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Auktionsarchiv: Los-Nr. 416

Property of a Private CollectorTiffany

Important Design
08.12.2022
Schätzpreis
500.000 $ - 700.000 $
Zuschlagspreis:
n. a.
Auktionsarchiv: Los-Nr. 416

Property of a Private CollectorTiffany

Important Design
08.12.2022
Schätzpreis
500.000 $ - 700.000 $
Zuschlagspreis:
n. a.
Beschreibung:

Property of a Private CollectorTiffany Studios"Wisteria" Table Lamp
circa 1901leaded glass, patinated bronzebase impressed TIFFANY STUDIOS/NEW YORK/55326½ in. (67.3 cm) high18½ in. (47 cm) diameter of shadeCondition reportOverall in very good condition. The present lamp is an early experimental example of what would become Tiffany’s best selling lamp model. When viewed firsthand, the shade displays a rich and highly artistic glass selection in a range of blue and purple tones, including ultramarine, indigo, periwinkle, cornflower blue and violet. The composition is accented by branching leaves in shades of apple green and warm yellow. The wisteria blossoms are interspersed with more transparent striated and rippled glass, which enhances the effect of light passing through the blooms. The shade with approximately 18 hairline cracks dispersed throughout, stable and which is a relatively low number when taking into consideration the vast number of individual glass tiles comprising a shade of this scale and complexity. As is commonly seen with the "Wisteria" model, a few of the lower panicles along the bottom irregular border are very subtly bent inward; these elements all appear stable. The shade with some minor traces of surface soiling concentrated to the contours adjacent to the leadlines, consistent with age. The top bronze armature of the shade and lower branching is finely cast and displays some scattered minor surface scratches, abrasions and light wear consistent with age and gentle handling. The “Tree” base displays a rich, variegated patina when viewed firsthand and is imparted with further dimension and naturalism by the addition of finely chased decorative cross-hatching. The patinated bronze surfaces present with scattered minor surface scratches, wear and discolorations, consistent with age and gentle handling, as well as some occasional oxidation and traces of surface soiling concentrated to the recessed contours of the design. The base column above the sockets presents with a drilled hole measuring 7/16 in. in diameter, which was done in the period by the firm and likely accommodated an original pull chain switch. The base with a later added multi-position switch. The base plate is period but appears to have been associated with the lamp at some point in the history of the piece. With later replaced sockets. An outstanding and early example of this iconic and highly desirable model with an exceptionally artistic glass selection.
The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.ProvenancePrivate Collection, New Jersey, circa late 1960s
Thence by descent to the present ownerLiteratureRobert Koch, Louis C. Tiffany: Rebel in Glass, New York, 1964, pl. v
Dr. Egon Neustadt, The Lamps of Tiffany, New York, 1970, pp. 215-220
Alastair Duncan, Tiffany At Auction, New York, 1981, pp. 89, no. 238 and 148, no. 391
William Feldstein, Jr. and Alastair Duncan, The Lamps of Tiffany Studios, New York, 1983, p. 37
Robert Koch, Louis C. Tiffany's Glass, Bronzes, Lamps: A Complete Collector's Guide, New York, 1989, p. 131
Robert Koch, Louis C. Tiffany: The Collected Works of Robert Koch, Atglen, PA, 2001, pp. 74, 242 and 284
Alastair Duncan, Louis C. Tiffany: The Garden Museum Collection, Woodbridge, Suffolk, 2004, pp. 292-293
Martin Eidelberg, Alice Cooney Frelinghuysen, Nancy A. McClelland and Lars Rachen, The Lamps of Louis Comfort Tiffany New York, 2005, p. 107
Alastair Duncan, Tiffany Lamps and Metalware, Woodbridge, Suffolk, 2007, p. 67, no. 254
Martin Eidelberg, Nina Gray and Margaret K. Hofer, A New Light on Tiffany: Clara Driscoll and the Tiffany Girls, London, 2007, p. 48
Timeless Beauty, The Art of Louis Comfort Tiffany exh. cat., The Charles Hosmer Morse Museum of American Art, Atglen, PA, 2016, p. 119Catalogue noteThe “Wisteria” lamp model is widely recognized as an icon not just of Tiffany Studios’ extensive body of work, but also as a design icon of the 20th Century. Designed in 1901 by the head of the Women’s Glass Cutters Department Clara Driscoll, the shade’s conventionalized floral forms and naturalistic coloration demonstrate the influence of Impressionism and Japonesque aesthetics that were popular at the time. Known as the “blue vine” in Japan, the wisteria was introduced to the United States in the mid-nineteenth century, where it blossomed in popularity and made its way to Louis Comfort Tiffany’s Long Island estate Laurelton Hall. Its translation into a leaded glass shade demonstrates the incredible artistry and craftsmanship of Tiffany Studios. The shade pattern is comprised of nearly 2,000 individually cut and selected pieces of glass and, as a result, each Wisteria lamp possesses its own distinct character and color palette, despite being a standard model. Technical aspects of the model evolved following its conception: early examples of the shade model, such as the present lot, feature a sharp shoulder, whereas later versions display a gentler curve descending from the upper bronze armature. Further, the glass cutting pattern of the model was also revised slightly by the firm in late 1902 to early 1903. The present shade displays the earliest variety of the glass pattern and further the shade and “Tree” base are not impressed with a work order number, four or five-digit sequences which were used when the firm produced Wisteria lamps in small batches from late 1901 through 1905. This underscores the present lamp’s rarity as a very early and experimental example of the model, executed before the firm had committed to creating in volume what would eventually become one of its best-selling lamps. This extraordinary Wisteria example presents a stunning, highly saturated and nuanced color palette in its lush panicles, ranging from deep cobalt to lavender with translucent tiles with vibrant green and aquamarine striations. The overall effect is of light passing through a curtain of dripping wisteria blossoms, capturing and even amplifying the glory of nature that Louis C. Tiffany so admired.

