Lot 323
  • 323

Tiffany Studios

400,000 - 600,000 USD
bidding is closed


  • Tiffany Studios
  • “Wisteria” Table Lamp
  • mounting post on underside of shade crown impressed 2267 and 4
    top of base column impressed 2267 and 4
    base impressed TIFFANY STUDIOS/NEW YORK/2267 and 4/4
  • leaded glass and patinated bronze
with a "Tree" base


Toll Family Collection, Denver, Colorado, circa 1905
Thence by descent


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

Catalogue Note

The iconic "Wisteria" table lamp model was not only Clara Driscoll’s most ambitious work for Tiffany Studios, but also her most successful. It is painterly yet sculptural; impressionistic yet conventionalized. It represents the confluence of a multitude of influences and inspirations drawn from art, the natural world, and surely from Tiffany’s own exceptional glass. The model required incredible skill and artistic vision of Tiffany’s glass-makers and cutters in order to articulate the lush, dripping wisteria blossoms in nearly 2,000 individually cut and selected glass tiles.

True to nature, the "Wisteria" is generally executed in a blue and purple palette, extending occasionally into pink and aqua.  However, such a complex design afforded Tiffany’s craftsmen with ample opportunity to experiment with color. Therefore we often see a wide range of "Wisteria" shades. Some evoke mature, deeply saturated blossoms; others are gentler with soft colors calling to mind the first blooms of spring. The present "Wisteria" touches both ends of the spectrum, with rich cobalt, amethyst and ultramarine, contrasted with pale lavender and pearly white. The overall effect achieved is that of layers upon layers of wisteria blossoms as they would occur in nature, receding into space and cascading with dynamic, graceful irregularity.