DOCSLIB.ORG

Domestic Treasuobject Guidfin1

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Domestic Treasuobject Guidfin1 Cordial glass, c. 1918-1928 23) Vase, 1915 Vase, 1915 Vases along wall, left to right: Reactive glass Morning glory Luster glass Marks: L.C.T.– Favrile; 539 V Paperweight glass, reactive Marks: L.C. Tiffany – Favrile; 1510-616 L Vase, 1907 (U-084) Marks: L.C. Tiffany – Favrile; 9593 M; (54-068) Luster glass Panama Pacific Ex- Marks: L.C.T.; 3699 B Vase, 1914 Exhibited Panama-Pacific International Vase, 1915 (54-052) Merovignian design Exposition (1915), San Francisco Luster glass with iridized decoration Luster glass (2001-059) Marks: L.C. Tiffany – Favrile; 2728 L Vase, 1917 Marks: L.C. Tiffany – Favrile; 5144 H; (55-004) Luster glass 762; 28 24) Vase, c. 1894 Marks: 1538 –; 7939 L; (54-031) Laminated glass 29) Vase, 1909 L.C. Tiffany – Favrile Marks: L.C.T. Gladiola (54-002) Vase, c. 1895 Paper labels: Tiffany Favrile Glass; 1460 Paperweight glass, millefiori February 8, 2005 – January 14, 2007 Carved cameo glass (62-006) Marks: L.C. Tiffany – Favrile; 2132 E; Vase, after 1920 Paper label: TG&DCo trademark Alaska-Yukon-Ex Luster glass on bronze base (84-008) 25) Vase, 1904-1910 Paper label: Tiffany Furnaces, Inc. Marks on vase: L.C.T.Favrile OBJECT GUIDE Cypriote glass trademark Marks on base: Louis C. Tiffany 20) Vase, 1918 Marks: L.C.T.; E 118; 2218; 2395 Exhibited Alaska-Yukon Exposition Furnaces, Inc.; 758 Reactive glass Paper label: Tiffany Furnaces, Inc. (1909), Seattle Paper label: Louis C. Tiffany All of the glass objects in this as prefixes or suffixes are helpful Marks: L.C. Tiffany Inc. – Favrile; trademark (84-011) Furnaces, Inc. trademark 9346 M; X522; 545/C-15 (55-002) (69-027) exhibition were produced by in determining dates the objects (U-015) PLATFORM: 26) Decanter, 1898 Vase, 1906 Louis Comfort Tiffany’s studio, were produced. 21) Vase, 1913 Silver peacocks with diamond eyes Dining room chairs and table, c. 1892-1893 Luster glass Jack-in-the-pulpit floriform Flowers and chains with Mahogany Marks: L.C.T.; 8452 A which prior to 1902 was known Other numbers and letters Luster glass pearls and garnets Attributed to Tobey Furniture Co. (56-053) Marks: L.C. Tiffany – Favrile; 3918 G Stopper with sapphire inset (1856-1954) as Tiffany Glass and Decorating remain largely a mystery, although (54-026) Luster glass From the Chicago home of Charles On floor: Marks: L.C.T.; D 689 Hosmer Morse Company and after that date, the small letter “o” is believed to 22) Left to right: Paper label: TG&DCo trademark Vase, 1899 (66-010) On table: Cypriote glass Tiffany Studios or Tiffany indicate that the object was a spe- Vase, c. 1906 Marks: L.C.T.; E 161; 2217; 1709 Tulip 27) Selected Tiffany tiles, jewels, Selected Tiffany tableware, c. 1895-1925 Paper label: TG&DCo trademark Furnaces, Inc. On the undersides, cial order. The “A-Coll” mark we Carved cameo glass and moldings, c. 1878-1915 Luster glass (U-006) the objects have various Marks: L.C. Tiffany – Favrile; Pressed glass know is an abbreviation for “artist’s 4193 A; 2203 30) Candelabra, c. 1895 markings. They almost always collection” and