Tiffany Studios

Craig Huston, Philadelphia
Sotheby's New York, April 18, 1974, lot 112
Lillian Nassau, New York
Acquired from the above by the present owner

William Feldstein, Jr. and Alastair Duncan,
The Lamps of Tiffany Studios, New York, 1983, pp. 36-37
Alastair Duncan, Fin de Siècle Masterpieces from the Silverman Collection, New York, 1989, p. 40
Alastair Duncan, Louis C. Tiffany:  The Garden Museum Collection, Woodbridge, Suffolk, 2004, p. 293
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 and base are both impressed with the firm's production numbers 25525/1 and 22525/1. By all accounts the shade and base appear to have originated together from the time of manufacture—one can assume when these components were marked there was a mis-strike in the second numeral. The shade with approximately 30-35 cracks to the glass tiles dispersed throughout, which is a relatively low number in proportion to the vast number of glass tiles (approximately 2,000) which were required to execute this complex and monumental shade. All of these hairlines appear stable. One glass tile just above the lower panicle border with a very small and shallow surface fleck, also stable. The shade was recently sensitively cleaned by a professional Tiffany restorer to remove excess dirt from the leaded glass and top bronze shade armature. Additionally, a few hairline cracks were sensitively stabilized, and two very small open seams to the bottom shade border were sensitively stabilized. The top bronze armature of the shade and branching extending below is highly sculptural and tactile, and adds great visual interest and dimension to the lamp. With some gentle rubbing to the high points of the top reticulated shade armature. The "Tree" base displays a rich and satisfying russet brown and green patina. The base displays exceptional quality to the casting, and the branching on the lower base cushion is particularly sculptural and well defined. The patinated bronze surfaces of the base with some occasional light surface scratches, abrasions, rubbing, and a few small and minor traces of surface residue consistent with age and gentle handling. The base retains its original bronze switch, which is fully functional as a two-way switch. The lamp retains its original base plate (on the underside of the base), which appears to have been enhanced many decades ago with a brass finish. All four electrical sockets appear to be original and undisturbed and are quite early in production; the interior electrical mechanisms have been updated. The lamp displays beautifully in person with strong visual presence. The glass selection is highly artistic and thoughtful, displaying a heavily saturated and well-varied color palette. When viewing this lamp firsthand, the colors are more saturated with greater brilliance and nuance. The catalogue photography is slightly too red and under saturated, and does not fully capture the radiance and luminosity of the glass, most notably the richness and depth of the cobalt passages. An extraordinary example of Tiffany’s iconic Wisteria lamp design, displaying the highest artistry of Tiffany's lamp production. -----
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 is widely recognized as an icon not just of Tiffany’s extensive body of work, but also as a design icon of the 20^th Century.  Designed by Clara Driscoll in 1901, the shade’s conventionalized floral forms and naturalistic coloration demonstrate the influence of Impressionism and Japonesque aesthetics that were popular at the time.  The shade pattern is comprised of nearly 2,000 individually cut and selected pieces of glass supported by a highly innovative pierced cast bronze armature.  The irregularity of the shade’s upper armature and lower panicle border enhance the naturalism of the design, which is further emphasized by the directly representational “Tree Trunk” base.  This extraordinary Wisteria example presents a stunning, highly saturated and nuanced color palette in its lush panicles, ranging from deep cobalt to lavender.  Brilliant jewel tones of ultramarine, amethyst and aqua are thoughtfully incorporated into the background passages along with brilliant orange and golden accents throughout the trailing leaves, as if to suggest a setting sun seen through the delicate blossoms.