Tiffany Studios

with a "Pumpkin" base with pebble decoration

Private Collection, Connecticut
Macklowe Gallery, New York, 1983

William Feldstein, Jr. and Alastair Duncan, The Lamps of Tiffany Studios, New York, 1983, pp. 96-97 (for the present example illustrated)
Jacob Baal-Teshuva, Louis Comfort Tiffany, New York, 2001, p. 221
Alastair Duncan, Louis C. Tiffany: The Garden Museum Collection, Woodbridge, Suffolk, 2004, p. 319 
Alastair Duncan, Tiffany Lamps and Metalware, Woodbridge, Suffolk, 2007, p. 42, no. 143 (for the present example illustrated) and p. 140 (for a period photograph of the model)
Martin Eidelberg, Alice Cooney Frelinghuysen, Nancy A. McClelland and Lars Rachen, The Lamps of Louis Comfort Tiffany, New York, 2005, pp. 14-15

Overall in very good condition. All of the inset pebbles and cut glass in the shade appear original, intact and undisturbed. Some of the pebbles show minor surface irregularities which are inherent to the natural qualities of the stone, and with a few sporadic internal hairlines (all stable) which also appear inherent in the stone. The shade is slightly out of round, and has a slightly snug fit when set within the shade ring. The rare "pebble" base is in remarkable original condition. The vibrant green favrile glass body is in very good condition, showing no cracks or significant condition issues. The exterior surface of the glass with a subtle glass thread which extends around the circumference of the base; this thread is inherent in the original glass-blowing process. The upper regions of the glass with some light rubbing from gentle surface contact with the upper mount. The bezel-mounted pebbles on the base all appear intact, original and undisturbed. Similar to the shade, these pebbles show surface irregularities which are inherent in the natural qualities of the stone. The mounted pebbles with traces of surface soiling in the natural recessed contours. The patinated bronze filigree mount with light surface wear and minor surface soiling to the recessed areas of the design. The exterior of the oil font and interior receiving well on the base with minor discolorations and oxidation. By all accounts this lamp appears to have had an early period conversion to electricity; the oil font retains its original reticulated gallery, socket and paddle switch from the period. The oil font has not been drilled and the electric cord extends from the gallery just below the socket. With a replaced clear glass chimney (not illustrated in the catalogue illustration) with a few faint surface scratches. A superb example of this exceedingly rare lamp model. The lamp is absolutely dazzling when experienced in person, showing great tactility and radiance. The execution is exquisite and the proportions and scale quite refined, imparting the lamp with a precious, jewel-like sensibility. -----
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 artful design and construction of the present lamp incorporate both Tiffany’s love of the natural world and his interest in conventionalized forms.  The use of natural pebbles immediately imbues the lamp with a rich, organic quality.  As embellishments on the base, the pebbles create visual harmony between the highly controlled twisted bronze decoration of the base collar and the charming, natural irregularities of the shade.  The pebbles also function as the artistic medium to devise the shade’s subtle, simplified floral scheme.  In using an imperfect, organic material to construct an abstract, stylized pattern, Tiffany gives order to the seemingly disordered.

The success of this design is thanks to the extraordinary craftsmanship evident throughout the lamp.  For instance, where a commercially-produced spherical glass base might have been sufficient, Tiffany instead chose to produce a more naturalistic hand-blown favrile glass base, which further required the bronze collar to be custom fit to conform to its gently undulating surface.  The firm's resources and confidence to invest in experimentation for such an elaborate, labor-intensive design were likely a byproduct of the early success of Tiffany’s leaded glass lamps.  Thus, the “Pebble” model in many ways represents Tiffany’s most closely-held ideals, from naturalism and aesthetics to artistry and innovation.