indicates that the Partial paper label: Tiffany Furnaces, Inc. 28) Left to right: Reticulated glass and bronze trademark Marks: Tiffany Studios; New York; 1573; include the engraving of either object was selected from the studio (71-001) Vase, 1915-1920 D 887; TG&DCo trademark Luster glass (81-012:A-E) Tiffany’s initials, L.C.T., or his for Tiffany’s own collection. Pieces Vase, 1915 Marks: L.C. Tiffany – Favrile; 1533 Tulip (54-030) name, L.C. Tiffany, and frequently used in general exhibition were Engraved translucent glass Marks: L.C. Tiffany – Favrile; 7083 J Vase, 1919 the word “Favrile,” the trade- marked as exhibition pieces, but (55-006) Luster glass with iridized decoration Marks: L.C. Tiffany – Favrile; 4821 N marked name for Tiffany glass. In pieces that had a particularly good (79-529) a few especially fortunate cases, showing at an exhibition were Vase, 1900 Luster glass with iridized decoration paper labels are still intact. The labeled with the name of Marks: L.C.T.; H 1727 (57-002) registration numbers with letters the exhibition. 445 north park avenue, winter park, florida 32789 407-645-5311 www.morsemuseum.org ©2005 Charles Hosmer Morse Foundation, Inc. The objects in the exhibition are listed here 3) Left to right: 7) Left to right: 9) Left to right: 11) Vase, 1914 17) Vase, 1894-1900 and numbered, beginning on the left wall and Lava glass Luster glass continuing around the room. Vase, 1914 Vase, 1899-1902 Vase, 1915 Marks: L.C. Tiffany – Favrile; 9771 K Marks: L.C.T.; o 1274 Morning glory Luster glass Paperweight glass, millefiori (65-029) Paper label: TG&DCo trademark 1) Vase, 1905-1915 Paperweight glass, reactive Marks on vase: L.C.T.; N 9857 Marks: L.C. Tiffany – Favrile; 1146 L (54-065) Calla lily Marks: Louis C. Tiffany Favrile; (54-013) Exhibition piece 12) Vase, 1892-1894 Paperweight glass EX 1024; PARIS SALON 1st AWARD; (55-003) Reactive glass 18) Vase, 1919 Marks: L.C. Tiffany – Favrile; L.C. TIFFANY Vase, c. 1920-1925 Marks: L.C. Tiffany – Favrile; 1900 Lava and Cypriote glass 17 A- Coll Exhibited Société des Artistes Français Luster glass on metal base Vase, 1916 (57-004) Marks: L.C. Tiffany – Inc. Favrile; (2003-023) (1914), Paris Marks on base: Louis C. Tiffany Narcissus 5470 N Recent acquisition (56-001) Furnaces, Inc.; 164; Louis C. Tiffany Paperweight glass, millefiori 13) Vase, c. 1897 (1999-115) Furnaces, Inc. trademark Marks: L.C. Tiffany – Favrile; 8027 K Floriform Museum Membership Purchase, 1999 2) Left to right: Vase, 1902 (54-096) Paper label: Tiffany Furnaces, Inc. Opalescent glass Paperweight glass, millefiori trademark Marks: L.C.T.; B 766 19) Front row, left to right: Vase, 1914 Marks: Louis C. Tiffany; R 2401 Vase, 1920-1925 (69-022) (56-030) Tell el-Amarna Exhibited Prima Expozione d’Arte Luster glass on gold-enameled Vase, 1906-1914 Luster glass Decoration Moderna (1902), Italy copper base Vase, 1914-1918 14) Left to right: Luster glass Marks: L.C. Tiffany – Favrile; 2400 J (66-047) Marks on vase: L.C.T.Favrile Narcissus Marks: L.C. Tiffany – Favrile; 9273 B Panama-Pacific Exn Marks on base: Louis C. Tiffany Paperweight glass, millefiori Vase, 1898 (79-541) Exhibited