Louis Comfort Tiffany Furniture

Designed to celebrate the opening of the Engineers Club in New York City in 1907, by Louis Comfort Tiffany for Tiffany and Company, the firm founded by his father, this rare and lustrous pair of bronze goblets demonstrate the artistry and gorgeous workmanship of Tiffany and his bronze foundry. The construction of the Club was largely funded by Andrew Carnegie...

Circa 1905-10, American, by Louis Comfort Tiffany. Offered is a set of ten Louis Comfort Tiffany hand-blown favrile water goblets with a masterfully cut g...

An fine associated pair of large Tiffany Favrile glass inverted trumpet form vases with pulled feather decoration. Undersides each have an etched signature and numbers. One reads...

This Tiffany Studios New York covered box by Louis Comfort Tiffany, covered with an enamel "Olive" motif, was executed by the Enamelware Department of The Stonebridge Glass Company in New York. The stoic composition is primarily composed of richly enameled copper, with the cover and body of this rare piece sharing decoration of subtly-hued olives, with purple-brown copper branches and deep green leaves. While the rarity of the object itself makes it an incredibly collectible item, the easy beauty of the composition also makes it an instant treasure. Artist: Tiffany Studios New York Circa: 1905 Dimensions: 5.25" height, 6.5" diameter Materials: Repoussé copper, Enamel and counter enamel Signed: "Louis C. Tiffany and impressed SC 332" Provenance: Parke-Bernet Galleries Inc., New York, Private Collection, circa 1965, thence by descent to the present owners Literature: Box pictured in Behind the Scenes of Tiffany Glassmaking: The Nash Notebooks, by Martin Eidelberg and Nancy McClelland, New York, 2001, pp. 21 and 178 (for the model executed in pottery); Box also pictured in Louis C. Tiffany: The Garden Museum Collection, by Alastair Duncan, Woodbridge, Suffolk, 2004, p. 466 (for the model executed in pottery) and p. 471 (for the model executed in bronze pottery)

Tiffany Studios’ Pond Lily Desk Set is a rare model, with only three extant sets known. The set is decorated with a dazzling array of lily pads, lily buds, dragonflies, and moths. Th...

Among the most harmonious of Tiffany Studios New York's compositions is the "Bamboo" lamp, comprised of a leaded glass "Bamboo" dome shade, decorated, of course, with a field of the ...

A gorgeous Arts & Crafts or Art Nouveau Favrile iridescent art glass plate By Louis Comfort Tiffany for Tiffany Studios USA, circa 1900 M...

Tiffany’s “Peony” table lamp was a work grounded in naturalism but reaching for the divine. With a shade of resplendent blooms and a mosaic base evoking the hallowed ground of church floors, Tiffany’s peony lamp demonstrates his foundation in both Art nouveau and ecclesiastical art. To depict his multi-hued bouquet, Tiffany depicted two different cultivars, a Greek peony, and a Japanese peony. Tiffany used burgundy glass streaked with lapis to express the richness of the Greek Peony. Favored by neoclassical artists for their symmetry and simplicity, Tiffany featured the bloom in the architecture of his country estate. To represent the candy-striped Japanese peony Shima Nishiki, Tiffany used cream glass streaked with fuschia. The shade elegantly depicts different stages of growth from the bud, first bloom, peak bloom, to wilting. When peony petals wilt, their veins darken, and their form puckers. Tiffany’s glass selectors chose a stone textured glass called granite glass to express the wilting of the petals and their pronounced venation. The background and border of the shade is a golden amber, streaked with magenta and blue. The top-down perspective of the peony with a dirt background was a type of painting called “Rasenstück”, a detailed study of a piece of turf. The crux of the Rasenstück was the elevation of the humble. Popularized in the nineteenth century by the American Pre-Raphaelites, the movement believed in the idea of "truth to nature". The principle encouraged painters to capture the natural world as truthfully as possible, not romanticizing what they saw. In these nature studies, painters depicted flowers and trees in the soil from which they grew. While sublime on its own, the shade and base taken together paint a picture of Tiffany’s Japanese garden. Peonies imported from the far east bordered serene ponds. A frieze of turtleback tiles hypnotizes the viewers with its scarlet glow, evoking the red flash of a sunset, as seen through a field of cattails, rendered in bronze. Below it, the row of cat tails blends into a mosaic of red, yellow, and green glass. While Tiffany’s chief designer Clara Driscoll is most famous for her naturalistic lamp designs, the bread and butter of Tiffany Studios was its ecclesiastical department. Red, yellow, and green colorways were widely used in the depiction of Baroque angels, whose wings were modeled after birds of paradise. As hunters removed their legs upon sale, many believed they neither ate nor drank, and instead floated ethereally like angels. A lamp such as this epitomizes Tiffany’s understanding of his artistic vision in the context of the entire history of artistic expression. Since falling in love with glass at age twelve in the cathedrals of Chartres, light itself became a representation of divinity. A contemporary critic described Tiffany’s mosaics...

