Tiffany Studios

with a "Tree" base

William Feldstein, Jr. and Alastair Duncan, The Lamps of Tiffany Studios, New York, 1983, pp. 36-37
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 40 cracks to the glass tiles dispersed throughout, which is a relatively low number in proportion to the vast number of glass tiles required to execute this complex and monumental shade. The shade with surface soiling around the perimeter contours of the glass adjacent to the shade leading. The top bronze armature of the shade with some gentle rubbing to the high points of the design, and with some light surface soiling and residue to the recessed contours of the branching. The upper branching and shade leading are beautifully articulated and display a rich russet brown and green patina. The patinated bronze “Tree” base displays outstanding details to the casting, as well as an exceptionally deep and rich green and russet brown patina. The bronze surfaces with some occasional light surface scratches, rubbing to the patina at the high points of the design and with some minor traces of surface soiling to the recessed contours consistent with age and gentle use. The base retains its original bronze decorative switch, which shows some gentle rubbing to the outer contours. This switch is fully functional as a two-way switch. With replaced sockets. The lamp displays beautifully in person with strong visual presence and movement, as well as a well-varied and artistic glass selection.
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 lamp model, designed by Clara Driscoll in 1901, is one of the most iconic lamp designs produced by Tiffany Studios.  Its complex pattern is comprised of nearly 2,000 pieces of glass that had to be individually selected and cut.  Consequently, each Wisteria lamp possesses its own distinct color variations.  This particular example displays an exquisite range of deep cobalt blue and violet, delicately balanced with softer pastel tonalities to show the dimensionality of the dripping wisteria clusters.  Perhaps the most distinct quality about this particular lamp is the delicacy of the trailing leaves depicted in a wide range of green, golden yellow and coral hues, evoking the onset of autumn.  The overall effect achieved by the glass selection is lyrical and full of movement, capturing the lushness of the wisteria blossom in bloom.

In 1906, the price for a Wisteria was $400.00, making it one of the more expensive lamps in Tiffany's line.  As revered as this luxury item was in the period, the Wisteria lamp is now widely recognized as an icon of American design and one of Tiffany Studios' most accomplished masterworks in leaded glass.