Panama-Pacific International 4) Left to right: Furnaces, Inc.; 150C; 189; Marks: L.C. Tiffany – Favrile; 8032 K Cypriote glass Exposition (1915), San Francisco Louis C. Tiffany Furnaces, Inc. trademark (54-067) Marks: L.C.T.; Louis C. Tiffany; E 1771 Vase, 1902 (70-023) Vase, 1914 (U-038:A&B) Paper label: TG&DCo trademark Opalescent glass Aquamarine glass 10) Left to right: (56-024) Marks: L.C.T.; R 620 Vase, 1914 Marks: L.C. TiffanyInc. Favrile; 5399 M; 8) Left to right: (70-026) Tell el-Amarna Panama-Pacific Exn Vase, 1900 Vase, 1896-1899 Luster glass Exhibited Panama-Pacific International Vase, 1913 Jack-in-the-pulpit floriform Cypriote glass Vase, 1904-1906 Marks: L.C. Tiffany – Favrile; 2301 H Exposition (1915), San Francisco Opalescent glass with Opalescent glass with Marks: L.C. Tiffany Inc. Favrile; 6N Luster glass, millefiori (54-040) (62-005) iridized decoration iridescent blossom (74-021) Marks: L.C. Tiffany – Favrile; Marks: L.C. Tiffany – Favrile; Marks: L.C.T.; M 2068 Gift of Alan Dunn, Laurelton Y 1155; 2927 Vase, 1916 Vase, 1914 X204; 3772 G Paper label: TG&DCo trademark Hall Fellow Partial paper label: Tiffany Furnaces, Inc. Luster glass Aquamarine glass (70-024) (56-032) trademark Marks: L.C. Tiffany – Favrile; 5064 K Marks: L.C. Tiffany – Favrile; 1988 H 15) Vase, 1900-1915 (82-016) (2003-022B) Paper label: 533 Vase, 1906-1907 Goblet, c. 1900 Rosewater sprinkler Recent acquisition (56-005) Opalescent glass with Floriform Luster glass Cordial glass, c. 1900 iridized decoration Opalescent glass Marks: O 4163 Victoria design Pedestal, 1905-1918 5) Vase, 1899-1902 Marks: L.C. Tiffany – Favrile; 8577 B Marks: L.C.T.; M 525 Partial paper label: Tiffany Furnaces, Inc. Luster glass Luster glass Luster glass with iridized decoration Paper label: Tiffany Furnaces, Inc. Paper label: TG&DCo trademark trademark Marks: L.C.T.; L1802 Marks: L.C. Tiffany – Favrile; Marks: L.C.T.; K 1109 trademark (56-025) (66-013) (56-034) 210 A-Coll (U-030) (54-021) (2003-022A) Vase, c. 1905 16) Left to right: Back row, left to right: Recent acquisition 6) Vase, 1919 Vase, c. 1925 Floriform Aquamarine glass Opalescent glass with iridized Opalescent glass Vase, 1900-1910 Vase, 1914 Marks: Louis C. Tiffany – decoration on bronze base Marks: L.C.T.; Y6535 Laminated glass with iridized Opalescent Samian red glass Favrile – Special Exhibit; 1335 N Marks on base: Louis C. Tiffany Paper label: Tiffany Furnaces, Inc. jewel inserts Luster glass (67-011) Furnaces, Inc.; 153; 4445; trademark Marks: Louis C. Tiffany – Favrile Marks: L.C. Tiffany – Favrile; 2192 J Louis C. Tiffany Furnaces, Inc. trademark (54-056) (56-003) Paper label: Tiffany Furnaces, Inc. (66-012:A&B) trademark Vase, 1906-1914 (56-020) Laminated glass, agate Marks: L.C. Tiffany – Favrile; 7008 D Cordial glass, c. 1918-1928 (66-011) Reactive glass Marks: L.C.T.– Favrile (U-088) DOMESTIC TREASURES from the morse collection february 8 2005 - january 14, 2007 The objects in the exhibition are listed here 3) Left to right: 7) Left to right: 9) Left to right: 11) Vase, 1914 17) Vase, 1894-1900 and numbered, beginning on the left wall and Lava glass Luster glass continuing around the room.
