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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 4

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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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

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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
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. Reference Source: Treasures of Art Nouveau: Painting, Sculpture, Decorative Arts in the Gillion Crowet Collection by Michel Draguet
Treasures of Art Nouveau: Painting, Sculpture, Decorative Arts in the Gillion Crowet Collection
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, and this particular vase is a piece made for there. We also thought you would enjoy seeing an original ad for this vase from The Fra magazine 1914. This vase has the orb and cross mark of Roycroft Studios and the impressed marks indicating its production especially for the Grove Park Inn. 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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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 cover
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. Reference Source: Art Nouveau, 1890-1914 by Paul Greenhalgh
Art Nouveau, 1890-1914

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 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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Magnificent silver, gilt and enamel Art Deco bronze figure Antinea by Demetre Chiparus of a beautiful revue dancer in dramatic pose with elaborate costume, headdress and cape. The sculpture is raised on a spectacular onyx and marble sunburst plinth, igned and with inscribed Etling foundry mark etched in the stone. Born in Romania D. H. Chiparus came to Paris where he studied under Mercié and Boucher and exhibited his sculpture at the Salon des Artistes Français from 1914 to 1928. Chiparus developed the chryselephantine bronze, the combination of ivory and cold painted bronze pioneered in Belgium at the turn of the century, and gave it its peculiar Art Deco flavor. He produced numerous statuettes and small groups of girls, their features carved in ivory set into the bronze, gilded, and enamelled. Reference Source: Art Deco and Other Figures by Bryan Catley
Art Deco and Other Figures
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
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