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Tiffany Studios New York "Oriental Poppy” Leaded Glass and Bronze Floor Lamp

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This Tiffany Studios New York "Oriental Poppy" leaded glass and patinated bronze floor lamp was designed circa 1913. Surmounted by a bronze cap with hogtail finial and geometric piercing, this shade depicts a profusion of deep red and crimson poppies with intense blue centers and hints of amber pollen on a blue green ground of foliage and blue sky streaked with cloud, while the lower rim is bounded by a high relief rippled green glass border. The poppies are depicted in various stages of development from seed pods, to buds on the verge of opening, to blossoms in full flower, and the effect is realized by the use of mottled, streaked and granite glass in a range of painstakingly chosen hues, tones and degrees of intensity and transparency, resulting in the powerful evocation of a three-dimensional naturalism. The shade is raised on three lion’s paw arms atop a patinated bronze "Chased Pod Senior" floor base. The lamp is a tour-de-force creation reflecting the combined vision of Louis Tiffany and his women collaborators, working together to express ideals of naturalism and impressionism through the decorative arts. For an extensive dossier on this piece, please contact the seller. Product Details: Item #: L-20374 Artist: Tiffany Studios New York Country: United States Circa: 1913 Dimensions: 26.50” diameter, 77.00” high Materials: leaded glass, Bronze Shade signed: ''Tiffany Studios New York 1902 '' Base signed: ''Tiffany Studios New York 27396’’ Literature: Dr. Egon Neustadt, The Lamps of Tiffany, New York, 1970, pp. 36 (for the shade and base) and 161 (for the shade) William Feldstein, Jr. and Alastair Duncan, The Lamps of Tiffany Studios, New York, 1983, pp. 18-19 and 52-53 (for the shade) Robert Koch, Louis C. Tiffany: The Collected Works of Robert Koch, Atglen, PA, 2001, p. 265 (for the shade and base pairing) Martin Eidelberg, Alice Cooney Frelinghuysen, Nancy A. McClelland and Lars Rachen, The Lamps of Louis Comfort Tiffany, New York, 2005, pp. 132-133 (for the shade) Margaret K. Hofer and Rebecca Klassen, The Lamps of Tiffany Studios: Nature Illuminated, New York, 2016, pp. 40, 76, 81 and 105 (for the base) and 62 (for the shade) Alastair Duncan, Tiffany Lamps and Metalware, Woodbridge, Suffolk, 2019, pp. 226, no. 881 (for the shade) and 228, no. 890 (for the base) Macklowe Gallery Curator's Notes: With its complex composition and bold pigmentation across the spectrum, the Oriental Poppy lamp exemplifies the unique fusion of naturalism, impressionism, and ornamentalism achieved by the artists of Tiffany Studios. A favorite subject of the French impressionists, the poppy flower entered the school’s artistic vernacular in the 1874 at the first Impressionist Exhibition, where Monet’s celebrated “Poppy Field” was displayed. A devotee of the movement, Louis Tiffany most likely attended this exhibition, which was held in a venue that was a short walk from his father’s discreet representative office in central Paris. The artist painted the poetic blossoms himself in his own landscapes and plein air sketches, and also cultivated the opulent flowers at his first Long Island Estate, Briars, as well as in the sunken garden at Laurelton Hall. Arts & Crafts inspired principles, shared by Tiffany’s one-time partner Candace Wheeler and Tiffany’s foremost lamp designer, Clara Driscoll, are evident in the rhythmic, ornamental density of the overall design. With its mysterious, dreamy perspective, the shade’s composition draws viewer’s the eye in and out as it compels the delighted mind to explore the complex imagery. For more insight into the significance of the poppy in Impressionism, and Louis Tiffany’s artistic interaction with John Singer Sargent, as well as his voyeuristic pre-occupation with opium culture, click here for the gallery's research dossier on the Oriental Poppy Lamp.

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About the Workshop Studio

Louis Comfort Tiffany

The name Tiffany prompts thoughts of two things: splendid gifts in robin’s-egg blue boxes and exquisite stained glass. Charles Lewis Tiffany founded the former, and his son, Louis Comfort Tiffany, is responsible for exemplars of the latter. Beyond glass, the younger Tiffany worked in mediums that ranged from furniture and enameling to ceramics and metalware. Louis Comfort Tiffany was undoubtedly the most influential and accomplished American decorative artist in the decades that spanned the late 19th and early 20th centuries.

By the time Tiffany was born, the stationery and “fancy goods” emporium his father had established 11 years before had grown to become the most fashionable jewelry and luxury items store in New York. Tiffany fils declined to join the family business and pursued a career as an artist. 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, a multimedia decorative-arts manufactory.

Tiffany developed a method in which colors were blended together in the molten state. Recalling the Old English word fabrile, meaning “hand-wrought,” he named the blown glass Favrile, a term that signified handmade glass of unique quality. In his glass designs, Tiffany embraced the emerging Art Nouveau movement and its sinuous, naturalistic forms and motifs. The pieces won Tiffany international fame. (Siegfried Bing, the Paris entrepreneur whose design store, L’Art Nouveau, gave the stylistic movement its name, was the leading European importer of Tiffany pieces.) 

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. Tiffany Studios table lamps are the most recognizable and the most prized. They range in price from $60,000 to upward of $2 million for intricate shade designs like the Dragonfly. Tiffany glass vases and bowls are generally priced from $1,000 to $30,000 depending on size, color, condition and form. Simpler accessories such as metal trays and small picture frames can fetch from $800 to $3,000. Tiffany design of any type is an emblem of taste and craftsmanship. As you will see on 1stDibs, Louis Comfort Tiffany ensured that each piece he and his company produced, magnificent or modest, was a work of art.

Find Louis Comfort Tiffany vases, serveware and other items on 1stDibs.

About the Seller
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Located in New York, NY
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