Load more

Recommended publications
  • Tiffany Glass
    Woodson Art Museum in your classroom Tiffany Glass Winter 2016-17 Top: Detail from Tiffany Studios, New York, Apple Blossom Library Lamp, ca. 1905, leaded glass, bronze; Below: Tiffany Studios, New York, Clara Driscoll, designer, Wisteria Library Lamp, ca. 1901, leaded glass, bronze. All artworks and images from The Neustadt Collection of Tiffany Glass, Queen, New York. Above: Detail from Tiffany Studios, New York, Begonia Reading Lamp, ca. 1905, leaded glass, bronze; Below: Louis Comfort Tiffany, Favrile Vase, 1909, blown glass; Victorian Art Glass Basket Introduction to Exhibitions on View This winter at the Leigh Yawkey Woodson Art Museum, three complementary exhibitions focused on art glass showcase the range of materials, forms, and designs spanning three iconic movements in American decorative arts: Victorian Era, Gilded Age, and Art Nouveau. Tiffany Glass: Painting with Color and Light includes twenty Tiffany Studios leaded glass lamps, five large stained glass windows, hanging shades, and three forgeries modeled after Tiffany’s iconic lamp designs, all from The Neaustadt Collection of Tiffany Glass. For more information about the exhibition and The Neustadt Collection, check out the Woodson Art Museum’s free app and videos on our Youtube Channel. Two exhibitions from the Woodson Art Museum’s glass collection juxtapose the intricate, feminine designs of the Victorian Era with the more modern and restrained aesthetics of the Art Nouveau period. Enduring Beauty: Art Nouveau Glass features bold iridescent glass in sleek undulating forms typical of the decorative, yet utilitarian, turn-of-the-twentieth-century glassware. Victorian Art Glass Baskets also from the Art Museum’s collection, feature bright colors “woven” throughout delicate glass reminiscent of frills on tutus and unfurling flower petals.
    [Show full text]
  • In Company with Angels Is a Unique Project Begun by People from a Small Pennsylvania Town Who Were Inspired to Share Their 2001
    n Company with Angels is a unique project begun by people from I a small Pennsylvania town who were inspired to share their 2001 rediscovery of a set of seven Tiffany church windows. A nonprofit organization, ICWA is dedicated to preserving the windows for future generations to discover and enjoy. In the late 19th and early 20th centuries, Tiffany designs were in great demand for American churches. It is estimated that 50% of Tiffany’s church windows have been lost, so the rediscovery of a series such as Angels Representing Seven Churches is a boon for the history of American glass. Angel Windows Timeline 1758 1848 1933 1688 Swedenborg’s best-known 1787 Louis Comfort Tiffany is 1902 Louis Comfort Tiffany Emanuel Swedenborg is book, Heaven and Hell, Swedenborg’s followers found born in New York City. Tiffany Studios creates dies in New York City. born in Stockholm, Sweden. is published. the Church of the New Jerusalem windows depicting angels in London. representing seven churches as described in the Book of Revelation. 1650 1700 1750 1800 1850 1900 1950 1811 1903 1772 First New Jerusalem Society Church of the New Jerusalem is dedicated in Swedenborg dies in London. of Cincinnati is organized. Cincinnati, with seven angel windows formally presented by the New Church Society of Glendale, OH. (The only existing clue to the possible cost of the windows is an appraisal from this time for $7,865.) 1964 2001 1958 The State of Ohio tears the church down. 1989 Rev. Susannah Currie rediscovers Cincinnati newspaper reports that Parishioners purchase the windows back Temenos board approves $50,000 the crated windows in a storage shed.
    [Show full text]
  • A Study of Residential Stained Glass: the Work of Nicola D'ascenzo Studios from 1896 to 1954
    University of Pennsylvania ScholarlyCommons Theses (Historic Preservation) Graduate Program in Historic Preservation 1990 A Study of Residential Stained Glass: The Work of Nicola D'Ascenzo Studios from 1896 to 1954 Lisa Weilbacker University of Pennsylvania Follow this and additional works at: https://repository.upenn.edu/hp_theses Part of the Historic Preservation and Conservation Commons Weilbacker, Lisa, "A Study of Residential Stained Glass: The Work of Nicola D'Ascenzo Studios from 1896 to 1954" (1990). Theses (Historic Preservation). 