Tiffany Studios Gentian Lamp
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Tiffany Studios Gentian Lamp
About the Item
- Creator:Tiffany Studios (Designer)
- Dimensions:Height: 23.5 in (59.69 cm)Diameter: 17.5 in (44.45 cm)
- Style:Gothic (In the Style Of)
- Materials and Techniques:
- Place of Origin:
- Period:
- Date of Manufacture:circa 1900
- Condition:
- Seller Location:New York, NY
- Reference Number:Seller: L-139111stDibs: LU8854740840
Tiffany Studios
The hand-crafted kerosene and early electric lighting fixtures created at Tiffany Studios now rank among the most coveted decorative objects in the world. Tiffany designs of any kind are emblematic of taste and craftsmanship, and Tiffany glass refers to far more than stained-glass windows and decorative glass objects. The iconic multimedia manufactory’s offerings include stained-glass floor lamps, chandeliers and enameled metal vases. The most recognizable and prized of its works are antique Tiffany Studios table lamps.
The name Tiffany generally prompts thoughts of two things: splendid gifts in robin’s-egg blue boxes and exquisite stained glass. In 1837, Charles Lewis Tiffany founded the former — Tiffany & Co., one of America’s most prominent purveyors of luxury goods — while his son, Louis Comfort Tiffany, is responsible for exemplars of the latter.
Louis was undoubtedly the most influential and accomplished American decorative artist in the decades that spanned the late 19th and early 20th centuries. Rather than join the family business, he studied painting with several teachers, notably the scenic painter Samuel Colman, while spending long periods touring Europe and North Africa. Though he painted his entire career, visits to continental churches sparked a passionate interest in stained glass. Tiffany began experimenting with the material and in 1875 opened a glass factory-cum-laboratory in Corona, Queens — the core of what eventually became Tiffany Studios.
In his glass designs, Tiffany embraced the emerging Art Nouveau movement and its sinuous, naturalistic forms and motifs. By 1902, along with glass, Tiffany was designing stained-glass lamps and chandeliers as well as enameled metal vases, boxes and bowls, and items such as desk sets and candlesticks. Today such pieces epitomize the rich aesthetics of their era.
The lion’s share of credit for Tiffany Studios table lamps and other fixtures has gone to Louis. However, it was actually Clara Driscoll (1861–1944), an Ohio native and head of the Women’s Glass Cutting Department for 17 years, who was the genius behind the Tiffany lamps that are most avidly sought by today’s collectors. A permanent gallery of Tiffany lamps at the New-York Historical Society celebrates the anonymous women behind the desirable fixtures.
Find antique Tiffany Studios lamps, decorative glass objects and other works on 1stDibs.
- Tiffany Studios New York "Peony" Table LampBy Tiffany Studios, Louis Comfort TiffanyLocated in New York, NYTiffany’s “Peony” table lamp was a work grounded in naturalism but reaching for the divine. With a shade of resplendent blooms and a mosaic base evoking the hallowed ground of church floors, Tiffany’s peony lamp demonstrates his foundation in both Art nouveau and ecclesiastical art. To depict his multi-hued bouquet, Tiffany depicted two different cultivars, a Greek peony, and a Japanese peony. Tiffany used burgundy glass streaked with lapis to express the richness of the Greek Peony. Favored by neoclassical artists for their symmetry and simplicity, Tiffany featured the bloom in the architecture of his country estate. To represent the candy-striped Japanese peony Shima Nishiki, Tiffany used cream glass streaked with fuschia. The shade elegantly depicts different stages of growth from the bud, first bloom, peak bloom, to wilting. When peony petals wilt, their veins darken, and their form puckers. Tiffany’s glass selectors chose a stone textured glass called granite glass to express the wilting of the petals and their pronounced venation. The background and border of the shade is a golden amber, streaked with magenta and blue. The top-down perspective of the peony with a dirt background was a type of painting called “Rasenstück”, a detailed study of a piece of turf. The crux of the Rasenstück was the elevation of the humble. Popularized in the nineteenth century by the American Pre-Raphaelites, the movement believed in the idea of "truth to nature". The principle encouraged painters to capture the natural world as truthfully as possible, not romanticizing what they saw. In these nature studies, painters depicted flowers and trees in the soil from which they grew. While sublime on its own, the shade and base taken together paint a picture of Tiffany’s Japanese garden. Peonies imported from the far east bordered serene ponds. A frieze of turtleback tiles hypnotizes the viewers with its scarlet glow, evoking the red flash of a sunset, as seen through a field of cattails, rendered in bronze. Below it, the row of cat tails blends into a mosaic of red, yellow, and green glass. While Tiffany’s chief designer Clara Driscoll is most famous for her naturalistic lamp designs, the bread and butter of Tiffany Studios was its ecclesiastical department. Red, yellow, and green colorways were widely used in the depiction of Baroque angels, whose wings were modeled after birds of paradise. As hunters removed their legs upon sale, many believed they neither ate nor drank, and instead floated ethereally like angels. A lamp such as this epitomizes Tiffany’s understanding of his artistic vision in the context of the entire history of artistic expression. Since falling in love with glass at age twelve in the cathedrals of Chartres, light itself became a representation of divinity. A contemporary critic described Tiffany’s mosaics...Category
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