fans are done in yellows, oranges, reds, and deep
purples, and the shade's top scroll work is done in white glass.
When lit, this lamp produces the colors lead glass lamp collectors
most search for along with the original patina on the thistle
base which has four feet and raised flower, leaf and vine design.
This example is near the pinnacle of Duffner & Kimberly production,
a company which like Jefferson, Bradley & Hubbard, Chicago
Mosaic, and a few others provided Tiffany-like lamps for the middle
market buyer in the early 20th century. Reference
Source: Great
Art Glass Lamps: Tiffany, Duffner & Kimberly, Pairpoint, and Handel
by Martin M. May |
Great
Art Glass Lamps: Tiffany, Duffner & Kimberly, Pairpoint, and Handel
|
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Fine Roycroft
hammered copper American Beauty vase, the largest of the 3 sizes
they made of this most popular style at approxiately 18.5" high
and 7.5" in diameter. Roycroft was established in 1899 with a
blacksmith shop built for the production of wrought iron fixtures,
andirons, and hinges, and in 1902 the copper shop is built and
production of copper fixtures, hinges, and other accessories begins.
Karl Kipp and Dard Hunter collaborate on some early Roycroft copper
designs reflecting the Vienna Secession-influenced style with
geometrics, cutouts, and silver overlays, but it is as a leader
of the American Arts
& Crafts movement for which they are best known along
with their contemporaries Stickley
and Dirk
van Erp. In 1912, Roycroft received a major commission to
make copper items for the Grove Park Inn in Asheville, NC. This
vase has the orb and cross mark of Roycroft Studios. 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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Pretty 18.5"
tall, green and silver irridescent Durand art glass vase, 10.0"
in diameter at the widest part of base which has the style and
size code and is signed Durand 1974-18. Victor Durand Jr. and
his father, Victor Sr., founded the Vineland Flint Glass Company
in Vineland, New Jersey. Two years later, in 1899, Victor Jr.
bought his father's share, and he later acquired other glass factories.
In 1924, Durand established an art glass division at the Vineland
plant where leadership was provided by Martin Bach Jr. and other
skilled artisans from the recently closed Quezal
Art Glass Company. For seven years, these men made superb art
glass. The size and condition of this particular Durand vase make
it comparable to some of the better Loetz
or Steuben. |
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Reverse painted Handel
"River Bed" scenic landscape table lamp with 18.0" diameter
shade and measuring 25.0" high. This
rare scenic of a mountain stream realistically painted, running
through a rocky river bed, includes large clumps of evergreens
and mountains in the background and executed like a fine piece
of art. A yellow and blue sky provides the backdrop for this
shade which can be seen in the book Handel
Lamps- Painted Shades and Glassware on page 78. The Lotus
Pod base has a medium brown patina and traditional Handel acorn
pulls which are a perfect complement to the shade. The shade
is signed 6752 Handel and is artist signed G.M while the metal
shade collar is signed Handel Lamps Pat’d No. and the production
numbers. Reference
Source: The
Handel Lamps Book by
Carole Goldman Hibel, John Hibel, John Fontaine
|
The
Handel Lamps Book
|
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Stunning R. St. K. female
Amphora ceramic figural work c. 1900 standing 16.5" high and
marked on the bottom with the red R. St. K. logo. I thought
the contrast between a Stellmacher vase and figural would be
quite interesting. The Art Nouveau period was an exotic time,
celebrating beauty and often typified by a beautiful woman.
I also like to frame some of the old pieces of sheet music from
1900-1915 which had hand colored images in the art nouveau style,
often signed by the artist. Reference
Source: Art
Nouveau by Judith Miller
|
Art
Nouveau (DK Collector's Guides) |
 |
Weller
Dickensware 16.0" high ceramic pottery vase c. 1905, with the
Weller stamped mark. The ovoid vessel is incised and painted with
three nude children holding a garland and four ladies dancing
in the background on a ground shading from blue to yellow to green.
