Lamps of Tiffany The Collectors' Edition Dr Egon Neustadt Coffee Table Size Book

Description: Few signs of use to pages, covers, and dust jacket. Gift Quality coffee table size book. OCR scan of some of the book: THE LAMPSOF TIFFAnyly DR. EGON NEUSTADT"To bring boaty into your home.So thut yoi cum live winh ir.and so euhunce your life."LOUIS COMPORT TIFFANY,whoe motto thot ws, compel ay to seewith eur hearts. One of the rare gonisesand uigee persemalitics of Amcrican-indeod, of world-art, his inventive abiliticsand cecative talents combinol to peodecehundreds of still too little knomn masder-pieces which embody both nature's bril-liant coloes and deamatic mhovcnicnts, andman's cotiomality and passion.Now-for the very first time-the fullcatent of his outstanding achicvemcnt isrevealod within the covers of this hand-some, compechcnsive lavishly illustratedvolume ... onc which will occupy a placeof honor in your library, and to which youwill frequently turn for cnlightcnment, forrescarch, for sheer pleasre in these intri-cate patteras and subtle tones.More than 300 plates-238 of them inscintillating color-including more than 40rare photographs from the original TilfanyAlbum-carich this cofssummate presen-tation of Tiffany's work, tanging from theone-piece Favrile glohes to the infinitelydelicate, incomparably picturesque Wis-tcria lamps, each of which is made up ofmore than a thousand bits of painstakinglysclected ghs in highly complicated, metic-ulowsly cut, curved shapes.Issued in cooperation with The NeustadtMuseum of Tiffany Art, chartered by theState of New York, "THE LAMPS OFTIFFANY" will provide collectors, deal-ers, and museums with the first and onlycomplete, accurate, fully documented andLavishly illustrated compendium of the re-markable lamps designed by the Rem-brandt of his field, Louis Comfort Tiffany.It emhodies the first comprehensive ef-fort to classify, analyze, and interpret thevast outpourings of the genius of this greatpioneer in American art and craftsman-ship. Its authoritative judgments and newinsights will prove valuable to the novicecollector and to the museum curator alike.The Foreword has been written by oneof the outstanding collectors of Tillanytreasures, Bruce Randall.(Continued on back flap) A Handbook for the CollectorA Gold Mine for the Auction GoerA Bible for the DealerAn Encyclopedia for the Museum CuratorA Treasury for the Art LoverA Delight for the BibliophileA Prize for the Family Bookshelf THE NEUSTADT MUSEUM OF TIFFANY ART. INC.NEW YORK, NY Cumined from front flapkHOW THIS BOOK WAS CREATEDTHIRTY-FIVE YEARS AGO, ayoung ma wnd his wift, strollig down ashle strect in New York saw in the winkwof a tiny hasement store what they thendescribed as "a strange, old-fashioned The Tiftany lanp-for of course it wasone of the master's-sxertel a strangefascination on the young couple. Theyeturned to the shops they purchaved it.And the new, prized possession became.in time, the nuclews of what is now proh-ably the world's largest and ment completecollection of Tiflony lamps: a collecticnwhich will be preverved for pesterity asThe Neushadt Muscum of Tiffany Art.Thousands of bours of study, unparal-leled determination, and lengthy, scholartydetective work were required to uncoverthe history and compile the careful docu-mentation on the hundreds of types ofTiffany lamps shown and described in thismassive volame HOW WELL DO YOU KNOWYOUR FAVORITE TIFFANY LAMPS?Only in THE LAMPS OF TIFFANYby De. Egon Neustadt will you dieover-1. The phenomenon of dicheoie effects inTiffany shades.2. How to determine the athenticity ofTiffany shades, both signed andunsigned.3. Which types of Tiffany shade were neverNigned4. The meaning of the "dash mimber"occasionally found with the signature.5. The various types of shade sapports-aperture rings, rod and sleeve, arms,circumferential rings-found onTiffany hases6. How the famed Lotus Leaf family ofTiffany lamps forms a bridge hetweenthe parely geomctric lwmp shades andthe more advanced designs.7. The distinction between shades with asmall namber of large-sired compo-nents, annd the true Leaded-Glss Shades.8. Why Louis Comfort Tiffany restrictedhis use of Drapery glas chiefly tothe famous Magnolia globe shade.9. What factors create the ungralleleddramatic impact of the Hanging HeadDragonfty10. How to place the larger hanging shadest0 permit full enjoyment of the design.11. The transition from goometrie shades t0all-fower patterns via flrwer borders,flower belts, and scattered flowermaterials.12. The five different types of Dragonfly shades.13. The purpose of aperture and finial.14. The replacement of the finial by a treecrown made of branches.15. The significance of the irregolar upperand lower border of Tiffany shades.16. The trellis cone and the true trellis shade17. Purpose and design variations ofreinforcement wires.18. The oramental interchange of glasssegments ...and the sixteen types of textured glasswhich Tiffany produced for his lamp shades. PRODUCED BY STEARN/KNUDSEN & CO.NEW YORK, NYPRINTED AND BOUND BYHOROWITZ RAE BOOK MANUFACTURERS, INC.FAIRFIELD. NI FOREWORD ONE OF Louis Comfort Tiffany's declared goals was to bring beauty into the hoene in orderthat we might live with it, absorb its substance