252. https://repository.upenn.edu/hp_theses/252 Copyright note: Penn School of Design permits distribution and display of this student work by University of Pennsylvania Libraries. Suggested Citation: Weilbacker, Lisa (1990). A Study of Residential Stained Glass: The Work of Nicola D'Ascenzo Studios from 1896 to 1954. (Masters Thesis). University of Pennsylvania, Philadelphia, PA. This paper is posted at ScholarlyCommons. https://repository.upenn.edu/hp_theses/252 For more information, please contact [email protected]. A Study of Residential Stained Glass: The Work of Nicola D'Ascenzo Studios from 1896 to 1954 Disciplines Historic Preservation and Conservation Comments Copyright note: Penn School of Design permits distribution and display of this student work by University of Pennsylvania Libraries. Suggested Citation: Weilbacker, Lisa (1990). A Study of Residential Stained Glass: The Work of Nicola D'Ascenzo Studios from 1896 to 1954. (Masters Thesis). University of Pennsylvania, Philadelphia,
    [Show full text]
  • Touch of Glass
    A Touch of Glass PopularScience A Touch of Glass SUKANYA DATTA NATIONAL BOOK TRUST, INDIA ISBN 978-81-237-9071-8 First ePrint Edition 2020 © Sukanya Datta Rs:185.00 ePrint by Ornate Techno Services Pvt Ltd Published by the Director, National Book Trust, India Nehru Bhawan, 5 Institutional Area, Phase-II Vasant Kunj, New Delhi - 110070 Website: www.nbtindia.gov.in This book is dedicated with love to the memory of Debjani Ghosh (Bubul didi) and to Sanjoy Ghosh (Sanjoyda) for being my Go-To couple foreverything for as long as I canremember. Contents Acknowledgement i Preface x x 1. Fact and Fairytale i1 2. First Look 5 3. Natural Glass 9 4. Making Glass 16 5. Techniques and Tools ofTrade 43 6. Glass Industry in the Ancient 69 World 118 7. Glass Industry in Ancient India 128 8. Glass Industry of Modern India 147 9. Gallery of ArtGlass 167 10. Architectural Wonders in Glass 187 11. Fun Fact and Futuristic Firsts 207 12. Idioms Inspired by Glass SelectBibliography 221 Index 225 Acknowledgement My association with the National Book Trust (NBT) goes back almost two decades and I have always first approached NBT with any new manuscript of mine; rarely have I been refused. For this privilege I thank the Director, NBT with all my heart. Heartfelt thanks are also due to Mrs. Kanchan Wanchoo Sharma then at the Editorial Department of NBT. Her very positive feedback to my idea gave me the encouragement to go forward with the manuscript. My current Editor Ms. Surekha Sachdeva who took over from Kanchan has been most meticulous in editing and deserves my thanks for all her efforts.
    [Show full text]
  • Glass Shards Fall 2010
    GlassNEWSLETTER OF THE NATIONAL Shards AMERICAN GLASS CLUB www.glassclub.org Founded 1933 A Non-Profit Organization Fall 2010 When East Meets West at Corning A new exhibit opening at The Corn- that porcelain was a vitreous, not Eastern decorative styles on Western ing Museum of Glass East Meets clay-based, substance. The alchemi- markets and objects,” said curator of West: Cross-Cultural Influences in cal knowledge needed to create glass European glass Florian Knothe. “With Glassmaking in the 18th and 19th Cen- imitating porcelain was transferred this exhibition, we will showcase an turies begins November 18, 2010, and from glassmaker to glassmaker across incredible cultural and technological explores the cultural exchanges of exchange that is, in fact, much more glass techniques and styles between textured and fluid, with channels of East Asia and Western Europe. influence running in both directions. When East met West in the courts The role of Western craftsmen and and trade centers of the 13th century, scientists—such as Stumpf—in facili- a fruitful international exchange was tating advancements in Eastern glass born and lasted through several centu- manufacturing cannot be overlooked.” ries. This exhibition will explore the Drawing on the long tradition of por- resulting cross-cultural influences in celain making, glassmakers in China technology, scientific experimenta- blew and enameled opaque white tion, and decoration among glassmak- glass for foreign and local markets. ers in Europe, China, and Japan in the The Museum’s scientific analysis by 18th and 19th centuries. X-ray fluorescence of a few of these Through a range of Museum objects objects in its collection has revealed from the early modern period, East that the composition of some of the Meets West: Cross-Cultural Influenc- white glass used in the East is closely es in Glassmaking in the 18th and 19th related to the milk glass made by Ger- Centuries will document the Europe- man craftsmen.
