Tiffany Studios "Counter Balance" Lamp

The shade of this Tiffany Studios New York "Dogwood" leaded glass floor lamp features a bouquet of pink, white, and cream dogwood blossoms agai...

Tiffany’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...

This remarkable Tiffany Studios New York "Wisteria" table lamp is a very fine and unusually rare lamp, composed of a palette of wisteria blossoms in shades of blue, green, cream and white that cascade down the shade to an irregular border. The blossoms are surrounded by abundant leaves in varying shades of green and are delicately interspersed with "confetti" glass, lending them added three-dimensionality. The shade has a latticework top, portraying the branches and stems of a wisteria vine. The base, designed specifically to hold the shade, is also embellished with vegetal, vine-like properties. Product Details: Item #: L-20375 Artist: Tiffany Studios New York Country: United States Circa: 1902 Dimensions: 18.5" diameter, 27" height Materials: Leaded glass, Bronze Shade Signed: Interior of shade crown impressed 1073 and 13; underside of shade mounting post impressed 1073 and 13 Base Signed: ''Tiffany Studios New York 1073"; top of tree trunk column impressed 13 Literature: Robert Koch, Louis C. Tiffany: Rebel in Glass, New York, 1964, pl. v Dr. Egon Neustadt, The Lamps of Tiffany, New York, 1970, pp. 215-220 Alastair Duncan, Tiffany At Auction, New York, 1981, pp. 89, no. 238 and 148, no. 391 William Feldstein, Jr. and Alastair Duncan, The Lamps of Tiffany Studios, New York, 1983, p. 37 Robert Koch, Louis C. Tiffany's Glass, Bronzes, Lamps: A Complete Collector's Guide, New York, 1989, p. 131 Robert Koch, Louis C. Tiffany: The Collected Works of Robert Koch, Atglen, PA, 2001, pp. 74, 242 and 284 Alastair Duncan, Louis C. Tiffany: The Garden Museum Collection, Woodbridge, Suffolk, 2004, pp. 292-293 Martin Eidelberg, Alice Cooney Frelinghuysen, Nancy A. McClelland and Lars Rachen, The Lamps of Louis Comfort Tiffany, New York, 2005, p. 107 Alastair Duncan, Tiffany Lamps and Metalware, Woodbridge, Suffolk, 2007, p. 67, no. 254 Martin Eidelberg, Nina Gray and Margaret K. Hofer, A New Light on Tiffany: Clara Driscoll and the Tiffany Girls...

This delicately sized Tiffany Studios New York “Damascene” lamp is superbly colored in blood-orange and gold. Trails of blood orange glass were applied...

This wrought iron and glass “Les Roses” floor lamp by Edgar Brandt and Daum surprises and delights with its high Art Deco styling. A calyx of wild rose buds and stylized cabbage rose...

A Tiffany Studios New York "Apple Blossom" glass and bronze table lamp. The shade features amber & green streaky glass branches with pink and white apple blossoms. The tonality of the leaves ranges from dense, deep greens at the crown to lighter greens below. The apple blossoms range from white at the shade's irregular border to pink with touches of red towards the crown. Tiffany's artisans skillfully incorporated specialized types of glass into the lampshade, specifically using foliage and granite glass. The unique texture of these glass varieties gives rise to a captivating interaction between degrees of translucency and opacity, evoking the dappled effect of sunlight filtering through tree branches. The shade sits atop a patinated bronze tree trunk base and is specially designed to fit it. The patinated bronze openwork crown lattice at the top of the shade resembles tree branches and is a direct extension of the base. Flowering apple trees grew on the grounds of his Laurelton Hall estate and appear as a motif in many of his windows and lamps. The spreading “Apple Blossom” lamp is the most stunning and realistic tree shape that Tiffany ever produced. Its intricacy and delicacy imbue the piece with radiant beauty and give it marked significance within the world of Tiffany lamps. Product Details: Item #: L-21088 Artist: Tiffany Studios New York Country: United States Circa: 1905 Dimensions: 30" height, 25" diameter Materials: Favrile Glass, Bronze Shade Signed: Tiffany Studios New York 7809 - 7 Base Signed: Tiffany Studios New York 351 S166 Literature: The Lamps of Tiffany Studios by William Feldstein, Jr. and Alastair Duncan, P. 108-109. Louis C. Tiffany’s Glass, Bronzes, & Lamps: A Complete Collector’s Guide, by Robert Koch, P. 132, Plate 209. Louis C. Tiffany: The Garden Museum Collection, by Alastair Duncan, P. 285. Tiffany Lamps and Metalware: An Illustrated Reference to Over 2000 Models, by Alastair Duncan, P. 69. The Lamps of Tiffany, by Dr. Egon Neustadt, Pp 201-204. Macklowe Gallery Curator's Notes: As a gardener, the apple was one of Tiffany’s favorite plants, providing beauty in the spring and sustenance in the fall. In 1875, Tiffany photographed his wife Mary Goddard Tiffany and daughter Mae Mae picking apple blossoms on the grounds of his father Charles’ eighteenth century Dutch farmhouse in Irvington, NY. As a matter of both aesthetic and sentimental significance, Tiffany lined...

Mid-century 1970s vintage counter balance arm adjustable floor lamp by Robert Sonneman. This classic modern floor lamp is a result of the long-time rel...

Tall Danish Mid-Century Modern floor lamp, produced around the early 1970's. The teak frame has an adjustable arm (with a length of 120 cm) and counterbalance weight for positioning ...

Very unique counter balance floor lamp, 1960s. The balance arm has a chrome globe joint and is adjustable up and down and can rotate, the standing shaft has a ball joint at the groun...

Minimalist counterbalance floor lamp is super flexible, with an arm adjustable to almost 180 degrees. The halogen light source is attached to a long arm holding a spherical counter w...

Design classic by Sölken leuchten, 1970s. This counter balance floor lamp is hight adjustable and you can position it in any direction. Halogen or led bulb A silhouette of round sh...

Sculptural Danish Mid-Century Modern floor lamp, early 1970's. The teak frame has an adjustable arm (with a length of 100 cm) and counterbalance weight for positioning of the light s...