and so enhance our existence. It was almostaxiomatie with Tiffany that a functional object must also be beautiful, and he achieved thisgoal in such diverse media as glass, bronze, enamel and pottery.It was in the medium of glass, and particularly in the lamps produced by TiffanyStudios, that Tiffany the artist achieved his greatest success. No other examples of his artcombined to such a remarkable degree the requirements of both usefulness and decoratireexcellence.At first sight, Tiffany seems to resemble Thomas A. Edison in his pragmatic approachto art. Young Tiffany was an experimenter with a definite goal, yet of necessity he stumbledoften in his quest for beauty. In the realm of glass, he was exploring unknown regions, andsome of his innovations produced less than wonderful results. However, when Tiffany didhit his mark, he knew it and, of equal importance, he knew the "why" of it. Each successbecame part of Tiffany's "repertoire," another stepping stone in search of an aspiration.His eyes always seemed focused on the future.At the connoisseur's second look, Tiffany takes on new dimensions. His aesthetics werethose of Shelley, seeking the spiritual beauty hidden in nature. His rationale was that ofRuskin, finding beauty in expressive, living things. He was the epitome of the creative artist-clarifying, intensifying and animating our most commonplace experiences. As the artistTiffany matured, his work acquired a sense of freedom, of peace, and of unity. In his earlywork, he attempted to separate and abstract the concept of beauty from nature. Later, heemphasized the organic movement in its natural environment and added to it man's emo-tionality. This indivisibility of organic beauty and human passion is the highlight of Tif-fany's genius. He is asking us "Do you see what I saw? Do you feel what I felt?"The spiritual feeling so often engendered by his greatest works is due to this totality;it compels us to see with our hearts.Before Tiffany, natural settings were thought to have only the reflective quality oflight and the partial light of shadows. In his attempt to duplicate the glories of nature inglass, Tiffany was handicapped in that his medlum was primarily translucent and often hadpoor reflective qualities. Then, somewhere, somehow, Tiffany became aware of the factthat nature herself was full of translucence; a brown branch behind a new leaf was greenish-brown, and the leaf itself was brownish-green. This knowledge was a new tool and he usedit well. He had his art form. Now his lamp shades had the three dimensions of sculpture,the brilliant colors of the canvas, and the living glow of translucent light. With these, andhis own intuitive sense of beauty, he gave his creations a uniqueness known as "The Touchof Tiffany."Once the techniques of a craft are mastered, the inner eye of the artist becomes all-important. As Tiffany himself said in reference to the creation of a fine window, "The artistin glass cannot turn his sketch over to a foreman and expect a result worthy of his reputa-tion. He has to superintend every stage of the work just as carefully and with the same zealas during the evolution of an oil painting, for as in painting, the introduction of color in onepart of the canvas, or of a tint or tone, has its blissful or baneful effect upon all that hasgone before, so with a stained glass window: no other eyes than those of the original artistcan tell whether the fresh note added to the rest is the right or the wrong one. Infinite, end-less labor makes a masterpiece."It has long been apparent that a definitive collection, encompassing the scope and vir-tuosity of the artist, must be assembled if ever there is to be a true appreciation of the lampsof Tiffany. Time is running out.While most lamps are in the hands of collectors, each collector selects according to hisown often highly subjective taste; no one until Dr. Neustadt has had the inclination and de-termination to gather together an example of each kind of lamp, regardless of his own pref-erence, for the purpose of representation and preservation.Another perplexing omission is that a book such as this has not been produced before.Art paintings, for example, are also one of a kind, and yet there are many excellent compil-ations in print. Two reasons for this lapse suggest themselves. The first is that collectorsfear the increased valuation that follows in the wake of publicity. The second is that onemust use the best materials and techniques available in the photographic and printing fieldsin order to bring the lamps to life.Dr. Neustadt has overcome these two objections by completing his own representativecollection and by sparing no effort in obtaining quality reproductions. In addition, he hasdedicated endless hours and unimaginable energy to the authorship of this book. I feel thatMr. Tiffany, were he alive, would be pleased by the results. I know the "Touch of Tiffany"has guided the author.The purpose of this book is to bring to the general public and art connoisseur alike abetter understanding and appreciation of the lamps of Tiffany. Bruce E. Randall

Price: 30 USD

Location: Auburn, Washington

End Time: 2024-12-04T02:00:01.000Z

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