Auktionsarchiv: Los-Nr. 416
Auktion:
Datum:
08.12.2022
Auktionshaus:
Sotheby's
34-35 New Bond St.
London, W1A 2AA
Großbritannien und Nordirland
+44 (0)20 7293 5000
+44 (0)20 7293 5989
Beschreibung:

Property of a Private CollectorTiffany Studios"Wisteria" Table Lamp
circa 1901leaded glass, patinated bronzebase impressed TIFFANY STUDIOS/NEW YORK/55326½ in. (67.3 cm) high18½ in. (47 cm) diameter of shadeCondition reportOverall in very good condition. The present lamp is an early experimental example of what would become Tiffany’s best selling lamp model. When viewed firsthand, the shade displays a rich and highly artistic glass selection in a range of blue and purple tones, including ultramarine, indigo, periwinkle, cornflower blue and violet. The composition is accented by branching leaves in shades of apple green and warm yellow. The wisteria blossoms are interspersed with more transparent striated and rippled glass, which enhances the effect of light passing through the blooms. The shade with approximately 18 hairline cracks dispersed throughout, stable and which is a relatively low number when taking into consideration the vast number of individual glass tiles comprising a shade of this scale and complexity. As is commonly seen with the "Wisteria" model, a few of the lower panicles along the bottom irregular border are very subtly bent inward; these elements all appear stable. The shade with some minor traces of surface soiling concentrated to the contours adjacent to the leadlines, consistent with age. The top bronze armature of the shade and lower branching is finely cast and displays some scattered minor surface scratches, abrasions and light wear consistent with age and gentle handling. The “Tree” base displays a rich, variegated patina when viewed firsthand and is imparted with further dimension and naturalism by the addition of finely chased decorative cross-hatching. The patinated bronze surfaces present with scattered minor surface scratches, wear and discolorations, consistent with age and gentle handling, as well as some occasional oxidation and traces of surface soiling concentrated to the recessed contours of the design. The base column above the sockets presents with a drilled hole measuring 7/16 in. in diameter, which was done in the period by the firm and likely accommodated an original pull chain switch. The base with a later added multi-position switch. The base plate is period but appears to have been associated with the lamp at some point in the history of the piece. With later replaced sockets. An outstanding and early example of this iconic and highly desirable model with an exceptionally artistic glass selection.
The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.ProvenancePrivate Collection, New Jersey, circa late 1960s
Thence by descent to the present ownerLiteratureRobert Koch, Louis C. Tiffany: Rebel in Glass, New York, 1964, pl. v
Dr. Egon Neustadt, The Lamps of Tiffany, New York, 1970, pp. 215-220
Alastair Duncan, Tiffany At Auction, New York, 1981, pp. 89, no. 238 and 148, no. 391
William Feldstein, Jr. and Alastair Duncan, The Lamps of Tiffany Studios, New York, 1983, p. 37
Robert Koch, Louis C. Tiffany's Glass, Bronzes, Lamps: A Complete Collector's Guide, New York, 1989, p. 131
