TIFFANY STUDIOS | A Rare Double Inkstand

with two interior swivel bronze inkwells with glass liners

Private Northeast Collection

Alastair Duncan, Tiffany Lamps and Metalware, Woodbridge, Suffolk, 2007, p. 436, no. 1728

Overall very good condition. The patinated bronze surfaces display an exceptionally rich russet brown and green patina, with scattered minor surface scratches and abrasions consistent with age and gentle use. The top of the inkstand with a few minor areas of discoloration and staining from prior use (not visually detractive). The two doors on each side of the inkstand swivel open smoothly and freely to reveal two inkwells, each of which swivels open further for ease of use. The bronze surfaces of each of the two inkwells with some scattered minor abrasions and shallow dents resulting from the movement of the doors, not visually detractive. The inkwells with some scattered minor ink stains. Each inkwell with an original interior copper liner and a later replaced glass liner, all in very good condition. One glass liner with a small surface irregularity on the shoulder, not visually detractive. An incredibly dynamic form showcasing the firm’s ingenuity and experimental approach. One of the rarest of Tiffany’s inkstand models celebrated for its handsome design and proportions, this example is further distinguished by its exceptionally rich patina. Please note that this inkstand is not offered with a pen; the pen visible in the catalogue illustration is for presentation purposes only.
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.

Tiffany’s Fancy Goods: Accessories for the Gilded Age

The company’s use of the term “Fancy Goods” initially appears in their 1906 Price List, however objects that fall under that category were first made almost a decade earlier. The Tiffany Glass and Decorating Company established a foundry, capable of producing bronze castings of a phenomenal quality, in the late 1890s. Some of these initial objects, including the wild carrot and crab inkstands (lots 63 and 65) were prominently displayed at Tiffany’s 1899 Grafton Gallery exhibition organized by Sigfried Bing. Their inclusion in an internationally acclaimed display is a clear indication of how significant Louis C. Tiffany saw these items, from both an aesthetic and also a marketing standpoint. The department responsible for designing these objects was led by Clara Driscoll (1861-1944). Driscoll was the Head of the company’s Women’s Glass Cutting Department and by 1899 was responsible for “all the portable objects in Favrile glass and metal combinations.” She, and the rest of the “Tiffany Girls” under her leadership, proved to be extremely adept at creating innovative designs that soon took advantage all the manufacturing skills and capabilities of the company. Louis C. Tiffany’s role in the department’s artistic and commercial success, however, should not be minimized. He was, after all, in the forefront of hiring women for design work and production, firmly believing in their superior manual dexterity and sense of color in comparison to men. Furthermore, Tiffany was responsible for approving all of the designs, frequently ignoring his financial advisors’ complaints that the cost of production would be greater than any potential profit.

Driscoll, with Tiffany’s aesthetic and financial support and the increased capacity of the company’s new foundry constructed in 1904, quickly expanded the number and variety of fancy goods. Desk accessories were extremely popular, and perhaps no single type of object best typifies the firm’s decorative imagination than their inkstands. Although the company was not known for its traditional arts and crafts designs, Tiffany objects were frequently displayed alongside the works of Stickley and Grueby. The double inkstand (lot 13), with its undulating oval pen tray, hinged hidden hemispherical inkwells, and simulated rivets is a rare Tiffany interpretation and highly reminiscent of contemporary work by the Roycrofters. The triple scarab inkstand (lot 64) is a slightly more common model, but this example’s highly unusual hammered surface was obviously inspired by similar arts and crafts metalware of the period. The double inkstand of stained oak (lot 61), a rare example from the firm’s woodworking department, includes a small candleholder with an iridescent Favrile bobeche and hinged turtle-back tile inkwell covers.

It is not surprising that the Tiffany Girls incorporated Favrile glass in a wide variety of inkstands. Turtle-back tiles were especially well suited for fancy goods as they could be manufactured relatively easily in large quantities, in a wide variety of colors, and to precise measurements. The double inkstand (lot 31), with a hidden stamp box in the central interior drawer, is of beautifully cast bronze set with both iridescent blue and green tiles. The revolving triple inkstand (lot 30) is also superbly cast with a peaked scalloped upper rim and features differently colored turtle-back tile covers so the user could distinguish the color of the ink in each well.

In each of the aforementioned objects, Tiffany Studios transformed a standard, prosaic desk accessory into something to be treasured by its owner. Louis C. Tiffany, through his thoughts and actions, imbued each item produced by his company with an artistry and sense of design rarely matched in American history.

—Paul Doros