    [Show full text]
  • STAFF LIBRARY Cover: Enlarged Detail of Favrile Glass Plate (Cat
    '-"M~ AMERICAN CRAFTSMEN'S COUNCIL 29 WEST 53RD STREET, N.Y.19, N.Y. STAFF LIBRARY Cover: Enlarged detail of Favrile glass plate (Cat. No. 17ob). Louis Comfort Tiffany 1848-1933 TEXT, CHRONOLOGY AND BIBLIOGRAPHY BY DR. ROBERT KOCH FOREWORD BY THOMAS S. TIBBS, Director, NfLlseLlIIt of Contemporary Crafts OTES ON THE PLATES BY ROBERT A. LAURER, As istant Director EDITOR OF THE CATALOG, PATRICIA S FRI ,Secretary Museum of Contemporary Crafts ~f the A m erican Craftsmen's Council, New York January 24 throug h April 6, 1958 © 1958 by the Jlusewl1 of Contemporary Crafts, New York Printed in the United States of America Designed by Bert Clarke and produced by Clarke &- lVay, Inc., The Thistle Pres Ii() J' (" \\' () l'( I 'I'll(' <l',,'slioll will illP\ itabh bf' asked why thp \Iu­ 1l1('nt \\ith it fl't'(, cnrvilincar ornallll'lll and olltlin S seulll of Con [(' Ill porarv era ft ha, ass('1ll bl d a one of oflen d('ri\'('d frolll plan t ~)fIllS , il Illll I be r' Ogll iwd its Illajor p,hibili(lll llH' work of LOlli Co 111 fort Ihal he hoth anlicipat'd and outli, 'd it a a style. TiIT<UIY ( I + 19)';)' 'I'll(' great slrid' lilac!' in hand Thus, Wl' eli c('rn in him til(' af'ti t-craft man inler­ craft , and craflman hip during recent \ ('ars havp im­ l' It>d ill a \'ari(>ty of lllat('riais. in craftslllallShip, in portant rooL ill the not too distant past among tho p hon(' tv o[ purpo, e ancl rOl'ln, bllt IllO t particularh a \\ ho n 'aetC'd again t th' totality of th(' machine>.
    [Show full text]
  • Lot Description Price 4000 Chinese Wood Carved Guanyin with Flaming
    Lot Description Price Chinese wood carved Guanyin with flaming mandorla, standing on a mythical beast with fu-dog face and 4000 fish body on waves, right hand holding an amphora and left hand in vitarka mudra, 21''h $ 275 (lot of 5) Indian dancing bangles, four brass and one beaded, together with an Indian oil lamp; bangle: 4002 5''dia; Provenance: The Hemphill Collection of San Francisco $ 20 Chinese blanc de chine porcelain figure, shaped as a bodhisattva seated above rolling waves with an amphora and prayer beads in her hands, the base impressed 'Zeng Yisheng zao', with wood stand, 4003 porcelain: 9.9''h $ 100 (lot of 3) Chinese carved jadeite toggles, each featuring Guanyin in relief standing on a pedestal; the largest: 4004 4.25''l $ 175 (Lot of 3) Chinese small jade carvings, consisting of a recumbent fu-lion with russet hues to the tail, a sea- 4007 green colored cicada, and a figure of Shoulao (god of longevity) clutching onto a staff, largest: 2.3''h $ 100 Strand of coral necklace, comprised of forty-four spherical coral beads of mottled white and coral hues, 4009 16.25''l $ 375 (lot of 3) Chinese jade bangles, two round in ash gray color, and one in emerald green of wide round form 4011 with concaved exterior and straight interior in emerald green, the widest: 2'' w $ 125 Chinese Cizhou-style ceramic pillow, formed as a recumbent cat heightened with brown spots, the back 4012 further decorated with blue flowers, 10''w $ 75 (Lot of 2) Chinese Peking glass snuff bottle and opal carving, consisting of a green overlay glass snuff
    [Show full text]
  • Louis Comfort Tiffany's Legacy in Nassau County
    Previously published in The Nassau County Historical Society Journal. Revised and modified in July 2010 for website publication at www.spinzialongislandestates.com Please cite as: Spinzia, Judith Ader “Louis Comfort Tiffany’s Legacy in Nassau County. The Nassau County Historical Society Journal 1991:8-17. Artistry in Glass; Louis Comfort Tiffany’s Legacy in Nassau County by Judith Ader Spinzia . Louis Comfort Tiffany was born in New York City to Charles Lewis and Harriet Young Tiffany on February 18, 1848. His father, a founding partner of Tiffany and Young, formed Tiffany and Company in 1853, when Louis was only five years old, and it is the success of the jewelry firm that gave Louis educational opportunity at Flushing Academy on Long Island and Eagleswood Military Academy in Perth Amboy, New Jersey. However, at the age of seventeen he persuaded his father to allow him to discontinue formal education and permit him to study painting instead. The exotic art of Europe and the Orient, which decorated his home and his father’s store, came to life when his father allowed him to tour Europe in 1865-66. Upon returning from the “Grand Tour” in 1866, he studied with George Inness. Tiffany began to paint in the style of the Barbizon School, which Inness represented. Life and landscapes were objectively portrayed, embellished only by his sense of their reality. Light and shadow were carefully expressed. His paintings, at this early stage of his career, show him to be a devout disciple of this school of painting and the activity of this period of his life greatly influenced his subject matter, technique, and fascination with light – a fascination that is easily traced throughout his career, even to the latest commissions.
