325
325

PROPERTY FROM THE TEDDY AND ARTHUR EDELMAN COLLECTION

Tiffany Studios
"WISTERIA" TABLE LAMP
Estimate
400,000600,000
LOT SOLD. 579,000 USD
JUMP TO LOT
325

PROPERTY FROM THE TEDDY AND ARTHUR EDELMAN COLLECTION

Tiffany Studios
"WISTERIA" TABLE LAMP
Estimate
400,000600,000
LOT SOLD. 579,000 USD
JUMP TO LOT

Details & Cataloguing

Important Design

|
New York

Tiffany Studios
"WISTERIA" TABLE LAMP
with a "Tree" base
shade impressed TIFFANY STUDIOS/NEW YORK
mounting post on underside of shade crown impressed 10117
top of base column impressed 10117
underside of base impressed 5
base plate impressed TIFFANY STUDIOS/NEW YORK/10117 and 5
leaded glass, patinated bronze
27 1/4  in. (69.2 cm) high
18 3/8  in. (46.7 cm) diameter of shade
circa 1905
Read Condition Report Read Condition Report

Provenance

Acquired by Teddy and Arthur Edelman, circa 1950

Literature

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


Tiffany's "Wisteria" table lamp model was the firm's most ambitious shade design. Created by Clara Driscoll in 1901, the incredible success of the model is owed to its embrace of the most desirable aesthetic themes that were in vogue at the turn of the century. Its complex design presented an opportunity to showcase the exceptional artistry and technical skill of Tiffany’s craftsmen, and it is no wonder that by 1906 the Wisteria was the most expensive item offered by the firm, priced at $400.

The wisteria vine was a popular subject in Japanese prints and paintings, which had a strong influence on American decorative arts and on Tiffany in particular.  In fact, the wisteria was so beloved by Louis C. Tiffany that he made them a prominent feature at his Laurelton Hall estate on Long Island, both indoors as leaded glass depictions and outdoors in the property's expansive gardens.  Beyond the reference to Japanese aesthetics in the wisteria blossom itself, Japonism is apparent in the simplification of the floral forms and the graphic quality of the leadwork, which similarly demonstrate Tiffany’s embrace of conventionalized decorative motifs. This slight abstraction of the floral form is balanced by the shade's sensitive and faithful bronze depictions of gnarled vines on the shade crown and the textured tree trunk base, which show Tiffany's adherence to naturalism.

Capturing the layers of delicate, dripping wisteria panicles in leaded glass was no easy task, requiring the innovation, ingenuity, and artistic vision that could only be found at Tiffany Studios. In this model, nearly 2,000 individually cut and selected favrile glass tiles culminate to create an impressionistic effect. The lyrical and painterly glass selection is redolent of Impressionism, imparting the blossoms with a sense of dimension.  In the present shade, rich cobalt and amethyst is incorporated with soft lavender and sky blue, creating the effect of sunlight falling on the petals. Distinguishing this lamp further, the lower panicles are accented in a range of jewel-tone hues.

Important Design

|
New York