Tiffany Studios

Bob Ogorek, Davison, MI
Sandra van den Broek, New York
Acquired from the above by the present owner

Alastair Duncan, Fin de Siècle Masterpieces from the Silverman Collection, New York, 1989, p. 44

Overall in very good condition. The shade with approximately 35 cracks to the glass tiles dispersed throughout, which is a relatively low number in proportion to the vast number of glass tiles which were required to execute this large and complex shade. All of these hairlines appear stable. The shade leading displays an exceptionally deep and rich green and russet brown patina. The patinated bronze crown above the shade is original and undisturbed, displaying an equally rich and satisfying corresponding patina. The patinated bronze link chains—each with integral sizing fasteners to level the shade—appear to be period. The other hanging hardware (ceiling canopy, rod and socket cluster) appear to be replaced. It is quite common for such hardware on Tiffany chandeliers to be adapted or replaced throughout the years as a result of different domestic installations. A second additional bronze rod accompanies this chandelier from a prior installation to accommodate for a taller ceiling. Lacking the small bronze cover to the underside of the socket cluster. An outstanding example of this rare Grape model, displaying the highest artistry of Tiffany's favrile glass. The glass selection in this shade is magnificent, displaying a wide range of decorative techniques including "Confetti" (fractured) glass, streamer glass and vigorously mottled glass. The grapes are articulated in a full range of rich luminous hues, including ultramarine, purple, cobalt blue, magenta and red burgundy, capturing the fruit during its full maturation cycle. The trellis glass is extraordinary, evoking the sense of a "weathered trellis" in vigorously mottled hues of pale blue and burgundy. When viewing this chandelier firsthand, the colors are slightly more saturated and nuanced than seen in the catalogue illustrations, which doesn't fully capture the richness 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 extraordinary variation in the glass selection for the present offering demonstrates Tiffany’s refined skills as a colorist and glass-maker.  In the Grape chandelier, a broad range of glass innovations are showcased, including passages of fractured glass, ring-mottled glass and streamer glass.  The fractured and streamer glass tiles especially heighten the artistic representation of the grapevine motif, with passages depicting the delicate curl of the plant’s leaves and vines, as well as the impressionistic changes in coloration of the fruit.  

The vine trellis displays vigorously mottled glass in an unusual pale blue-grey with deep burgundy tones.  The mottling evokes a weathered trellis from which the vines rest and intertwine.  The subtle coloration of the trellis glass complements the nuanced progression of the fruit ranging from deep violet and cobalt tones to luminous magenta and red grapes.  Tiffany’s interest in portraying change and temporality within nature is shown through this thoughtful, impressionistic glass selection.  Ultimately, this offering evokes the slow transformation of the grape during the harvest season through a skillful and sensitive interpretation, highlighting luminous color and diverse textures to achieve a harmonious composition.    

Tiffany’s glass was a medium ripe for capturing unique portrayals of abstracted natural motifs.  By infusing these depictions of nature with great artistry and finesse, Tiffany’s success would also spread internationally.  The Parisian decorative arts dealer Siegfried Bing notably commented later in the 20^th century on the glass produced by Tiffany Studios, and highlights the passion for color and texture demonstrated in this Grape model:

…what [Tiffany] wanted is the discreet claim of semi-opaque tones in which, embedded within the glass itself, he simulated fine veins, filaments and trails of color similar to the delicate nuances in the skin of fruit, the petal of a flower, the veins of an autumn leaf.¹

In the Grape pattern, the naturalistic depiction of finely veined leaves demonstrates a sensitive representation of a motif that was popularized by the firm around the turn of the century.  A close connection to Tiffany’s vision of naturalistic design is demonstrated in one of the firm’s archival photographs of Poppy Seeds and Grapes.  Here, the graceful curves of the vine in the photograph evidence a dedicated study of the plant and provide a window into the firm’s artistic process of working directly from nature.  

¹ Siegfried Bing, La Culture artistique en Amérique, Paris 1896, pp. 89-90.