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Artistic Agate
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 Big Broad Hardin/Poka Dot Agate Knife on a Elk handle Signed 3 Artist  US $650.00
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Louis Comfot Tiffany early in his career became very interested in the production of colored iridescent, innovative art glass. In literature published by Tiffany he stated that research in the development of these glass making techniques began in 1872 in New York. Tiffany had enlisted the help of Italian trained Venetian glass producers who he hired. In 1878 Tiffany established the firm Louis C. Tiffany & Co. which specialized in the creation of elaborated decorated interiors for very wealthy residential clients and commercial institutions. One element which Tiffany incorporated in to the these projects were the use of iridescent glass tiles. They were used as fireplace surrounds , in decorative screens and wall ornamentation. The tiles were molded and made in various sizes with different decorations. The colors of these tiles included translucent opalescent and greens, iridescent blues and golds, as well as solid colors such as blacks, reds and oranges with fabulous swirls of color. Subsequently Tiffany produced additional glass tiles for use in lamps and decorative objects. Some of these tiles included scarobs, turtleback tiles, iridescent glass prisms, and linenfold glass (which resembled folded linen).
Between roughly 1892 and 1924 blown glass made into vases and bowls was produced by the Tiffany Furnaces, in Corona Queens. People often talk about three general periods of glass production. The earliest period which roughly was between 1892 and 1900 was the period where the most experimentation was done both in form (shape), color, and application and special effects incorporated into the glass. The middle period was the period where the bulk of the Art Glass was produced. The late period,which spanned between 1916 and the end of the company in the late twenties was the period where more commercial and less innovative pieces were produced. Many of the pieces produced in the period were made in pastel colors.
Louis Comfort Tiffany was the artistic force and designer for all of glass. It has been stated that Tiffany would make very rough sketches for a piece and his artisans would then use the concept to created a more complex and detailed rendering of the piece, which eventually required Tiffany's approval before production was initiated.
In 1894 Tiffany registered his "Favrile Glass" for trademark and patent purposes. The term he coined actually did not refer to one color or type of glass, but many different colors and textures of glass which he used in the production of his various products including windows, lamps and decorative objects.
Most of the early blown glass vases were not signed. A paper label was applied identifying production by the Tiffany Glass and Decorating Company. In the earliest periods of production many pieces were numbered in sequence between 1 and 9999. In about 1894 pieces began to be numbered with a letter prefix, followed by a number. This used letters between A and Y (no Z). For example in 1894 prefix A and B were used, !895 prefix C and D...until about 1905 with prefix W and Y. In this early period roughly 2 letters were used per year. Following this a number followed by a suffix was used (rougly one letter per year from 11906 to 1928). Some special notations including the use of X for experimental, EX for exhibition, o(small) for special order, A-COLL for pieces made for Tiffany's personal collection.
Some of the types of glass that were produced were Decorated Glass, Agate, Cypriote, Lava, Paperweight, and Aquamarine glass.
Decorated Glass was produced throughout the periods. The decoration could vary from several small lines on a solid backgroud to complex "king tut" decoration where almost all of the surface of the piece was decorated with random swirled lines. Some special styles of decoration include peacock feathers with eyes, zipper decoration, floral decoration with various types of stylized leaves and flowers.
Cypriote Glass, which was probably inspired by the appearance of ancient glass which had been unearthed after being buried for hundreds of years, and had taken on a roughened irridized surface. The surface often had crater like irregularities resembling the surface of the moon.
Lava Glass which is a dark bluish black background with applied three dimensional designs in gold which simulated the flow of lava.. These are very rare and valuable
Agate glass, which was made to resemble agate with many banded and shaped layered colors. Often these vases were faceted to created even more unusual effects with color.
Paperweight glass which was essentially transparent glass with floral or geometric colored designs had been created internally to give the appearance that the design element was under water or floating within the glass, like the paperweights we use on our desks
Aquamarine glass which is similar to paperweight glass with internal decorations of often aquatic subject matter like fish, which appear to be swimming in the glass.