Robert Koch, Louis C. Tiffany: The Collected Works of Robert Koch, Atglen, PA, 2001, pp. 74, 242 and 284
Alastair Duncan, Louis C. Tiffany: The Garden Museum Collection, Woodbridge, Suffolk, 2004, pp. 292-293
Martin Eidelberg, Alice Cooney Frelinghuysen, Nancy A. McClelland and Lars Rachen, The Lamps of Louis Comfort Tiffany New York, 2005, p. 107
Alastair Duncan, Tiffany Lamps and Metalware, Woodbridge, Suffolk, 2007, p. 67, no. 254
Martin Eidelberg, Nina Gray and Margaret K. Hofer, A New Light on Tiffany: Clara Driscoll and the Tiffany Girls, London, 2007, p. 48
Timeless Beauty, The Art of Louis Comfort Tiffany exh. cat., The Charles Hosmer Morse Museum of American Art, Atglen, PA, 2016, p. 119Catalogue noteThe “Wisteria” lamp model is widely recognized as an icon not just of Tiffany Studios’ extensive body of work, but also as a design icon of the 20th Century. Designed in 1901 by the head of the Women’s Glass Cutters Department Clara Driscoll, the shade’s conventionalized floral forms and naturalistic coloration demonstrate the influence of Impressionism and Japonesque aesthetics that were popular at the time. Known as the “blue vine” in Japan, the wisteria was introduced to the United States in the mid-nineteenth century, where it blossomed in popularity and made its way to Louis Comfort Tiffany’s Long Island estate Laurelton Hall. Its translation into a leaded glass shade demonstrates the incredible artistry and craftsmanship of Tiffany Studios. The shade pattern is comprised of nearly 2,000 individually cut and selected pieces of glass and, as a result, each Wisteria lamp possesses its own distinct character and color palette, despite being a standard model. Technical aspects of the model evolved following its conception: early examples of the shade model, such as the present lot, feature a sharp shoulder, whereas later versions display a gentler curve descending from the upper bronze armature. Further, the glass cutting pattern of the model was also revised slightly by the firm in late 1902 to early 1903. The present shade displays the earliest variety of the glass pattern and further the shade and “Tree” base are not impressed with a work order number, four or five-digit sequences which were used when the firm produced Wisteria lamps in small batches from late 1901 through 1905. This underscores the present lamp’s rarity as a very early and experimental example of the model, executed before the firm had committed to creating in volume what would eventually become one of its best-selling lamps. This extraordinary Wisteria example presents a stunning, highly saturated and nuanced color palette in its lush panicles, ranging from deep cobalt to lavender with translucent tiles with vibrant green and aquamarine striations. The overall effect is of light passing through a curtain of dripping wisteria blossoms, capturing and even amplifying the glory of nature that Louis C. Tiffany so admired.

Auktionsarchiv: Los-Nr. 416
Auktion:
Datum:
08.12.2022
Auktionshaus:
Sotheby's
34-35 New Bond St.
London, W1A 2AA
Großbritannien und Nordirland
+44 (0)20 7293 5000
+44 (0)20 7293 5989
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