Tiffany Studios

Private Collection, Florida
Christie's New York, December 15, 2010, lot 218
Acquired from the above by the present owner

William Feldstein, Jr. and Alastair Duncan,
The Lamps of Tiffany Studios, New York, 1983,
pp. 36-37
Alastair Duncan, Fin de Siècle Masterpieces from the Silverman Collection, New York, 1989, p. 40
Alastair Duncan, Louis C. Tiffany:  The Garden Museum Collection, Woodbridge, Suffolk, 2004, p. 293
Martin Eidelberg, Alice Cooney Frelinghuysen, Nancy A. McClelland and Lars Rachen, The Lamps of Louis Comfort Tiffany, New York, 2005, pp. 106-107
Martin Eidelberg, Nina Gray and Margaret K. Hofer, A New Light on Tiffany:  Clara Driscoll and the Tiffany Girls, London, 2007, p. 48

Overall in very good condition. The shade with approximately 25-28 cracks to the glass tiles dispersed throughout, which is a relatively low number in proportion to the vast number of glass tiles (approximately 2,000) which were required to execute this complex and monumental shade. All of these hairlines appear stable. With a tiny fracture to the shade leading, approximately 2 inches above the lower panicle border (stable). The top armature of the shade and branching is highly sculptural and tactile, and adds great visual interest and dimension to the lamp. With a particularly rich and deep green and russet brown patina to the top armature, branching and shade leading. With gentle rubbing to the high points of the top reticulated shade armature. The Tree base displays exceptional quality to the casting, and the branching on the lower base cushion is particularly sculptural and well defined. The bronze surfaces of the base display a rich and vibrant green and russet brown patina. The base with occasional light surface scratches around the perimeter of the cushion, gentle rubbing, and a few minor traces of surface residue consistent with age and gentle handling. With a few very small and minor areas of touch-ups to the patina on the base standard. With what appears to be a very small recessed casting flaw to the base standard (3/8 inch in length), located approximately 12 inches above the cushion (inherent in the making and not visually detracting). The lamp retains its original base switch which is fully functional as a two-way switch. The perimeter contours of the base switch with expected rubbing and wear to the patina. All four electrical socket casings appear original and undisturbed. Four plastic socket collars have been added for safety. The lamp displays beautifully in person with strong visual presence and movement. The glass selection is well varied and highly saturated, displaying an exceptionally rich range of ultramarine, cobalt and periwinkle hues to articulate the Wisteria blossoms. When viewing the lamp firsthand the colors are more saturated with greater brilliance and nuance. The catalogue photography and printing does not fully capture the radiance and luminosity of the glass, most notably the richness and depth of the ultramarine and cobalt passages. The green hues articulating the leaf passages are also more vibrant and less dense. A stunning and dramatic example of Wisteria's iconic Wisteria Lamp.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

The “Wisteria” table lamp model, designed by Clara Driscoll in 1901, is an icon both of Tiffany Studios and of American design from the Twentieth Century.  With its lush, dripping vines masterfully articulated in nearly 2,000 pieces of individually selected and cut favrile glass, the Wisteria is a triumph of craftsmanship and exemplifies the inspirations and ideals that were most important to Louis C. Tiffany.

The conventionalized floral forms and an impressionistic color palette of the Wisteria model highlight the importance of Japanese aesthetics in Tiffany’s glass designs.  Like many of his contemporaries in the late Nineteenth and early Twentieth Centuries, Tiffany embraced the Japonesque style with great enthusiasm.  The popularity of the wisteria vine motif in traditional Japanese paintings, along with the flower’s rich and diverse colors and forms, made the wisteria blossom the ideal subject to be represented in his leaded glass designs. Tiffany’s high regard for the Wisteria design is evidenced not only by the fact that in 1906 the Wisteria lamp was among the most expensive lamps offered by Tiffany ($400), but also by the fact that Tiffany famously installed a wisteria pergola at his Laurelton Hall estate.

The success of capturing the complexity of the wisteria blossom is owed to Tiffany Studios’ incredible artistry and mastery of their craft.  In the present Wisteria table lamp shade, the dimensionality of the blossoms is rendered through its sensitively composed color palette, which transitions from rich jewel tones of cobalt and ultramarine to softer lilacs.  The resulting effect imparts a strong sense of visual movement suggestive of the layering of blossoms over one another.  Paired with a “Tree Trunk” base as tradition dictates, the elements of this lamp form a unified composition that fulfills Tiffany’s commitment to naturalism in his design works.  The present Wisteria is an extraordinary example of Tiffany’s unparalleled skill as craftsman, colorist, and artist.