A good antique Louis Comfort Tiffany Favrile double gourd glass miniature cabinet vase, circa 1910. The vase of a double gourd shape and decorated in three colors with a light butter...

Louis Comfort Tiffany Favrile glass vase. Circa 1900 Art Nouveau period. Decorated with pulled feathers with delicate white ruffles. The gre...

The shade of this Tiffany Studios New York "Dogwood" leaded glass floor lamp features a bouquet of pink, white, and cream dogwood blossoms agai...

This remarkable Tiffany Studios New York "Wisteria" table lamp is a very fine and unusually rare lamp, composed of a palette of wisteria blossoms in shades of blue, green, cream and white that cascade down the shade to an irregular border. The blossoms are surrounded by abundant leaves in varying shades of green and are delicately interspersed with "confetti" glass, lending them added three-dimensionality. The shade has a latticework top, portraying the branches and stems of a wisteria vine. The base, designed specifically to hold the shade, is also embellished with vegetal, vine-like properties. Product Details: Item #: L-20375 Artist: Tiffany Studios New York Country: United States Circa: 1902 Dimensions: 18.5" diameter, 27" height Materials: Leaded glass, Bronze Shade Signed: Interior of shade crown impressed 1073 and 13; underside of shade mounting post impressed 1073 and 13 Base Signed: ''Tiffany Studios New York 1073"; top of tree trunk column impressed 13 Literature: Robert Koch, Louis C. Tiffany: Rebel in Glass, New York, 1964, pl. v Dr. Egon Neustadt, The Lamps of Tiffany, New York, 1970, pp. 215-220 Alastair Duncan, Tiffany At Auction, New York, 1981, pp. 89, no. 238 and 148, no. 391 William Feldstein, Jr. and Alastair Duncan, The Lamps of Tiffany Studios, New York, 1983, p. 37 Robert Koch, Louis C. Tiffany's Glass, Bronzes, Lamps: A Complete Collector's Guide, New York, 1989, p. 131 Robert Koch, Louis C. Tiffany: The Collected Works of Robert Koch, Atglen, PA, 2001, pp. 74, 242 and 284 Alastair Duncan, Louis C. Tiffany: The Garden Museum Collection, Woodbridge, Suffolk, 2004, pp. 292-293 Martin Eidelberg, Alice Cooney Frelinghuysen, Nancy A. McClelland and Lars Rachen, The Lamps of Louis Comfort Tiffany, New York, 2005, p. 107 Alastair Duncan, Tiffany Lamps and Metalware, Woodbridge, Suffolk, 2007, p. 67, no. 254 Martin Eidelberg, Nina Gray and Margaret K. Hofer, A New Light on Tiffany: Clara Driscoll and the Tiffany Girls...

Rippling undulations in gold iridescence and soft, organic lines dominate this ethereal but weighty composition, an exceptional example of a Tiffany Studios New York "Turtleback Tile" chandelier. Three tiers of vertically oriented rectangular Turtleback tiles with rounded corners graduate in size, with substantially sized tiles decorating the bottom-most tier and the apex of the domed shade featuring tightly clustered tiles in miniature. Sumptuous and romantically uneven borders frame each tile, accentuating their unique silhouettes and adding a dark, matte element to contrast the bright, shimmering gold that dominates the shade. Item #: L-20333 Artist: Tiffany Studios New York Country: United States Circa: 1900 Size: 18.5" diameter Materials: Patinated Bronze, Leaded Glass Signed: "Tiffany Studios" Literature: A similar chandelier is pictured in Tiffany Lamps and Metalware: An illustrated reference to over 2000 models by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors' Club, 1988, p. 281, plate 109 Macklowe Gallery Curators notes: he same model was on display at the Cooper Hewitt Museum's Passion for the Exotic: Louis Comfort Tiffany and Lockwood De Forest...