Tiffany Studios

Alastair Duncan, Tiffany Lamps and Metalware, Woodbridge, Suffolk, 2007, p. 229, no. 889 (for a variant of the model)

Overall 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 individual tiles which were required to execute this monumental shade and complex pattern. The hairlines were recently sensitively stabilized by a professional Tiffany conservator. The shade with approximately 19 glass tiles which appear to have been possibly replaced at some point in the history of the piece; however all of these tiles appear to be period glass that is complementary and harmonious to the shade and not visually detracting. The glass with some light surface soiling to the adjacent contours of the shade leading. The shade presents with an artistic glass selection, ranging from striated and confetti tiles in earthy green and yellow hues to intensely saturated pinks, purples, ultramarine and delicate lilacs composing the grapes. The shade with a later added numerical label. The crown appears original and undisturbed with beautiful casting. The bronze surfaces present with a rich russet brown patina. With some light surface soiling and traces of oxidation to the recessed areas of the metalwork. The crown hooks with some expected wear and rubbing and associated losses to the patina, consistent with age and handling. With replaced chains, socket cluster and sockets. A highly complex and rare design with vibrant coloration and dynamic irregular border.
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.

From the very start of his interest in creating light fixtures, even before Tiffany Studios was creating leaded glass shades, Tiffany was concerned with hanging fixtures, both gas and electric.  Hung over dining tables, these shades created a pleasant pool of light for evening meals.  In 1898, when a catalogue with the first leaded shades appeared, there also were hanging shades, still called “chandeliers.”  While almost all the table lamps were carefully assigned model numbers, most of the hanging shades were not.  In the firm’s later Price Lists, some models were listed by model numbers and empty space was left for other models yet to be introduced.  But, for the greater part, most such hanging shades were never listed.  The model number for this Grape chandelier was not listed, and although it is an established design, it is relatively rare with few examples known.

Tiffany Studios offered a great number of hanging chandeliers with floral or vegetal themes, and it is noteworthy that the majority show trees or vines—clematis, nasturtiums, alamanda, trumpet creeper—a wonderful rationalization that associates the pendant nature of both the fixture and the plant.  A number of designs feature grapes, both red or white and even both varieties together.  The incorporation of a trellis within the design offers an architectural element of stability that contrasts with the irregular, organic quality of the vine. It is especially clever in relation to the flat, octagonal form of the shade.  Yet, at the same time, small bunches of grapes and leaves dip below the lowest rang of the trellis, breaking the architectural framework and reminding us of Tiffany’ own words about vines: “They are great travelers, verily—tramps.  They go underground, across door-heads, over cornices, stopping up gutters, filling odd corners, doing no end of mischief.  .  .  .  Yet who would check them, the truants.  What harmonizers! What decorative artists!” Certainly the irregular fringe of truant vines adds variety to the shade’s geometric structure, as well as a bit of humor and charm.

—Martin Eidelberg