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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 5

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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Rare, early Tiffany Studios Acorn 16" shade with Grueby Pottery base c 1900-1905, only a handful of which survive in their original pairing. The acorn shade is consistent with some of the earliest Tiffany Studios lamp production, using green shading to white variations of Favrile glass to create the distinctive Tiffany look. It has the beaded banding on the top perimeter over which sits the original Tiffany Studios bronze finial. The Grueby Pottery base is done in the classic Grueby green matte glaze and stands 10.25" high. The Tiffany Studios bronze canister with outstretched arms to hold the shade fits perfectly down into the Grueby base, one of those subtle signs of quality and authenticity that dealers look for. The Grueby base slots onto a pin rising from the bottom bronze platform, 1.25" high, which adds stability and weight to the lamp and puts a nice finishing touch on the lamp. The bronze canister assembly is marked on the bottom with the early mark of the Tiffany Glass & Decorating Company, a mark only used until shortly after 1900. The Grueby base has the proper markings of the Grueby Pottery Company of Boston, Massachusetts as well as the artist's mark of Norma Pierce. 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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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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Rare signed Louis Icart print of a masked woman, quite exotic and a sign of the Art Deco design period during which Icart worked. Icart's portrayal of women is usually sensuous, often erotic, yet always imbued an element of humor which is as important as the implied or direct sexuality. Louis Icart's beautiful courtesans cavort on rich, thick pillows, their facial expressions projecting passion, dismay, or surprise. His Parisian scenes are a documentation of the life he saw around him and they are nearly as popular today as when they were first produced. This exotic and nude masked woman embodies every element of Louis Icart's work during the Art Deco period. While Icart prints can be found, it is extremely rare and difficult to find the original Icart oil paintings and beautiful when you do.
Louis Icart: The Complete Etchings
Austrian Art Nouveau bronze woman sitting off to the side of a green marble base c.1900. The entire piece stands 11.5" high. The green marble base has an ornamental bronze base cap as well as the figural bronze. Unsigned. Many period Austrian bronzes were produced by name artists like Bergman but were unsigned nonetheless. It's an interesting work as she sits off to the side, and it has a great original brown patina. Reference Source: Art Nouveau, 1890-1914 by Paul Greenhalgh
Art Nouveau, 1890-1914

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This beautiful example of Newcomb Pottery is a very rare deep blue with green, pink and purple molded fruit and leaves. The vase measures approximately 8.0"  high and full Newcomb Pottery impressed information on the base, including the N in C mark, PK33, and the number 82. As an added plus, this particular piece has the original paper label which includes the subject, number, and original price of the vase as well as Newcomb Pottery, New Orleans and the message "Designs Are Not Duplicated". Newcomb Pottery was one of the finest American examples of hand crafted art pottery, and it was praised by art critics and loved by consumers. Newcomb had the unusual segmentation of having all male potters and all female designers, and in a strange way unleashed superlative creativity by both sexes. Reference Source: Newcomb Pottery & Crafts: An Educational Enterprise for Women, 1895-1940 by Jessie J. Poesch, Sally Main cover
Newcomb Pottery & Crafts: An Educational Enterprise for Women, 1895-1940

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Tiffany Studios bronze and Favrile glass box measuring 6.5" long, 4' wide, and 2" high. Beautiful green shading to white striated Tiffany Favrile glass lines top, bottom, and sides of this pretty Art Nouveau object from Tiffany Studios c. 1905. Note the intricate bronze work in the grape, vine, and leaf design coupled with the effect of the glass and the little ball feet. It's particularly striking when light shines through the bronze and glass as you can see in the photograph. The word "Favrile" is a Tiffany creation, first used for glass blown at the Tiffany plant in Corona, NY about 1892 and was patented in 1894. It is derived from the old English word "Fabrile" meaning handmade, with the same root as "fabricate." 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
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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Cold painted bronze Art Deco lamp- full description coming soon. Reference Source: Popular Art Deco Lighting: Shades of the Past (Schiffer Book for Collectors) by Herb Millman, John Dwyer cover
Popular Art Deco Lighting: Shades of the Past (Schiffer Book for Collectors)