Sam Weller started making portraiture pottery with Indians, animals,
and whimsical themes from children's stories such as those
of Charles Dickens. Pottery with scenes from Dickens stories and
other people and animal themes became known as Dickensware. Reference
Source: Weller
Pottery by Jeffrey B. Snyder |
Weller
Pottery (Schiffer Book for Collectors)
|
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Loetz
green iridescent vase in a swirling scalloped pattern with blue/purple
accent iridescence, c. 1900. This vase stands 6.25" high and is
marked. It is not uncommon to see an unmarked Loetz vase that
someone has etched LC Tiffany marks into in an attempt to perpetrate
a fraud, a real shame since Loetz is so beautiful-- not to mention
valuable-- in its own right. |
|
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Tiffany Studios Poppy
table lamp measuring 25.0" high and with a large 20.0" diameter
shade. This outstanding Tiffany Poppy lamp has hues rarely seen
with poppy flowers of red, fuchsia, and purple and a heavily
striated background glass of orange and yellow hues. Leaves
are deep green with metal worked from within the shade to give
the illusion of veins in the leaves. The centers of the opened
poppies are overlaid with pierced bronze work. Two rows at the
bottom are done in mottled apple green glass. The other row
is the same orange-yellow coloration of the background glass.
The shade is signed Tiffany 8805, and the base is marked Tiffany
Studios New York. Reference
Source: Louis
C. Tiffany: The Collected Works of Robert Koch
by Robert Koch
|
Louis
C. Tiffany: The Collected Works of Robert Koch
|
  |
Superb Art
Nouveau Loetz
vase with sterling silver overlay. The dark peach colored glass
is decorated with blue lines and veined leaves a very complex
glassmaking technique. Much of the Loetz silver overlay glass
had the silverwork done in the U.S. following its importation
from Austria, done by top U. S. silver artisans such as Gorham.
This vase stands 7.0" high and 4.25" in diameter. Reference
Source: The
Encyclopedia of Glass
by Mark Pickvet |
The
Encyclopedia of Glass
|
 |
Unusual Tiffany peacock
mirror from the Art Nouveau period, standing 15.5" high and
16.5" wide. This exceptional example of a peacock mirror is
set upon two arms each comprised of three splayed feathers.
The pivoting mirror rotates at 270 degrees and is tightened
by two rosettes. Each feather contains a wonderful enameled
blue and green center, and there are 32 blue-green enameled
dots of glass that surround the mirror and complement the base.
There is a feather design over the entire rear of the mirror
where the markings can also be found. An early piece of Tiffany
production at the turn of the 20th century, it has the early
mark of the Tiffany Glass & Decorating Company. Reference
Source: Louis
Comfort Tiffany and Laurelton Hall: An Artist's Country Estate
by Alice
Cooney Frelinghuysen
|
Louis
Comfort Tiffany and Laurelton Hall: An Artist's Country Estate
|
 |
Very fine acid cut back
round Steuben vase with acid cut backs featuring Aurene on a
contrasting gound. It measures 7.75" high and 8.0" wide, and
the pattern incorporates thistles and open spreading leaves
on a black stippled or pebbled surface background. It
has a scalloped gold Aurene glass border around the top and
gold Aurene on the bottom. This unique Stueben work is signed
by Frederic Carder and also has the raised embossed signature
on the side of "Steuben" encased in the fleur-de-lis. The interior
of the vase also has a thin coating of black over Aurene
and shows some subtle iridescence. Reference
Source: Frederick
Carder and Steuben Glass: American Classics
by Thomas P. Dimitroff, Charles R. Hajdamach,
Jane Shadel Spillman
|
Frederick
Carder and Steuben Glass: American Classics
|
  |
Very hard
to find large Quezal Jack-In-The-Pulpit decorated iridescent glass
vase c 1905, measuring a full 15.5" high and 9.5" in diameter
at the widest point. The name Quezal was chosen for the rare and
beautiful Central American bird the quetzal, and it was used in
the company's literature to promote its products. Quezal art glass
ranks with the very best of turn of the 20th century American
art glass produced by Quezal contemporaries such as Louis Comfort
Tiffany's "Favrile" and Frederick Carder's "Aurene" at the Steuben
works. Quezal art glass is known for its embodiment of the Art
Nouveau style, based on nature's organic shapes and naturalistic
motifs coupled with technical excellence in the execution of the
glassware. In this case, the shape is that of a jack-in-the-pulpit
flower, with the iridescence and decoration lending realism to
simulate the flower gleaming in the sunlight. Compared with Louis
Comfort Tiffany’s Favrile art glass, the crisp lines and ornate,
colorful decoration of Quezal glass is constrastingly symmetrical
and precise. The pontil of this Quezal jack-in-the-pulpit vase
is engraved Quezal 9543, and the styling is timeless. 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
|
  |
Handel scenic
overlay sunset palm table lamp c. 1925, measuring approximately
22.5" high and 18.0" diameter shade. This is a 16 panel shade
with 8 bent and 8 straight, and the red and blue swirl glass used
here is some of the finest used by Handel in their lamp construction,
focusing more on reverse painted lamps but finding a good market
for such pieces as this as well. The glass and bronze tree overlay
at the bottom is what gives the lamp its name, evoking the palm
trees swaying in the breeze as a fiery red sunset approaches.