    [Show full text]
  • Louis Comfort Tiffany: Treasures from the Driehaus Collection
    Louis Comfort Tiffany: Treasures from the Driehaus Collection Introduction One of America’s most celebrated artists, Louis Comfort Tiffany worked in nearly all media available to artists and designers in the late 19th and early 20th centuries—glass, ceramic, metalwork, jewelry, painting, furniture, and interiors. He earned international acclaim for his artistic output, receiving prestigious awards in exhibitions in Europe and the United States. His work was enthusiastically acquired by art museums through- out his lifetime, and continues to be highly sought after today. In September 2013, the Richard H. Driehaus Museum debuts its inaugural exhibition, Louis Comfort Tiffany: Treasures from the Driehaus Collection. Sixty objects will be on view in a magnificent historic setting, representing this extraordinary artist’s work over his prolific 50-year career with the Tiffany Glass & Decorating Company and Tiffany Studios, among his many other interrelated firms. The exhibition also introduces audiences to Tiffany artworks from the distinguished Driehaus Collection, representing the unique collecting vision of Chicago philanthropist Richard H. Driehaus over the course of several decades. Situated in the fully restored Gilded Age mansion designed by the architectural firm of Burling & Whitehouse in 1879 for prominent Chicago banker Samuel M. Nickerson, Tiffany’s masterpieces are placed within the larger context of late 19th-century interiors. The exhibition includes outstanding examples of Tiffany lamps, Favrile glass, stained-glass windows, ceramics, metalwork, and furniture from the Driehaus Collection, displayed together publicly for the first time. Garden Landscape window, 1900–1910 Leaded glass 37 x 65½ x 5½ in. (94 x 166.4 x 14 cm), Acc.
    [Show full text]
  • Design Sales | December 12
    MEDIA ALERT | N E W Y O R K | 2 9 NOVEMBER 2016 | FOR IMMEDIATE R E L E A S E DESIGN SALES | DECEMBER 12 REMBRANDT BUGATTI (1884- TIFFANY STUDIOS FRANCOIS-XAVIER LALANNE GIO PONTI (1891-1979) 1916) A 'SNOWBALL AND (1927-2008) A UNIQUE AND IMPORTANT 'JEUNESSE', A UNIQUE WISTERIA' WINDOW, CIRCA A 'BELIER' FROM THE 'NOUVEAUX CABINET, CIRCA 1939 SCULPTURE, 1906 1902 MOUTONS' SERIES, 2004 Estimate: $80,000-120,000 Estimate: $400,000-600,000 Estimate: $200,000-300,000 Estimate: $100,000-150,000 DESIGN | DECEMBER 12 THE COLLECTION OF CHIARA AND FRANCESCO CARRARO | DECEMBER 12 TIFFANY STUDIOS | ONLINE-ONLY | DECEMBER 1-13 New York—Christie’s announces the December sale of Design taking place on December 12, 2016, at Rockefeller Plaza. The compressive auction encompasses over 150 works across all major Design movements of the 20th-century. Leading the sale is Rembrandt Bugatti’s (1884-1916) ‘Jeunesse,’ A Unique Sculpture, 1906, (estimate: $400,000- 600,000), created when the artist was 22 years old. The grand scale of this figure is unmatched in his oeuvre of rare female nudes and it embodies the natural nudity of the sitter perfectly capturing her youth. In 1925, Rembrandt’s brother, the noted auto maker, Ettore Bugatti acquired it from the A.A. Hébrard gallery. Represented in the sale are iconic works by renowned Post Modern designers, including Francois-Xavier Lalanne (1927- 2008), led by A ‘Mouton de Laine’ Ottoman, 2012, (estimate: $100,000-150,000), and multiple examples from the ‘Nouveaux Moutons’ series; Yves Klein (1928-1962), with three different colored examples of his low table; and Wendell Castle (b.