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Loetz vase- full description coming soon. Reference Source: Loetz: Bohemian Glass 1880-1940 (Lotz) by Johann Lotz Witwe, Helmut Ricke, Jan Mergl
Loetz: Bohemian Glass 1880-1940 (Lotz)

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The Handel River Bed lamp is one of the most popular designs, and these 2 fine examples of reverse painted Handel "River Bed" scenic landscape table lamps with 18.0" diameter shades each measure 25.0" high. Each Handel Riverbed lamp features scenic depictions of a mountain stream realistically painted, running through a rocky river bed and including 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 on the one example 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 cover
The Handel Lamps Book

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Polished pewter Art Nouveau figural vase c. 1900. Highly detailed pewter vase is 8" high with the form a woman with flowing hair, arms outstretched across the front of the vase. Lower front and rear decorated with leaves and flowers. Marked on the bottom "H". Pewter from this period is really beautiful and finally rendered, with interesting shapes and lots of female Art Nouveau women. Reference Source: Art Nouveau by Judith Miller
Art Nouveau (DK Collector's Guides)
Amphora figural vase 12.5" high by Bernard Bloch. The woman's head emerges from the folds of the vase front. The bottom is marked with a stylized a, the initials bB properly indicating Bloch, and the number 6717.  Bloch is interesting because his work has much more of a matte finish than you will see in the other Austrian and Czech amphora we typically dislay in our online museum.  

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This lovely tea and coffee set was made in Birmingham, England in 1916 by the famous Arts & Crafts movement manufacturer Liberty & Company. It is rare to find all the pieces in a set intact through the years, and this set is pure Arts & Crafts design with all pieces having rope twist feet and a central band of chased and applied decoration with naturalistic accets. the tea and coffee pots have pretty organic handles made from a very dark fruitwood which matches the simply tuned finials. Arthur Lasenby Liberty, the founder of Liberty & Co., began by catering to an eclectic mixture of styles popular with late Victorian taste but then went on to develop his own fundamentally different style. He respected the design purist work of designers Christopher Dresser, Charles Rennie Mackintosh and Archibald Knox. A typical home interior of the period was awash with disparate styles, each tugging at its own very different source of inspiration. Many of the attitudes against which the Liberty Style reacted were embodied in the Aesthetic Movement, which was itself firmly rooted in Japonisme. Japonisme invaded Europe in the wake of the International Exhibition of I862 when the arts and crafts of Japan were the main attraction. Liberty was also opposed to both Art Nouveau's often soppy sensuousness based on the human form. The Liberty & Co. emphasis was on the importance of traditional craftsman and artisans embodied in the English Arts & Crafts movement. Liberty & Co. sought to create great design in manufactured, even mass-produced pieces that evolved closer to the modern movement which it helped engender. Each piece in the set has all the proper Liberty & Co. and England hallmarks impressed in the silver.
Designs of Archibald Knox for Liberty & Co.

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Cast metal exotic dancer from the Art Deco period c. 1925, possibly Josephine Baker. Cold painted spelter mounted on a gold veined black marble base. She is dressed in an exotic harem costume, metal bra, hip hugging pants, and arms outspread to flare her cape. She wears a headdress with two feathers. The piece is stamped "France" and retains the original cold painting, bronze, and verdigris. She stands 13.75" high, 9.25" wide and 5.5" deep. The base stands 3.5" high. Don't think that only bronze Art Deco pieces are beautiful, as wonderful techniques were applied to "pot metal" during this period. Reference Source: Josephine Baker: The Hungry Heart by Jean-Claude Baker, Chris Chase cover
Josephine Baker: The Hungry Heart
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

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Bruno Zach bronze and ivory figurine- full description coming soon.  

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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 cover
Lamps of Tiffany
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