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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,
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Art
Deco, Art Nouveau, and Arts & Crafts Design Museum 1890-1935:
Gallery
5
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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
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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
|
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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 |
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
|
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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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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 |
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 |
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) |
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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
|
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 |
Lamps
of Tiffany
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