    [Show full text]
  • Accrington's Tiffany Glass Treasures
    Glass Accrington’s Tiffany Glass Treasures by Jack Tempest Tiffany Glass was produced at the American works of Louis Comfort Tiffany, son of the famous New York jeweller Charles Tiffany. Instead of joining his father’s successful company, Louis decided to set up in Tiffany table lamps were business on his own account specialising in especially popular, this is an sumptuous interior decoration and working original lamp bought privately on the impressive homes of wealthy as an example was lacking in Americans. He also worked on the interior Joseph Brigg’s gift. The style is décor of the White House, Washington. A popular Tiffany art nouveau commercially well copied He had founded his business in 1879 and his Joseph Briggs. product, an iridescent gold today! interest in rich furnishings and exotic décor led him to take a glass ornament and named great interest in attractive ornamental glassware. He successfully ‘Jack in the Pulpit’ after the developed a positive technique for the manufacture of lustre wild flower that suggested its design. glass which he patented in 1881. Within a few years Louis Tiffany was producing a striking range of fancy glassware ranging from coloured glass for glazing windows to the production of interesting decorative ornaments. It is a fact that products of the company were always of first-class quality because of Tiffany’s experiments with various metal oxides, copper salts, selenium, uranium, even gold. Uranium gave a yellowish-green tint to glassware. Black could be produced by using a mixture of manganese oxide, iron, and cobalt, whilst cobalt alone or copper oxide could produce blue glass.
    [Show full text]
  • Nineteenth Century Magazine of the Victorian Society in America
    NiNeteeNth VOLUME 35 CeNtury NUMBER 1 Magazine of the Victorian Society in America Contents NINeTeeNTH CeNTuRy VoLuMe 35 • N uMBeR 1 Spring 2015 Editor William Ayres Associate Editor Warren Ashworth Philadelphia’s Forgotten Plein-Air Portraitist Book Review Editor Mathilde Weil Karen Zukowski Gillian Greenhill Hannum 3 Advertising Manager / Graphic Designer Wendy Midgett Art Meets Science Printed by Official Offset Corp. The Blown Glass of Louis Comfort Tiffany Amityville, New York Paul Doros 13 Committee on Publications Chair William Ayres William Morris Changes Abodes Warren Ashworth Red House and Kelmscott Manor Anne-Taylor Cahill John Waters 23 Christopher Forbes Sally Buchanan Kinsey Michael J. Lewis Learning from Europe Barbara Mitnick James F. O’Gorman Savannah’s Telfair Academy of Arts and Sciences Jaclyn Spainhour Karen Zukowski Tania June Sammons 31 For information on The Victorian Society in America, contact the national office: 1636 Sansom Street Philadelphia, PA 19103 (215) 636-9872 Departments Fax (215) 636-9873 [email protected] 35 Preservation Diary 40 Furthermore . www.victoriansociety.org Iviswold Castle Gervase Wheeler Revisited Rutherford, New Jersey Renée E. Tribert Warren Ashworth James F. O’Gorman Annabelle Radcliffe-Trenner 43 The Bibliophilist 47 Milestones 49 Contributors Anne-Taylor Cahill The Bonfire Ballerina David B. Dearinger Anne-Taylor Cahill Deborah Dependahl Waters Karen Zukowski Cover: Detail, grouping of Tiffany vases. See page 12 for information. Photo by David Schlegel. Mathilde Weil, Rosa Rosarum , 1899. First published in the April 1899 issue of Alfred Stieglitz’s Camera Notes . Philadelphia’s Forgotten Plein-Air Portraitist MATHILDe WeIL GILLIAN GReeNHILL HANNuM Philadelphia, in the 1890s, was the leading center in America earlier camera club practices, which had been embedded in for the development of artistic photography.
    [Show full text]