Cameo glass, which was a technique where when the glass was made one color layer was applied on top of another. In the finishing process the design was created by cutting into the top color to reveal the underneath color cut in often floral techniques.
In the collecting of Tiffany Glass size and color does matter. The most common color is gold, followed by iridescent blue and green. Rarer colors include red, yellow , orange and black. Rarer colors, more complex decoration and size definitely impact on value.
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dr. robert lerch
KHOJ International Artists' Association presents Peers 2010 student's residency programme
New Delhi: KHOJ International Artists' Association presentsPeers 2010 bringing together five recent graduates from art and fashion institutes in a four week long student's residency programme at the studios of Khoj International Artists Association, S-17, Khirkee Extension, New Delhi from May 15, 2010 to June 15, 2010. The residency culminates with an Open Studio Day from June 11, 2010 to June 15, 2010 inviting the larger artists' community and the general public to view the Peers projects.
Initiated in 2003, with support from the IFA (India Foundation for the Arts), Peers is an annual education and outreach residency programme that brings together five recent graduates from art institutions all over India. For four weeks, these young artists shed the expectations and rigidity of a structured curriculum, working together in a discursive space that stresses the role of free experimentation and risk-taking in art practice.
The selected students of Peers 2010 residency programme include: Neha Thakar (Maharaja Sayajirao University, Baroda), Rabindra Patra (Dhauli College of Art and Craft,Bhubaneswar), Agat Sharma (NIFT, Delhi), Bhavin Mistry (Maharaja Sayajirao University, Baroda) and Malik Sajad (College of Fine Art and Music, Srinagar). Apart from the students in residency, the critic - in residence, Vrushali Dhage (Mumbai University) would actively engage with these practitioners and work on a well-research paper that contextualizes and critically examines the Peers projects. The final jury for 2010 selection consists of Bani Abidi and Manisha Parekh
Says Pooja Sood, Director, KHOJ International Artists' Association: "The Peers residency has become one of the most important programmes at Khoj ever since its inception. Poised between student-hood and the professional art market, the Peers artists bring their individual histories and experiences which contribute to the extremely vibrant atmosphere of the residency. Khoj provides the infrastructure- studios, digital laboratories, extensive research archives and the opportunity to engage with a larger artists' community, some of whom participate in a mentor's role during the residency. These artists are encouraged to move out of the physical environs of the studios and explore the area and its community. Visits to artists' studios, gallery exhibitions and other events in Delhi are also organized during the course of the residency."
With the commercial boom in the art market, many students were absorbed directly into the gallery system right out of college. Without the structure and security of the institution and faced with the immense challenges that the professional art scene poses, the practice of many young artists runs the risk of falling prey to predictability brought on by the vagaries of the art market. Khoj fills the essential vacuum between the structured environment of an art school and the rigors of the professional art scene. At the residency, artists are encouraged to shed the inhibitions and step outside of their usual art practice, innovate and experiment with new forms of art making, which they may not otherwise have the time nor space to do. The importance of peer to peer learning through interactions and exchange cannot be underestimated. Five practitioners bring together varied experiences of their background, place and practice. Students from established centres of art practice interact with talented artists from smaller towns; trained painters meet cartoonists, amateur film makers, architects…. all of which results in a potent environment for exciting new art practices to emerge!
Since 2003, many Peers alumni have gone on to win prestigious awards; they have been invited by established galleries to participate in important exhibitions; but most of all they have achieved an imperative leap in their own individual practice- which is after all the most important factor for an artist.
Participants are invited through an open call for applications, the last date for which is usually end- February/ early March. From almost 100 applications, 5 artists and 1 critic in residence are chosen. The selection process is based on bringing together a diverse group of practitioners, both in terms of art background (previous Peers have included painters, print makers, film makers, architects from institutions as well as amateurs who display exceptional talent) as well as from cities and towns all over India.
In bringing together artists working in a variety of media, drawing from multiple traditions, Peers thus inculcates the value of learning and growth through a critical dialogue, interaction and exchange.
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Beads have literally rolled their way round the world, picking up, along the journey, bits of culture, lore and drama.
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