Tiffany Studios

Private Family, Philadelphia, PA, circa 1965
Thence by descent to the present owner

William Feldstein, Jr. and Alastair Duncan, The Lamps of Tiffany Studios, New York, 1983, pp. 32-33 
Alastair Duncan, Martin Eidelberg and Neil Harris, Masterworks of Louis Comfort Tiffany, London, 1989, p. 108 
Martin Eidelberg, Alice Cooney Frelinghuysen, Nancy A. McClelland and Lars Rachen, The Lamps of Louis Comfort Tiffany, New York, 2005, pp. 154 and 156

Overall in very good condition. The shade with approximately 11 cracks to the glass tiles dispersed throughout. All of these hairlines appear stable. The shade leading in the top row of geometric tiles appears to have been stabilized in the past. Just below this area, there are a few isolated areas of minor separations between the glass tiles and leading. (Such leading separations on large shades are quite common, as the upper register below the top shade ring bears the weight of the shade. If desired this minor issue could be easily stabilized through conservation.) The shade leading appears to have been stabilized in the past in a few small isolated areas, as evidenced by traces of green pigment to the leading and adjacent bottom rim. Two geometric tiles above the bottom rim are possibly replaced. The patinated bronze surfaces of the reticulated base display an exceptionally rich and deep russet brown and green patina. The patinated bronze surfaces with some occasional light surface scratches and abrasions, rubbing, and surface soiling to the recessed contours of the design, all commensurate with age and gentle handling. The telescoping device on the base (which allows one to adjust the height of the base if desired) is fully functional. Three of the feet with old felt glides on the underside; one foot with traces of adhesive from a previous glide. All six electrical sockets appear to be original and undisturbed; the interior electrical mechanisms have been updated; and the pull chairs appear to be old replacements from the period. Two pull chains are missing their small acorn terminals (easily replaceable if desired). The rare "volcano" finial appears original to the lamp, showing a complementary patina to the base. The finial is in beautiful condition, showing very light wear and gentle rubbing. A stunning example of this iconic floral pattern, displaying a highly artistic and dynamic glass selection that imparts the shade with strong visual movement and an impressionistic sensibility of dappled light on the blossoms and foliage. The sculptural reticulated base is highly complementary, displaying elegant proportions and further heightening the dynamic presence of the lamp. When viewing this lamp firsthand, the colors are richer and more nuanced than seen in the catalogue illustrations. The catalogue photography does not fully capture the radiance and luminosity of the glass. -----
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 peony blossom, with its extraordinary lushness and variation in color palette, allowed Tiffany to pursue a highly painterly approach when representing them in his leaded glass shades.  The many delicate layers of petals depicted in the present “Elaborate Peony” are articulated through both through elegant, refined contours and thoughtful glass selection.  Deep crimson petals transition into softer reds and pinks around warm orange and golden centers, creating dimension within each flower as well as spatial distinction between the foreground and background.  The shade’s background passages are accented with vigorously mottled rich purple and cobalt with a stunning selection of lavender and deep amethyst hues in the upper register.  This dimensionality is carried through to the reticulated base with its organic, sinuous lines and undulating surface, making it a favored, highly desirable pairing for this iconic shade.

The overall shade composition is punctuated by young, not-yet-bloomed peony buds.  Depicting both the fully-bloomed and yet-to-bloom flower imbues the composition with a wonderful Impressionistic quality, as if to capture a single, fleeting moment in nature.  The thoughtful positioning of both mottled and striated opalescent glass effectively conveys a dynamic sun-dappled effect on the lush blossoms and foliage.  Beyond its inherent beauty, Tiffany also would have been attracted to the peony blossom for its significance in Eastern art as a symbol of strength.  With the Elaborate Peony model—and with this magnificent example in particular—Tiffany succeeds in beautifully incorporating his preference for irregularity and naturalism with his interest in Eastern aesthetics.