Handel sometimes used a red/brown patina that nicely complemented
the colors in the glass, as is the case here. The Handel Company
ceased operation in 1936 as their designs succumbed to the new
Art Deco aesthetic, but few other vintage lamps are as avidly
collected today as the reverse painted and leaded lamps of Handel.
Reference
Source: The
Handel Lamps Book by
Carole Goldman Hibel, John Hibel, John Fontaine
|
The
Handel Lamps Book
|
 |
Rare L &
J G Stickley
two-door china cabinet with overhanging rectangular top, leaded
glass panes over single pane to doors and sides, and with three
interior shelves. The L & JG Stickley Company followed the
same principles of furniture design pioneered by the founder Gustav
Stickley, but they also fostered more sense of design freedom
among their craftsmen which led to a more diverse production.
By this time, many U.S. manufacturers were copying the Stickley
designs, creating an entire industry around the "mission style"
furniture as Stickley's work had come to be known. While Stickley
furniture always had a degree of machine involvement in creating
the design, Gustav and his brothers really looked to machining
more as a precursor for hand crafted details.This piece has a
totally original finish, a very important detail for collectors
that has a big impact on the market price. It measures approximately
66.0" high, 44.0" wide, and 16.0" deep. Reference
Source: The
Stickley Brothers: The Quest for an American Voice
by
Michael E. Clark, Jill Thomas-Clark |
The
Stickley Brothers: The Quest for an American Voice
|
  |
Fun, early
Fulper
Effigy bowl, a wide flat bowl held by three gargoylesque figures
with a superior Fulper glaze. Whimsical pieces of fancy were created
in the form of people, animals, and objects both real and imaginary,
many with thick, rich glazes that seemed to blend colors and run
into new shapes and patterns. The mark on this bowl is the large
retangular ink mark, 1909 or 1910 to about 1916, without serifs.
According to David Rago in "The Fulper Book", "Effigy bowls were
crafted early in Fulper's production and none appear to have contunued
into the teens." Reference
Source: Art
Pottery of America by Lucile Henzke
|
Art
Pottery Of America
|
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Signed Daum
Nancy etched and wheel carved floral design vase, multi-colored
and produced c. 1900 in the heart of the Art Nouveau period. The
vase measures 11.675" high and contrasts nicely with the cameo
glass for which Daum along with their contemporaries Galle, Muller
Freres, and Le Verre Francais were better known. Other similar
examples by Galle, Daum, and others can be found in the book The
Corning Museum of Glass: A Decade of Glass Collecting
by David Whitehouse and the Corning Museum of Glass. |
The
Corning Museum of Glass: A Decade of Glass Collecting
|
 |
And in closing, this
is a magnificent and rare Tiffany Studios favrile glass and
bronze Wisteria table lamp (made from 1989 to 1918) that is
26.0" high with a reddish brown patina and a 18.25"
diameter shade. As one of America' s most influential artists,
designers and craftsmen of the century, Louis Comfort Tiffany
wanted to bring decorative arts to the same status as fine arts,
and his lamp designs signify this quest to bring beauty into
the home. After collaborating to light the first movie theater,
his friend Thomas Edison suggested the idea of making electric
fixtures. Tiffany soon began to create lamps as small versions
of his beautiful stained-glass windows and developed the idea
into a new art form. The Wisteria shade is impressed Tiffany
Studios New York and numbered 10116, while base is impressed
Tiffany Studios New York and numbered 10116 twice. This is a
unusual instance where Tiffany had a particular base match in
mind for a shade and viewed the lamp holistically; most Tiffany
Studios bases and shades were meant to be for the most part
interchangeable within appropriate size groups. Reference
Source: Lamps
of Tiffany by
Egon Neustadt
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Lamps
of Tiffany
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